{"title":"Barney Wilen","description":"\u003cp style=\"font-size:16px\"\u003eBarney Wilen was born in Nice in 1937 to a French mother and an American dentist father, spent the early years of the Second World War in the United States where an uncle gave him a saxophone, returned to France after the liberation, began playing professionally in Nice clubs after the modernist poet Blaise Cendrars, a friend of his mother, encouraged him to pursue music, and was performing at Le Tabou in Saint-Germain-des-Prés at sixteen alongside Bobby Jaspar and Henri Renaud. By the time Miles Davis arrived in Paris in 1957 to record the Louis Malle film soundtrack \"Ascenseur pour l'Échafaud,\" Wilen had established himself sufficiently that Davis included him as the tenor voice alongside René Urtreger on piano, Pierre Michelot on bass and Kenny Clarke on drums. He was twenty years old. The resulting sessions, recorded across one night in the studio as footage from the film was projected on a screen, produced some of Davis's most atmospheric improvisations and introduced Wilen to an international audience. Two years later he composed soundtracks for \"Un Témoin dans la Ville\" (1959) with Kenny Clarke and worked with Thelonious Monk and Art Blakey's Jazz Messengers on Roger Vadim's \"Les Liaisons Dangereuses 1960.\" He played with John Lewis, Bud Powell, Art Blakey and Dizzy Gillespie throughout the late 1950s and early 1960s. Then he drifted: a Timothy Leary-dedicated psychedelic album (1968), a free jazz period, a long withdrawal from the scene in the south of France through most of the 1970s and early 1980s. A 1987 graphic novel by Jacques de Loustal and Philippe Paringaux fictionalising his life story, \"Barney et la note bleue,\" brought him back to public attention and he resumed recording in earnest for Venus and IDA in the late 1980s and early 1990s. He died in Paris on May 25, 1996, aged 59. He is described in French sources as \"le seul ténor européen susceptible de concurrencer les maîtres américains\": the only European tenor capable of competing with the American masters.\u003c\/p\u003e","products":[{"product_id":"art-blakeys-jazz-messengers-with-barney-wilen-les-liaisons-dangereuses-1960-1973-japanese-fontana-vinyl-lp","title":"Art Blakey's Jazz Messengers with Barney Wilen - Les Liaisons Dangereuses 1960 (1973 Japanese Fontana Vinyl LP)","description":"\u003cp\u003e\u003cstrong\u003eArt Blakey's Jazz Messengers avec Barney Wilen - \u003cem\u003eLes Liaisons Dangereuses 1960\u003c\/em\u003e | Vinyl LP - 1973 Fontana Japanese Pressing (PAT-506, Nippon Phonogram, first Japanese pressing)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eLee Morgan on trumpet, Bobby Timmons on piano, Jimmy Merritt on bass and Barney Wilen on tenor and soprano saxophone\u003c\/strong\u003e, the Jazz Messengers at the height of their late-1950s lineup recording the party scene music for Roger Vadim's 1959 film starring Jeanne Moreau and Gérard Philipe.\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eAll compositions by Duke Jordan, credited under the pseudonym \"J. Marray,\"\u003c\/strong\u003e with Jordan himself playing piano on \"Prelude In Blue (À L'Esquinade)\" in place of Timmons and an Afro-Cuban percussion ensemble taking over for \"No Hay Problema.\"\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eFirst Japanese pressing, manufactured by Nippon Phonogram\u003c\/strong\u003e from the Jazz Attention! series.\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eRoger Vadim's 1959 film \u003cem\u003eLes Liaisons Dangereuses\u003c\/em\u003e used two separate jazz ensembles for its soundtrack. Thelonious Monk recorded the primary score. Art Blakey's Jazz Messengers, with the French saxophonist Barney Wilen added to the regular lineup, recorded the music for the party scenes. Wilen was 22 and already well known in Paris: he'd played on Miles Davis's \u003cem\u003eAscenseur pour l'échafaud\u003c\/em\u003e soundtrack two years earlier, at 20, and his presence bridged the American hard bop of the Messengers and the French jazz world the film inhabited. The compositions were all written by Duke Jordan but credited under the pseudonym \"J. Marray\" because Jordan was under contract elsewhere. Jordan later re-recorded the same material under his own name with different titles on Charlie Parker Records.\u003c\/p\u003e\n\u003cp\u003eThe sessions took place at Nola Studios in New York on July 28 and 29, 1959, with Marcel Romano producing. The standard Messengers lineup, Blakey on drums, Morgan on trumpet, Timmons on piano and Merritt on bass, plays on most of the tracks, with Wilen on tenor and soprano saxophone. The exception is \"Prelude In Blue (À L'Esquinade),\" credited to the Art Blakey et Barney Wilen Quartet, where Duke Jordan himself takes the piano chair instead of Timmons, and the music shifts from the Messengers' usual hard charge to something cooler and more reflective. \"No Hay Problema\" is an Afro-Cuban percussion feature under the name \"Art Blakey Et Les Afrocuban Boys.\" \"No Problem,\" which appears in two versions, became the most widely known piece from the sessions.\u003c\/p\u003e\n\u003cp\u003eThis is the first Japanese pressing (PAT-506), manufactured by Nippon Phonogram as part of the Jazz Attention! series.\u003c\/p\u003e","brand":"Fontana","offers":[{"title":"Default Title","offer_id":44197115035707,"sku":null,"price":40.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0630\/3203\/3339\/files\/IMG_8582.jpg?v=1789438595"}],"url":"https:\/\/lushliferecords.com.au\/collections\/barney-wilen.oembed","provider":"Lush Life Records","version":"1.0","type":"link"}