Lucky Thompson, Barney Wilen - Four Brothers

Bitrate: MP3@320K/s
Time: 76:15
Size: 174.5 MB
Styles: Bop, Contemporary jazz
Year: 2015
Art: Front

[6:17] 1. This Here
[3:46] 2. Why Weep
[4:05] 3. Have A Light
[3:16] 4. Oleo
[4:44] 5. I Want To Be Happy
[6:56] 6. Jahrgang'37
[4:20] 7. Autumn Leaves
[4:49] 8. One Last Goodbye
[5:23] 9. Take The A Train
[4:26] 10. Düsseldorf Süd Wuppertal West
[4:13] 11. Iris
[3:49] 12. I Surrender Dear
[6:12] 13. Easy
[5:11] 14. The Mysterioso Mr. X
[4:05] 15. Edith
[4:35] 16. Einsames Mädchen Am Meer

Baritone Saxophone – Helmut Brandt (tracks: 1 to 6, 8 to 14, 16); Bass – Jürgen Ehlers; Drums – Rudy Pronk; Guitar – Larry Atwell (tracks: 1 to 14, 16); Piano – Roland Kovac (tracks: 1 to 7, 9 to 16); Soprano Saxophone, Tenor Saxophone – Barney Wilen (tracks: 1 to 6, 8 to 14, 16), Lucky Thompson (tracks: 1 to 6, 8 to 14, 16); Tenor Saxophone – Bent Jaedig (tracks: 1 to 6, 8 to 14, 16). Recorded November 25, 1960 at Funkhaus Hamburg .

Previously unreleased studio concert from Hamburg in 1960, featuring four jazz saxophone legends: Lucky Thompson (ss/ ts), Barney Wilen (ss/ ts), Helmut Brandt (bars) and Bent Jaedig (ts), recorded with the quartet of Dr. Roland Kovac (p) in a unique workshop. Excellent blend of Modern, Bebop, Cool and Progressive: Full ensemble pieces in a sound made famous by Giuffre's Four Brothers, from original material to standards, plus musical essays in small groups.

Four Brothers mc

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Barney Wilen - Barney Wilen, Jazz Stars

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 79:35
Size: 183,5 MB
Art: Front

(6:54)  1. The Way You Look Tonight
(4:24)  2. Blue Monk
(5:38)  3. We See
(3:51)  4. Radio Taxi Melody
(4:26)  5. Nature Boy
(6:59)  6. Prelude in Blue
(5:11)  7. My Melancholy Baby
(4:13)  8. Mysterioso
(4:20)  9. Vamp
(4:28) 10. Night in Tunisia
(5:15) 11. Hackensack
(3:15) 12. Life Is One Long Struggle
(4:24) 13. Blue n' Boogie
(5:34) 14. Think of One
(6:49) 15. Let's Call This
(3:48) 16. Minor Swing

Barney Wilen's mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother's friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often. He moved to Paris in the mid-'50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim's Les Liaisons Dangereuses (1960). Wilen began working in a rock-influenced style during the '60s, recording an album entitled Dear Prof. Leary in 1968. In the early '70s, Wilen led a failed expedition of filmmakers, musicians, and journalists to travel to Africa to document pygmy music. Later Wilen played in a punk rock band called Moko and founded a French Jazzmobile-type organization that took music to people living in outlying areas. He also worked in theater. By the mid-'90s, he was working once again in a bebop vein in a band with the pianist Laurent de Wilde. Much of Wilen's later work was documented on the Japanese Venus label. ~ Chris Kelsey https://www.allmusic.com/artist/barney-wilen-mn0000117853/biography

Barney Wilen, Jazz Stars

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Barney Wilen - French Ballads

Styles: Saxophone Jazz 
Year: 1987
File: MP3@320K/s
Time: 56:22
Size: 130,5 MB
Art: Front

(4:41)  1. L'Ame Des Poetes
(3:05)  2. What Are You Doing The Rest Of Your Life
(4:28)  3. Sous Le Ciel De Paris
(3:51)  4. Syracuse
(4:11)  5. Un Ete 42
(4:11)  6. My Way
(7:15)  7. Les Feuilles Mortes
(4:13)  8. Once Upon A Time
(4:42)  9. Seule Ce Soir
(4:27) 10. Manoir De Mes Reves
(4:17) 11. Tears
(4:19) 12. La Vie En Rose
(2:38) 13. Les Moulins De Mon Coeur

Barney Wilen's mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother's friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often. He moved to Paris in the mid-'50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim's Les Liaisons Dangereuses (1960). Wilen began working in a rock-influenced style during the '60s, recording an album entitled Dear Prof. Leary in 1968. In the early '70s, Wilen led a failed expedition of filmmakers, musicians, and journalists to travel to Africa to document pygmy music. Later Wilen played in a punk rock band called Moko and founded a French Jazzmobile-type organization that took music to people living in outlying areas. He also worked in theater. By the mid-'90s, he was working once again in a bebop vein in a band with the pianist Laurent de Wilde. Much of Wilen's later work was documented on the Japanese Venus label. ~ Chris Kelsey https://www.allmusic.com/artist/barney-wilen-mn0000117853/biography

Personnel: Barney Willen - Saxophone; Michel Graillier - Piano; Ricardo del Fra - Bass; Sangoma Everett - Drums

French Ballads

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Jimmy Gourley, Barney Wilen - Double Action

Bitrate: MP3@320K/s
Time: 57:20
Size: 131.2 MB
Styles: Bop, Jazz-blues
Year: 1999/2006
Art: Front

[8:45] 1. Goodbye
[3:26] 2. Blues For Gene
[3:23] 3. Four And Six
[3:13] 4. Summertime
[4:39] 5. C.T.A
[4:59] 6. Denzil's Best
[8:29] 7. Embraceable You
[7:27] 8. Body And Soul
[4:03] 9. Tafira Alta
[4:05] 10. Autumn Leaves
[4:45] 11. Blue Lester

Bass – Dominique Lemerle; Drums – Philippe Combelle; Guitar – Jimmy Gourley; Tenor Saxophone – Barney Wilen. Recorded the 23 December 1987 at "Théâtre Jean-Marie Serraut" Paris.

Gourley was born in St. Louis in 1926. He met saxophonist Lee Konitz in Chicago when both were members of the same high school band. He credits Konitz with encouraging him to become a serious musician. Gourley's father started the Monarch Conservatory of Music in Hammond, Indiana, though he didn't teach, and he bought Gourley his first guitar. Gourley took his first guitar classes at the school. He became interested in jazz while listening to the radio, enjoying in particular Nat King Cole. For his first professional experience as a performer, he dropped out of high school to play with a jazz band in Oklahoma City.

From 1944–1946, Gourley served in the U.S. Navy. After he returned to Chicago, he met guitarist Jimmy Raney and wanted to play like him. He worked in bars and clubs with Jackie Cain & Roy Kral, Anita O'Day, Sonny Stitt, and Gene Ammons. Through the G.I. Bill, he received tuition for three years to any college in the world.

Beginning in 1951, Gourley spent the rest of his life in France, working with Henri Renaud, Lou Bennett, Kenny Clarke, Richard Galliano, Stéphane Grappelli, Bobby Jaspar, Eddy Louiss, Martial Solal, and Barney Wilen. He played with American musicians who were passing through, including Bob Brookmeyer, Clifford Brown, Stan Getz, Gigi Gryce, Roy Haynes, Lee Konitz, Bud Powell, Zoot Sims, Lucky Thompson, and Lester Young.

Double Action   

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Barney Wilen, Mal Waldron Trio - Movie Themes From France

Bitrate: MP3@320K/s
Time: 67:26
Size: 154.4 MB
Styles: Bop
Year: 1990
Art: Front

[ 6:21] 1. Un Homme Et Une Femme
[ 7:31] 2. Florence Sur Les Champ-Elysées
[ 9:56] 3. Les Parapluies De Cherbourg
[ 8:45] 4. No Problem
[10:31] 5. Manha De Carnaval
[ 6:57] 6. Générique
[ 7:45] 7. Les Feuilles Mortes
[ 9:37] 8. Quiet Temple

Bass – Stafford James; Drums – Eddie Moore; Piano – Mal Waldron; Tenor Saxophone, Soprano Saxophone – Barney Wilen. Recorded October 2nd, 1990 at Studio 44, Monster, Holland.

Soft and sensuous, saxophonist Barney Wilen runs gently through eight French movie soundtracks, with the Mal Waldron Trio behind him. Wilen came to international attention decades before with his work with Miles Davis, and several of the themes here were actually written by the trumpeter. Wilen has been criticized for sounding tired on this recording, and, in fact, his sound does sometimes sound somewhat sleepy, though often attractively so. In ways, this sounds a bit like Stan Getz minus some oomph. The results are lazily appealing, the sort of melodies that might be soothing after a long day. This is not to imply, though, that Wilen is anything less than a very strong jazz performer, as his phrasing and choice of notes are smack dab in the middle of the jazz tradition. Yet, even when he builds tension, as he likes to do on his soprano, it has the feel of being held back. He is best heard on tenor, and on those tracks his lilting, soft forays usually hit the mark. Waldron is an oddly sympathetic voice, so much so that the music is often in danger of drifting to paradise. ~Steve Loewy

Movie Themes From France

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Various - Mack The Knife

Bitrate: MP3@320K/s
Time: 52:49
Size: 120.9 MB
Styles: Assorted Jazz styles
Year: 1998
Art: Front

[8:14] 1. Barney Wilen - Mack The Knife
[6:34] 2. Pharoah Sanders - In A Sentimental Mood
[5:24] 3. Lee Konitz - My Funny Valentine
[6:22] 4. Eddie Harris - Georgia On My Mind
[5:56] 5. Carmen Leggio - Street Of Dreams
[7:03] 6. Archie Shepp - The Thrill Is Gone
[6:44] 7. Phil Woods - Souvenir
[6:28] 8. Barney Wilen - I Cover The Waterfront

About the song 'Mack the Knife": "Mack the Knife" was composed on a whim by Bertolt Brecht and Kurt Weill while they were putting the finishing touches on Die Dreigroschenoper in 1928. As the story goes, the diva-esque tenor who was playing the part of Mackie Messer, aka Macheath or Mack the Knife, suggested that a whole song should be written to introduce his character before he comes on stage. As one columnist recently wrote, "the essence of the song is: Oh, look who's coming onstage, it's Mack the Knife - a thief, murderer, arsonist, and rapist." The song, which became the opening number, was composed in less than 24 hours and added to the show at the final hour. Little did Weill and Brecht know it would be one of their most well-known legacies.

In some ways, The Threepenny Opera, tagged by Brecht and Weill as a show "by and for beggars," revolutionized musical theater. Die Dreigroschenoper was revolutionary because it was a fun musical that doubled as biting satire, throwing stone after stone at the corruption of the German government and its supporters without naming any names. It also integrated contemporary trends like tango and foxtrot. It was also historically fascinating because it was actually a re-write of a musical composed a full two hundred years before, John Gay's Beggar's Opera. In the early 1700s, the Beggar's Opera—which poked light fun at London's bourgeois classes—became wildly popular as the first comic opera. The parody, which featured a Robin Hood-type Macheath who stole from the rich, was later popular in the British colonies in New York and was supposedly enjoyed by George Washington. The Beggar's Opera was translated into German and became a popular play in 1920s Berlin because it spoke to the excesses of post-World War I Germany.

Not surprisingly, Brecht and Weill were pushed out of Germany by the Nazis in 1933, and their works were banned. They both ended up in the U.S. after seeking refuge in several European countries. Given that his life as a writer was devoted to calling out corruption and that he spent about a decade hiding from the Nazis, it is ironic that Brecht, who emigrated to the U.S. in the 1940s, was called before the House Un-American Activities Committee in 1947 and fled the U.S. for fear of political persecution.

Brecht and Weill's interpretation of the John Gay play is more sinister and intense than the amusing Robin Hood themes that showed up in the original. Macheath, the show's anti-hero, goes from being a bit of a crook to being a pretty serious one: he is portrayed as a murderer, rapist, and arsonist who is openly frightening but butters up the people around him, especially women, to keep on their good side. In The Threepenny Opera, he is known as Mackie Messer (Messer is German for knife).

Mack The Knife

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Barney Wilen - Essential Best

Bitrate: MP3@320K/s
Time: 71:03
Size: 162.7 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[5:06] 1. Valse Hot
[4:39] 2. Dig
[5:17] 3. Caravan
[7:27] 4. Granadas
[5:45] 5. You'd Be So Nice To Come Home To
[5:54] 6. Blues Walk
[9:21] 7. No Problem '94
[5:03] 8. Estate
[7:02] 9. Jitterbug Waltz
[9:59] 10. My Ship
[5:26] 11. Passione

Barney Wilen's mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother's friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often. He moved to Paris in the mid-'50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim's Les Liaisons Dangereuses (1960). Wilen began working in a rock-influenced style during the '60s, recording an album entitled Dear Prof. Leary in 1968. In the early '70s, Wilen led a failed expedition of filmmakers, musicians, and journalists to travel to Africa to document pygmy music. Later Wilen played in a punk rock band called Moko and founded a French Jazzmobile-type organization that took music to people living in outlying areas. He also worked in theater. By the mid-'90s, he was working once again in a bebop vein in a band with the pianist Laurent de Wilde. Much of Wilen's later work was documented on the Japanese Venus label. ~bio by Chris Kelsey

Essential Best

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Barney Wilen - Modern Nostalgie (Starbust Forever)

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 65:58
Size: 155,6 MB
Art: Front

(6:07)  1. Forever
(7:56)  2. Angelica
(5:04)  3. Recado
(4:28)  4. Espinhos Do Ser
(5:01)  5. Wave
(4:59)  6. Bemsha Swing
(4:01)  7. Darn That Dream
(5:31)  8. Stardust
(7:17)  9. In A Sentimental Mood
(2:38) 10. J'ai Le Cafard
(4:48) 11. Tu Ne Sais Pas Aimer
(4:42) 12. Tenderly
(3:18) 13. As Time Goes By

Barney Wilen's mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother's friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often. He moved to Paris in the mid-'50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim's Les Liaisons Dangereuses (1960). Wilen began working in a rock-influenced style during the '60s, recording an album entitled Dear Prof. Leary in 1968. In the early '70s, Wilen led a failed expedition of filmmakers, musicians, and journalists to travel to Africa to document pygmy music. Later Wilen played in a punk rock band called Moko and founded a French Jazzmobile-type organization that took music to people living in outlying areas. He also worked in theater. By the mid-'90s, he was working once again in a bebop vein in a band with the pianist Laurent de Wilde. Much of Wilen's later work was documented on the Japanese Venus label. ~ Chris Kelsey  http://www.allmusic.com/artist/barney-wilen-mn0000117853/biography

Personnel:  Barney Wilen Sax (Tener, Alto, Soprano);  Olivier Hutman (Piano);  Gilles Naturel (Bass ); Peter Gritz (Drums);  Rovert Persi (Piano);  Leonardo Ribeiro (Guitar);  Serge Marne (Percussion);  Marie Moor (Vocal)

Modern Nostalgie (Starbust Forever)

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Barney Wilen - Jazz

Bitrate: MP3@320K/s
Time: 47:06
Size: 107.8 MB
Styles: Saxophone jazz
Year: 2012
Art: Front

[4:24] 1. Swing 39
[4:16] 2. Vamp
[3:30] 3. Ménilmontant
[3:36] 4. John's Groove
[6:33] 5. B.B.B. (Bag's Barney Blues)
[4:25] 6. Swingin' Parisian Rhythm (Jazz Sur Seine)
[2:17] 7. J'ai Ta Main
[5:48] 8. Nuages
[3:02] 9. La Route Enchantée
[2:43] 10. Que Reste-T-Il De Nos Amours
[3:44] 11. Minor Swing
[2:42] 12. Epistrophy

Barney Wilen made a strong impression on the Paris scene in the mid 1950s. Wilen was a self taught player and became one of Europe's best and more modern saxophonists.

Bernard Jean Wilen, AKA Barney was born March 4, 1937, in Nice to a French mother and an American father. He studied the alto and, at 16, moved to Paris where he played with Henry Renaud, Bobby Jaspar and Jimmy Gourley He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion.

According to Wilen himself, he was convinced to become a musician by his mother's friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often. He moved to Paris in the mid-'50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. He was very fortunate to tour and record with Miles Davis in 1957. This led to him performing on the soundtrack to the Louis Malle film “Lift to the Scaffold” in 1957. The recording won the Prix Louis Delluc the next year.

Two years later in 1960 he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim's Les Liaisons Dangereuses. He also appeared at the 1959 Newport Jazz Festival, one of the first non-Americans to do so. During the '60s, Wilen explored with free jazz and Indian music. He appeared at the 1967 Berlin Festival and engineered Archie Shepp's 1969 live performance at the Algiers Festival.

In the late 70's and 80's he returned to playing the ballads of his influences Sonny Rollins and Harold Land leading to him being awarded the Grand Prix Charles Cros in 1987. In the 90's he continued to be active, playing at many European summer jazz festivals and recording. He died of cancer May 25, 1996 in Paris, France. Much of Wilen's later work was documented on the Japanese Venus label.

Jazz

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Barney Wilen - No Problem

Bitrate: MP3@320K/s
Time: 68:54
Size: 157.7 MB
Styles: Contemporary jazz
Year: 2012
Art: Front

[7:19] 1. No Problem, No. 1
[4:29] 2. Valmontana
[6:55] 3. Prelude In Blue
[2:51] 4. Au Bar Du Petit Bac
[2:55] 5. Témoin Dans La Ville
[3:12] 6. La Vie N'est Qu'une Lutte
[3:48] 7. Mélodie Pour Les Radio-Taxis
[4:16] 8. Vamp
[5:48] 9. Nuages
[3:44] 10. Minor Swing
[3:30] 11. Ménilmontant
[4:25] 12. Swingin' Parisian Rhythm (Jazz Sur Seine)
[2:43] 13. Que Reste-T-Il De Nos Amours
[2:42] 14. Epistrophy
[3:36] 15. John's Groove
[6:33] 16. B.B.B. (Bag's Barney Blues)

Thanks to the generous support of his son Patrick Wilen, we are currently digitizing over 200 tapes from the estate of French Jazzman Barney Wilen at Audiomoto studio Berlin. Prepare yourself for an unknown Donald Byrd & Barney Wilen soundtrack, entitled “Jazz In Camera”, produced 1958 in Paris and recently found on stocked away acetate records - available early next year. ~SonoramaBarney Wilen (March 4, 1937 – May 25, 1996) was a French tenor and soprano saxophonist and jazz composer. Wilen was born in Nice; his father was an American dentist turned inventor, and his mother was French. He began performing in clubs in Nice after being encouraged by Blaise Cendrars who was a friend of his mother. His career was boosted in 1957 when he worked with Miles Davis on the soundtrack Ascenseur pour l’Échafaud. In 1959, Wilen wrote his two soundtracks Un Témoin Dans la Ville and Jazz sur scène with Kenny Clarke. He wrote a soundtrack for Roger Vadim’s film Les Liaisons Dangeureuse two years later, working with Thelonious Monk. Wilen returned to composing for French films in the 1980s and 1990s. In the mid-to-late 1960s he became interested in rock, and recorded an album dedicated to Timothy Leary. He also worked with punk rockers before returning to jazz in the 1990s. Wilen played with modern jazz musicians until his death in 1996. He died of cancer in Paris at the age 59.

No Problem

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Barney Wilen - New York Romance

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 63:36
Size: 146,0 MB
Art: Front

(9:24)  1. No Problem 94'
(8:32)  2. Cry Me A River
(5:58)  3. Blues Walk
(7:28)  4. You'Ve Changed
(5:53)  5. You'D Be So Nice To Come Home
(8:19)  6. Mack The Knife
(7:26)  7. Don'T Fence Me In
(6:22)  8. Old Devil Moon
(4:10)  9. I Will Say Goodbbye

Alternating between soprano, tenor and baritone saxes in this collection of straight-ahead jazz for the Japanese market, Barney Wilen refuses to be pinned down to a single tone quality or approach, even on the same instrument. Among other things, he mimics the lagging phrasing of Lady Day on "You've Changed" on soprano, "Blues Walk" bumps along agreeably on baritone while "Old Devil Moon" is sustained and humorous, and "Mack the Knife" is converted into a glacial smoky ballad with almost casual nonchalance. Throughout, Kenny Barron gets acres of well-turned solo space  it's practically his gig, too  and Ira Coleman (bass) and Lewis Nash (drums) provide crisp underpinning. The further one goes in this collection, the more interesting and less predictable it sounds. ~ Richard S. Ginell  http://www.allmusic.com/album/le-ca-new-york-romance-mw0000647580

Personnel : Barney Wilen (soprano, tenor & baritone saxophones); Kenny Barron (piano); Ira Coleman (bass); Lewis Nash (drums).

New York Romance

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Barney Wilen Quintet - Passione

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 60:18
Size: 138,9 MB
Art: Front

( 6:36)  1. Jitterbag Waltz
(10:01)  2. My Ship
( 4:53)  3. Line For Lyons
( 5:06)  4. Estate
( 7:07)  5. Venetian Rumba
( 5:26)  6. Passione
( 2:37)  7. Begonia
( 7:23)  8. Besame Mucho
( 4:10)  9. Bella Chao
( 6:30) 10. I Cover The Waterfront
( 0:24) 11. Al Herraz

Barney Wilen's mother was French, his father a successful American dentist-turned-inventor. He grew up mostly on the French Riviera; the family left during World War II but returned upon its conclusion. According to Wilen himself, he was convinced to become a musician by his mother's friend, the poet Blaise Cendrars. As a teenager he started a youth jazz club in Nice, where he played often. He moved to Paris in the mid-'50s and worked with such American musicians as Bud Powell, Benny Golson, Miles Davis, and J.J. Johnson at the Club St. Germain. His emerging reputation received a boost in 1957 when he played with Davis on the soundtrack to the Louis Malle film Lift to the Scaffold. Two years later, he performed with Art Blakey and Thelonious Monk on the soundtrack to Roger Vadim's Les Liaisons Dangereuses (1960). Wilen began working in a rock-influenced style during the '60s, recording an album entitled Dear Prof. Leary in 1968. In the early '70s, Wilen led a failed expedition of filmmakers, musicians, and journalists to travel to Africa to document pygmy music. Later Wilen played in a punk rock band called Moko and founded a French Jazzmobile-type organization that took music to people living in outlying areas. He also worked in theater. By the mid-'90s, he was working once again in a bebop vein in a band with the pianist Laurent de Wilde. Much of Wilen's later work was documented on the Japanese Venus label. ~ Chris Kelsey  Bio - http://www.allmusic.com/artist/barney-wilen-mn0000117853/biography

Personnel:  Barney Wilen tenor & alto, soprano saxophones; Enrico Rava trumpet;  Alain Jean-Marie piano;  Gilles Natural bass;  Philippe Soirat drums

Passione

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