Christian Chevallier: Formidable!

We've been bouncing around the world this week as I highlight worthy albums by non-U.S. jazz artists with whom you may be unfamiliar. Today is no exception. Christian Chevallier is barely known in the States, yet he's one of the finest French big band arrangers of the 1950s. What set Chevallier apart was his ability to produce American-style big band arrangements and rehearse French bands so they sounded like Hollywood studio musicians. I guarantee that if I gave you a blindfold test featuring his recordings and asked you to name the band and arranger, you would likely reply Bill Holman or Johnny Richards. Chevallier was that remarkable, and the bands he led were that extraordinary.

I can honestly say that the two-CD set Christian Chevallier: Le Pricne Du Jazz Francais, His Orchestra and Small Groups 1955-1961 (Fresh Sound) that was released last month is the most satisfying big band album I've heard in some time. I know many of you are Stan Kenton fans. Chevallier's recordings are in that league. Which is remarkable since the tracks were written and recorded in France with mostly French musicians.

Born in 1930 in Angers, France, Chevallier began studying music at age 8 and entered the Nantes' music conservatory at 11. When he was 13, he won second prize during a major competition. As Allied bombing intensified, his family moved to the country, keeping him from the piano for nearly four years. Chevallier returned to music in 1947 after a friend turned him on to jazz. After he heard jazz pianist Jack Dieval on the radio, Chevallier moved to Paris.

Eventually, Chevallier played with Don Byas, but jazz opportunities were slim in the late 1940s, taking a back seat to pop music heavy on nostalgia for prewar France. In 1951, cabaret singer Juliette Gréco hired Chevallier for her orchestra. Still eager to become a jazz musician and arranger, Chevallier got his wish in the mid-1950s, when he led and arranged for his ensembles. There was plenty of work. The French record industry picked up as the economy improved, phonographs became cheaper, more American musicians toured in Paris and U.S. labels cut foreign distribution deals.

The beauty of this two-CD set are the many different ensembles that are included. The first CD features seven different Chevallier groups while the second adds five more. Of the 50 tracks, not one is a dud. Which is rather remarkable. Among my favorite ensembles was Chevallier's big band in 1955. The band featured: Fred Gerard, Christian Bellest, Roger Guerin, Robert Fassin and Fernand Verstraete (tp); Benny Vasseur, Michel Paquinet, Andre Paquinet and Gaby Vilain (tb); Christian Kellens (b-tb); Armand Migiani and Jean Aldegon (as); Jean-Louis Chautemps and Bobby Jaspar (ts); William Boucaya (bar); Fats Sadi (vib,bgo); Christian Chevallier (p); Pierre Michelot (b) and Christian Garros (d).

The songs were all originals and the arrangements were top shelf. If you didn't know better, you'd think these were recorded in Hollywood in the mid-1950s. If you think I'm blowing hot air, dig for yourself. Here's Chevallier's band in November 1955 playing his composition and arrangement of Vline (which was far superior to Chet Baker's big band cover recorded a month earlier in Paris).

I'm guessing that Chevallier after 1961 spent much of his time arranging and conducting for French television. In Lord's Jazz Discography, Chevallier pops up in 1975 playing vibes as a sideman, on a Stéphane Grappelli album in 1977 as the director, and on Sam Most's Any Time, Any Season in 1986 as arranger of the string section. Chevallier died in 2008.