Claude Bolling (b4/10/1930)

accompanied Chippie Hill at the Nice Festival and made his first recordings (with Rex Stewart). The pressures of a professional career, however, soon made him aware of a need for greater technical proficiency, and to that end he underwent various courses of training with Germaine Mounier (classical piano), Lo Chauliac (jazz piano) and Maurice Durufl (harmony), and with the Parisian violinist, arranger, film-scorer and pioneering jazz critic Andr Hodeir. Apart from a formal study of counterpoint and orchestration, he found renewed inspiration in the voluminous back-catalogue of jazz scripture.

Associated from the early 1950s onwards in concerts, at festivals and in the studios with top visiting American swing-bop bands, Bolling was swiftly recognised as a major force in jazz circles in France and elsewhere. On and off-disc the list of his associates reads like a post-war jazz Whos Who? and includes, among others, Don Byas and Buck Clayton (both 1951), Roy Eldridge (from 1950; they recorded the duo album Wild Man Blues for Vogue in 1951), Paul Gonsalves (recordings 1964-65) and Lionel Hampton (recordings 1953 and 1956), Thad Jones, the vocalist Carmen McRae and Albert Nicholas (1953-55). For many years regarded as the foremost French ragtime and boogiewoogie pianist, Bollings own keyboard style derived at least in part from such greats as Art Tatum and Teddy Wilson. Admired by Louis Armstrong (Your playing is something Ill always remember, cooed the trumpet ace) he was also a some time protg of Duke Ellington, another admirer of both his technical skill and feeling for the idiom.

Often referred to as Ellingtons spiritual son, in 1959 Bolling recorded a tribute album (Claude Bolling Plays Duke Ellington). In 1964-65 and 1969 he teamed with Cat Anderson and in 1968 and 1969 he recorded two solo albums. From the late 1940s he led small groups and at intervals between 1955 until the mid-1990s fronted his own much-vaunted orchestra. In format essentially a big-band and generically billed the Show Bizz Band, its varying ranks have included such star sidemen as Grard Badini, Roger Gurin, Claude Tissendier and Andr Villger.

From the 1960s onwards Bolling the composerarranger also wrote prolifically for films. Best known in that sphere for his contribution to the Alain Delon- Jacques Deray gangster spoof Borsalino in 1970, he has more than a hundred film and TV soundtracks to his credit. During the early 1970s, complementing a steady output of mainstream jazz albums, his longheld fascination with cross-over, an interest now enshrined in a longer series of works juxtaposing standard classical and jazz forms and rhythms, bore fruit.

Bollings more recent career as a performer, albeit intermittent and secondary to composing, has also produced some significant successes, notably in 1991, when his collaboration with Stphane Grappelli on the album First Class won both the Django dOr and Prix du HCF awards. With his Show Bizz Band Bolling toured the United States in 1989, 1991 and 1996 and Central America in 1995 and 1998 and he has variously joined forces with the Illinois Jacquet and Mercer Ellington orchestras, his ongoing interest in the music of his idol prompting him to make the first complete recording of Ellingtons Black, Brown and Beige (1989) and to perform, in Paris in 1996, the suite A Drum is a Woman. In 1994, at the Caen monument, the Bolling big-band opened a series of concerts marking the fiftieth anniversary of D-Day. Claude Bollings list of honours includes the Mdaille dOr Maurice Ravel and Officier Arts et Lettres and he is a Chevalier of the French orders Nationale du Mrite and Lgion dHonneur.

Peter Dempsey