Tag Archives: Philippe Baudoin


Thirty years ago and more, in a used record store, I found this disc. I was so provincial that the names on the front and back covers did not mean anything to me, but the premise of the disc fascinated me and I bought it.

That premise was splendidly unusual: to take modern jazz classics, score them for a jazz orchestra in consciously anachronistic styles — not jamming, although there were hot solos in abundance — but “styles” that were precise and expert . . . let us say, ANTHROPOLOGY as the 1925 Fletcher Henderson band would have played it, or a Monk composition as played by the Red Hot Peppers.

I had seen a number of examples of this time-travel created in the Fifties (including Phil Sunkel, Dave McKenna, and Bob Wilber) where bands took, for instance, MUSKRAT RAMBLE and scored it in “cool” or “modern” style. But the Anachronics went both forwards and backwards in the most expert and hilarious style: dazzling deft syncopated fun.

They were a working band from 1976-79 and had a reunion in 2013. Fortunately for us, many of their recordings have been collected on three CDs — a two-disc set of their 1976-79 recordings, below —

and their reunion, BACK IN TOWN, which I reviewed here.

This spring, a friend sent me a video of their forty-minute set at the Nice Jazz Festival in July 1977. Excerpts from this performance have been shared on YouTube for more than a decade, but this copy is clear and complete.

And joyous. And wise. Only musicians who not only know the whole continuum of jazz and can play it superbly could make this happen.

So I present it to you: even if you have seen it before, you will find it uplifting. Think of a clarinet trio on BERNIE’S TUNE, or Louis playing ASK ME NOW in his 1933 Victor style, or YARDBIRD SUITE as a thrilling showcase for clarinet and recorder, JORDU reimagined as early Ellington with a tuba solo and echoes of Cecil Scott, ANTHROPOLOGY played as if by a superbly free Morton group, BLUE MONK with a tango interlude, I HOPE GABRIEL LIKES MY MUSIC as if Louis had stopped by in Camden, New Jersey, for the final Moten session.

And once you have admired the whole delightful conception, the just-right ensemble work and the glowing horn soloists, step back and admire the heartbeat pulse of the band, that rhythm section. I find it difficult to restrict my enthusiasm . . . and you will feel, hear, and see why.

ANACHRONIC JAZZ BAND (La grande parade du jazz, Nice, July 16, 1977): Patrick Artero, trumpet, arrangements; Daniel Barda, trombone; Marc Richard, clarinet, arrangements; André Villeger, tenor saxophone, arrangements; Daniel Huck, vocal, clarinet, alto saxophone; Philippe Baudoin, piano, arrangements; Gérard Gervois, brass bass; Patrick Diaz, banjo; Bernard Laye, drums. Göran Eriksson, recorder added on YARDBIRD SUITE and GABRIEL.


What an extraordinary orchestra they are. Unforgettable. Thanks to Monsieurs Artero, Richard, Baudoin, and Jean-Francois Bonnel for making this post possible.

May your happiness increase!


What if?

The Anachronic Jazz Band in 2012

The Anachronic Jazz Band in 2012

I hope all JAZZ LIVES readers are familiar with the Anachronic Jazz Band — loosely translated, that’s “going against time” — a beautifully-rehearsed and inspiring jazz ensemble that plays modern jazz standards in the styles of the Twenties and Thirties.  With sincerity, accuracy, and wit they not only imagine worlds that never existed but translate those worlds into glorious music.  The AJB is a joyously playful band but also an exact one; they don’t just play music in a vaguely historical style; rather they take, perhaps, a Mingus composition and reimagine it as a Luis Russell recording.  They admire and they do not satirize.

They began in 1976 as a nine-piece orchestra led by pianist Philippe Baudoin and multi-instrumentalist Marc Richard, made several inimitable recordings, and then the members went their separate ways — reuniting in 2013.  Here ‘s my review of that CD.  And their website and Facebook page.

I want everyone to admire a particular AJB performance: a July 16, 1977 rendition — recorded and televised at the Nice Jazz Festival (“La Grande Parade du Jazz”) — of Thelonious Monk’s ballad ASK ME NOW.

Monk’s first recording, 1951, with Al McKibbon, bass; Art Blakey, drums:

But where Monk’s original is both passionate and spiky, the AJB reimagined this lovely ballad as played by Louis Armstrong (Louis, in this case, being Patrick Artero) with equally touching solos by Daniel Huck on alto saxophone and Philippe Baudoin on piano.

Patrick Artero, trumpet; Daniel Barda, trombone; Marc Richard, alto saxophone; André Villéger, tenor saxophone;  Daniel Huck, alto saxophone; Philippe Baudoin, piano; Patrick Diaz, banjo; Gérard Gervois, brass bass; Bernard Laye, drums.

Ricky Riccardi, who lives Louis in his waking hours and dreams Louis in the three or four hours he’s allowed to sleep, would tell us that Louis indeed had a Monk record in his library — and transferred it to tape, his highest tribute.  Who knows that the two men didn’t cross paths in 1941 or 1942 or later?  But the AJB doesn’t simply write this as a musical science-fiction story; their rendition of ASK ME NOW sends love all around: to Monk, to Louis, to anyone with ears.

It gives me great pleasure to know that such things are possible.

May your happiness increase!


Some listeners believe jazz can be seen as a series of grassy plots, each sealed off and protected an electrical fence.  Thus, the Bad doesn’t infect the Good, the Impure is quarantined from the Truth.

“Old school” bands play GRANDPA’S SPELLS; “swing bands” play DICKIE’S DREAM; “modern” bands play “‘ROUND MIDNIGHT.”

This artifice was created and encouraged by writers, who believed that art could be conceptualized as a straight line, a flow chart, moving towards Progress or Decline.  Pres begat Bird who begat Trane . . .

Most musicians I know smile wearily when confronted with these stifling divisions.  They know that the distance between King Oliver and Bird doesn’t even exist.  In the Forties and Fifties, players trooped into recording studios to make music under these pretenses: HOT MEETS COOL, SWING MEETS DIXIE, and DIXIELAND GOES MODERN (real titles for actual recording dates).  But they knew that the names were simply journalistic devices to package music for consumers and to sell products: the music itself was not altered or harmed by the names.

Thirty and more years ago, I saw two discs in a used record store, by a French band I had never heard of, the ANACHRONIC JAZZ BAND.

From “anachronism,” I knew something interesting was happening, and even though my five years of French had eroded, I could figure out that this band was doing something deliciously unusual: playing “bop” and “modern” material in older styles — taking a Charlie Parker line and playing it in the style of a 1926 Jelly Roll Morton recording.

I bought the records in the spirit of “What could possibly go wrong?” — and they were immensely rewarding.

See for yourself in this 1977 performance of ANTHROPOLOGY:

First, you can’t miss the high good spirits here and the immense expertise: the Anachronics are deeply swinging and wonderfully precise but never stiff.

Second, the whole notion is hilariously wonderful, but not in the often mean-spirited way that comedy / parody / satire often operate (think of Chubby Jackson’s DIXIELAND STOMP, where “modern” musicians play “Dixieland” as a messy amateurish creation).  And it is deeply inquisitive — asking questions of jazz and its “styles” — rather than presenting a production of KING LEAR where everyone wears jeans and speaks in rap cadences.

The Anachronics aren’t satirizing Dizzy and Bird, Morton and Henderson.  Rather, their music is intensely witty play: “What would happen if we brought this composition into this world?  How could we honor both of them and have a rousing good time while doing it?”

The AJB began in 1976 and rolled along to great acclaim until 1980.  Although they apparently were based in the past, they were thrillingly original: no one was doing what they did!  But this post isn’t a nostalgic look back at something rich and rare that is now gone.

I am delighted to write that there is a new AJB CD, just out, and it is a rich banquet of sounds, feeling, and ideas.  Recorded in January 2013, it is called BACK IN TOWN — true enough!

The repertoire comes — initially — from Parker, Rollins, Shearing, Monk, Paul Desmond, Mingus, Chick Corea, Clyde Hart, Miles, Quincy Jones — with a few clever originals by AJB members.  The dazzling musicians on this disc are Philippe Baudoin, piano; Marc Richard, clarinet / alto; Patrick Artero, trumpet; Pierre Guicquéro, trombone; André Villéger, clarinet / alto / tenor; Jean-François Bonnel, clarinet / C-melody; Daniel Huck, vocal, alto; François Fournet, banjo; Gérard Gervois, tuba; Sylvain Glévarec, drums; Göran Eriksson, recorder.  (Arrangements by Baudoin, Richard, Artero.)

The soloing and ensemble work couldn’t be better, and each track is simultaneously a series of small delightful explosions and a revelation.  More than “listening to a record,” I felt as if I were perusing a collection of short stories . . . art that reveals itself more and more, a matter of shadings and gleams, on each hearing.

It has become an invaluable disc for me, and I hope it is the first of many to come.  See and hear for yourself: the Anachronic Jazz Band is truly back in town, and we are very grateful.

Here’s a sample of their recent work, captured by Jeff Guyot in July 2013: COOKIN’ THE FROG:

Here’s the band’s Facebook page.  And their website.

May your happiness increase!