Fapy Lafertin & LeJazz

“94-96, The Recordings

(Lejazzetal LJCD13)

It’s uncommon for the Jazzmann to review re-issued recordings, I prefer to concentrate on new, predominately British music but in the case of Belgian born guitarist Fapy Lafertin and his group LeJazz I’m prepared to make an exception. There are a couple of reasons of this, firstly Dave Kelbie,  the group’s rhythm guitarist and proprietor of the Lejazzetal record label has been a supporter of the Jazzmann for a number of years plus I have fond memories of seeing an excellent performance by the group at Huntingdon Hall in Worcester way back in 1996! I even have an old cassette copy of “Swing Guitars”, one of the two remastered albums in this deluxe new package, which still plays but inevitably sounds a little wonky these days. I’m therefore very happy to have received this handsome two CD set containing spruced up versions of 94’s “Swing Guitars” and “Hungaria” from 1996.

Le Jazz was formed in England’s West Country in 1986 by guitarist Pete Finch and violinist Steve Elsworth with the pair subsequently being joined by double bassist Tony Bevir and rhythm guitarist Dave Kelbie. The quartet’s near ten year association with Lafertin began in Ocober 1987 when Le Jazz invited the esteemed Manouche guitarist to appear as their guest at a performance at the Concorde Club at Eastleigh, Hampshire. A bond was forged that led to hundred of performances throughout the UK and Europe and the recording of these two albums, the first to appear on Kelbie’s then fledgling label.

Lafertin had made his reputation with the Belgian band Waso and had become one of the most admired gypsy jazz guitar stylists in Europe. It’s a tribute to the skills of the English contingent that what was originally meant to be one off collaboration developed into a such a long lived and productive partnership.

As the original liner notes to both albums make clear the recording technique used on both records was an attempt to record in the style of the original Quintet of the Hot Club of France the pioneering outfit fronted by the legendary guitarist Django Reinhardt and violinist Stephane Grapelli. The Le Jazz quintet recorded in the style of the 1930’s using a single simple ribbon microphone to capture the sound of the entire group and altering the dynamic of the mix by moving their chairs around. The “live in the studio” approach ensures that many of these performances are first takes but by the same token any “mistakes” stay in.

The deliberately old fashioned recording methods represent an attempt to faithfully capture the clipped, propulsive two beat rhythm guitar figures that drive so much of this music. As Kelbie’s notes explain modern digital recording techniques do not always serve this music well and something of the music’s vitality can sometimes be lost.

SWING GUITARS (1994)

There’s certainly no lack of vitality on “Swing Guitars”. Opening tracks “I’ve Had My Moments” and “I Wonder Where My Baby Is Tonight” fairly fly by with Finch, Kelbie and Bevir’s crisp rhythms fuelling the virtuosic flights of Elsworth and particularly the exceptional Lafertin. 

“Besame Mucho” is slightly less frenetic and a good showcase for both Elsworth and Lafertin, the guitarists cleanly picked solo lines sounding particularly sharp and lustrous. The double bass of Bevir is also heard to good effect.

The medium paced “Vous qui passez sans me voir” represents another supremely fluent Lafertin performance with Elsworth also weighing in on violin. The Reinhardt/Grappelli composed title track is a joyous romp with Elsworth and Lafertin trading solos over breakneck rhythms.

Another medium paced number “Je suis seul ce soir” offers another example of Lafertin’s astonishingly fluency on a piece that features him as the only soloist. The perennially popular “Putting On The Ritz” is then delivered at a fast clip with Elsworth returning to the fray.

There was always more to Reinhardt than mere pyrotechnics and the same can be said for his successor Lafertin. Both the guitarist and violinist Elsworth play with great sensitivity on slow number “To Each His Own”.

Reinhardt’s “Diminishing” is one of Django’s most memorable themes and one that still sounds remarkably contemporary, particularly so in the hands of the Lafertin & Le Jazz Quintet. “Minor Swing”, co-composed by Reinhardt and Grapelli is a much loved gypsy jazz staple and is given a precise and energetic reading here.

“La Defense” is another Lafertin tour de force with the guitarist again the featured soloist. Charles Trenet’s lilting “Que reste t’il de nos amours” moves up and down the gears impressively with Elsworth shining alongside Lafertin.

There’s another take on “Swing Guitars” before the album closes with Reinhardt’s “Anouman”, at nearly six minutes the longest cut and a performance of great subtlety with warmly soulful performances from both Elsworth and Lafertin.

The running order on this remastered album differs slightly from that of the original and the guest vocal performances from Anabela Da Silva are omitted. The new version also offers five bonus tracks in the form of alternate takes of “Puttin, On The Ritz”, “Je suis ceul ce soir”, “I’ve Had My Moments”, “Minor Swing” and a concert recorded version of “Anouman”. This being jazz each differs slightly from its companion version.

HUNGARIA (1996)

1996’s “Hungaria” was recorded in the same West Country location and utilised similar recording techniques to its hugely successful predecessor. Three of the pieces feature guest appearances from the veteran US born clarinettist Bob Wilber (born 1928), a man who once performed with Django Reinhardt himself and who continues to appear with Lafterin to this day. Originally inspired by the great Sidney Bechet Wilber was also a member of the Benny Goodman and Eddie Condon bands and represents a living link to jazz’s Golden Age.

The programme is the same familiar mix of Hot Club originals and jazz standards played by the same core quintet. Opener “Melancloly Baby” once again gets the album off to a lively start with Elsworth and Lafertin again in inspired form.

The Reinhardt and Grapelli original “12th Year” is ,if anything, even more frenetic with Laftertin’s fleet fingered dexterity little short of stunning.

Wilber adds his warm clarinet tone to the gently swinging “Songe D’Automne”, a welcome extra instrumental voice who adds much to the charm of the music.

The medium paced “Time On My Hands” offers a glimpse of the gentler side of Lafertin’s playing as it teams him once again with Elsworth’s violin.

Old Hot Club favourite “Billet Doux” is like stepping back in time, evoking a pre-war Parisian atmosphere before the band really take flight with Lafertin in particularly effervescent mood.

Django Reinhardt was always receptive to diverse musical influences and the Le Jazz group canter briskly through Irving Berlin’s “Russian Lullaby” with violinist Elsworth impressing throughout.

The jazz standard “Stardust” is introduced by a delightful guitar/violin intro before Lafertin and Elsworth exchange solos above the metronomic rhythms of the always impeccable Finch, Kelbie and Bevir.

The titles of the next two Reinhardt originals once attest to the great man’s willingness to absorb outside influences. The exuberant “Hungaria” fairly steams along and includes a feature for Bevir alongside the typically sparkling solos from Lafertin and Elsworth. “Liebestraum No.3” is playful and quirky with both soloists and rhythm team impressing.

Bob Wilber returns on clarinet for two further Hot Club classics, Reinhardt’s “Swing 42” and “Stockholm”. On the former the venerable Wilber fairly soars above the steadily chugging rhythms.
For the more eclectic Stockholm he adopts a deeper, woodier tone, sharing solo duties with Lafertin.

“Notes Noir” is a rare Lafertin original in the Reinhardt style, a typically agile guitarist tour de force. His playing on a medium paced “What A Difference A Day Made” is more spacious but no less impressive, his picking clean and well differentiated.

The quintet have great fun with a lively “Viper’s Dream” before closing the album in stirring fashion with Reinhardt’s “Black and White”. Elsworth is in particularly scintillating form on both of these and Lafertin’s inventiveness remains undimmed.

Bonus tracks this time round include an alternative take of “What A Difference A Day Made” plus versions of “J’Attendrai” and “Loverman” which presumably didn’t make the original album. Not that there’s anything wrong with these and the latter is particularly appealing. However both are quartet performances and they may originally have been omitted in deference to Elsworth. In 2012 they represent a considerable bonus.

I’ve not listened to Lafertin’s music for some time and these two re-released albums come as a timely reminder of just what a phenomenally inventive guitarist he is. A word too for the playing of Elsworth who matches him gamely on all the numbers to feature him and to the always immaculate rhythm work of Finch, Kelbie and Bevir, it’s an underrated task but these guys are the backbone of the group and it’s their primary job to make the soloists sound good. Here they succeed admirably. Bob Wilber’s appearances, supremely enjoyable as they are, are little more than a cameo and it is perhaps a shame that the group never got round to recording a whole album with him. Nonetheless the re-appearance of these two albums is most welcome. The records did much to revive interest in the gypsy jazz style during the 1990’s and have been remastered and re-released due to popular demand. Hopefully they will sell as well again second time around. Congratulations to Kelbie and Dylan Fowler for a fine re-mastering job and for making these valuable recordings available again. 

 

 

 

 

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