Album Review: Jazz Left Bank – The Sensational Young French Guitarist by Boulou with Paris All Stars
Released in 1966 under the label 4 Corners Of The World, Jazz Left Bank – The Sensational Young French Guitarist is a gem of mid-20th-century jazz that still feels fresh today. This album isn’t just another entry into the genre—it’s a vibrant snapshot of European jazz meeting American flair, all held together by Boulou’s incredible guitar work and an ensemble cast of musicians who clearly brought their A-game.
Let’s talk about two standout tracks that make this record unforgettable. First up is “How High The Moon.” Right outta the gate, Boulou lays down intricate runs on his guitar that feel like they’re dancing circles around you. It’s playful yet precise, and when Guy Boyer’s vibraphone joins in, it creates this shimmering texture that sticks to your brain long after the track ends. You can tell everyone involved was vibin’ hard during recording—no pun intended! Michel Gaudry’s basslines are steady but not boring; they anchor everything while letting the soloists shine. Honestly, if this tune doesn’t get your foot tapping, check your pulse.
Then there’s “Nuages (Clouds),” which flips the mood entirely. Here, Boulou channels Django Reinhardt vibes so strongly you’d swear time travel might be real. His phrasing has this effortless flow, almost as if he’s whispering secrets through his strings. Eddie Louiss adds depth with his organ contributions, creating layers of warmth beneath Pierre Gossez’s saxophone lines. Together, they craft an atmosphere that feels both nostalgic and timeless. Listening to “Nuages,” I couldn’t help but think how cool it must’ve been to hang out at some smoky Parisian club back then, soaking in live performances like these.
The rest of the album holds its own too. Tracks like “Asturias” showcase Boulou’s technical brilliance without ever sounding pretentious, while “Boulou’s Theme” gives listeners a glimpse into his personal style—a little quirky, totally unique. Danielle Licari’s vocals on “B3” add a touch of elegance, proving she knew exactly where to step in and elevate the mix.
What makes Jazz Left Bank special isn’t just its individual parts but how seamlessly it blends them. From Andy Arpino’s tight drumming to Emile Serré’s subtle percussion accents, every element clicks into place perfectly. And let’s give credit where it’s due—the engineering quality for 1966? Stellar. Each instrument pops out clear as day, even on modern speakers.
Reflecting on this album, one thing strikes me: Boulou wasn’t trying to reinvent jazz here—he was enhancing it. He took familiar tunes and infused them with his personality, leaving behind something that feels simultaneously classic and new. That’s no small feat. Plus, knowing this came from a young guitarist leading such seasoned pros makes it even more impressive.
Oddly enough, listening to this record reminds me of baking bread. Stick with me here. Both take skill, patience, and a dash of unpredictability to turn simple ingredients into something magical. Maybe that’s why albums like Jazz Left Bank never truly go stale—they keep rising above trends, feeding our souls decades later.
