BLP 4092

 Kenny Clarke, Francy Boland and Co - The Golden 8

Released - June 1962

Recording and Session Information

Cologne, West Germany, May 18 & 19, 1961
Dusko Gojkovic, trumpet; Raymond Droz, alto horn; Christian Kellens, baritone horn; Derek Humble, alto sax; Karl Drevo, tenor sax; Francy Boland, piano; Jimmy Woode, bass; Kenny Clarke, drums.

La Campimania
Gloria
High Notes
Softly, As In A Morning Sunrise
The Golden Eight
Strange Meeting
You'd Be So Nice To Come Home To
Dorian 0437
Poor Butterfly
Basse Guite

Track Listing

Side One
Title	Author	Recording Date
La Campimania	Francy Boland	18 May 1961 19 May 1961
Gloria	Bronislau Kaper, Mack David	18 May 1961 19 May 1961
High Notes	Francy Boland	18 May 1961 19 May 1961
Softly, as in a Morning Sunrise	Oscar Hammerstein II, Sigmund Romberg	18 May 1961 19 May 1961
The Golden Eight	Francy Boland	18 May 1961 19 May 1961
Side Two
Strange Meeting	Francy Boland	18 May 1961 19 May 1961
You'd Be So Nice to Come Home To	Cole Porter	18 May 1961 19 May 1961
Dorian 0437	Francy Boland	18 May 1961 19 May 1961
Poor Butterfly	John Golden, Raymond Hubbell	18 May 1961 19 May 1961
Basse Cuite	Francy Boland	18 May 1961 19 May 1961

Liner Notes

LA CAMPIMANIA, the title of the First tune, refers to the place and the person responsible for this spirited LP.

The place is one of those hip Italian-style cafes which are flourishing everywhere. This one, however, is a very special espresso. It is situated right in the center of 2,000 year old Cologne in Western Germany, precisely where the conquering Roman soldiers were brewing their mocha in their time. Campi’s espresso is usually packed with a mob of dusty, enervated tourists and noisy Italians seeking o little bit of Italy to comfort them in these grey, teutonic surroundings. Ice cream-crazy youngsters mix with all sorts of frustrated students on the lookout for some excitement. And they sure get it here. Curvy females undulate through the rows of tables, and males keen and out on the make don’t miss o single undulation. The nucleus of this turmoil, however, is an ever-changing group of artists: jazz musicians and their colleagues from the long-hair deportment, composers of electronic music, pointers, sculptors, single-word poets, beatniks and those who write like their equally silly granddaddies did. In fact, whoever comes to Cologne — be it La Callas or Caterina Valente — they’ll surely sip one of Compi’s famous espressi.

At the cash register, in the midst of all this and his hi-fi set-up, sits Gigi Campi, the owner of this wild coffee shop and the man who attracts the celebrities and the not-yet-so-famous alike. When he is not busy collecting money, he will be putting on a new record or gesticulating in his weird Italian way while convincing somebody that the newest Miles Davis LP is a must for anybody who likes to look upon himself as a man of some culture. Of course, he is absolutely right about that, and none of his numerous friends will feel offended by his somewhat dictatorial manner. Because Gigi is always on the ‘in’, he knows first what’s going on in the world of jazz. For, whenever Count Basie or Armstrong or Jay Jay are in Cologne, you can be sure to meet them at Gigi’s bar.

In this atmosphere a certain spirit is encouraged to develop. It is the free-moving spirit of human beings who are neither fenced in by silly conventions nor by however self-imposed restrictions. There's not the least bit of provincialism. It’s the spirit of men who communicate with each other of their own free will and in their unaccountably individual manner. It is the spirit of a minority which counts, o minority of reasonable people. And it is in this spirit that this outstanding recording was produced.

Once a year Colognians allow themselves the pleasure of defying convention and do what they don’t dare do the rest of the year. The occasion for this letting-oneself-go-business is carnival. Gigi never liked the idea of people being foolish when the authorities permit. On the other hand, living in Cologne, he couldn’t evade the annual carnival festivities, and in order to make the best of it he invented what he likes to call “Campival”. That’s his idea of having a good time, yet without the dull festive gimmicks and features of the ordinary carnival. It developed actually into some sort of o private little jazz festival. And it happened on one of those occasions, in 1959, when he first invited his old friends Kenny Clarke and Francy Boland to play at his cafe. Then the idea of the GOLDEN EIGHT “Clarke — Boland & Co.’ sprang into existence, the idea to combine the rhythmic genius of one of the finest long-time pros with the inventions of a marvelous composer and arranger and with the most excellent musicianship and talent available in and around Cologne. Gigi did his best to give the group o chance to play together, and finally they felt ready to produce this recording under Gigi’s supervision.

Most of the musicians in the group have their full-time jobs with the Kurt Edelhagen Orchestra, the jazz outfit of the big local radio station WDR. Dusko Gojkovic is a 30 year old trumpeter from Yugoslavia. He was one of the stars of the International Youth Orchestra at Newport a few years ago. A thorough musician with a keen and inventive mind. The Swiss trombonist, Raymond Droz, 27, is featured here on alto horn, on which rare instrument he produces a beautiful sound. Watch out for his solo on Softly As In A Morning Sunrise. The second trombonist in the group is Chris Kellens, 35, from Belgium. On this record he is heard on the euphonium. His earthy sound is another highlight on Sunrise. By the way, Kellens, too, was o member of the International Youth Orchestra. Altoist Derek Humble, 30 and a British subject, should be well known in the States as on associate of Tony Scott’s when they toured the US a few years bock. In Europe he played with Chet Baker, and his kinship to that kind of jazz is, I believe, recognizable. That beautifully lyrical tenor on Gloria (the theme from “Butterfield 8”) which is so breathtakingly recorded, is played by the Austrian tenorist Karl Drevo, 32. Karl’s hard and full sound seems to really come from deep inside and it hits you where it originated. Earlier Jimmy Woode’s powerful bass line provided the swinging basis for 6 years of Ellingtonia. And, I am sure, I needn’t tell you about Kenny “Klook” Clarke, or need I? He has sticks in his hands and brushes, you know, and, man, he knows how to handle them. He is Tops!

To conclude, the pianist, the arranger. the composer: 31 year old Francy Boland from Belgium. A nice fellow, though a little bit on the shy side. Bespectacled and mustachioed, friendly and an all-out musician, he has a natural feeling for how things should sound, and he knows how to get the right result. By the way, during 1956-58 he played in the States, among other places at Birdland. In that period he did a variety of arrangements for the most diverse outfits, ranging from Benny Goodman’s and Mary Lou Williams’ to Count Basie’s orchestra.

Six of the ten numbers on this LP ore Boland originals, five of which he wrote especially for this session. La Campimania, a fast blues, is dedicated to his favorite espresso-maker. The lines of the five horns run parallel to each other; each musician actually plays in a different key. The result is astonishing. Similarly arranged is High Notes which is more than a mere showcase for Jimmy Woode’s expert bassistics. The third one belonging to this group of originals is Basse Cuite which could properly be translated as ‘hot bass’ which, in fact, it is. Strange Meeting is an older number of his. Francy wrote it in 1957 for Dusko Gojkovic. Notice how elegantly Kenny paraphrases the theme in his solo. Dorian 0437 is Kenny’s phone number in Paris. It’s good to know when you are around. You know, Kenny has become sort of an institution in this part of the jazz world. Musicians from all over Europe call him constantly, asking for advice or just to have o nice little chat with the old man. That’s why this particular phone number means so much over here. The sixth original is The Golden Eight which gave the record its name. It’s a jumping affair and it shows precisely what these eight jazzmen are after and what — as for as I am concerned — they have accomplished.

The arrangements of standards show, perhaps, even better, Francy’s skill in handling timbres and in developing a complex rhythmic-harmonic-melodic pattern. You’d Be So Nice and Poor Butterfly played as Boland hears them, impress one as something entirely different and new. That also goes for Francy’s tasteful and equally inventive piano improvisations which are always performed with a stupendous technique. Just listen to how he solos on Poor Butterfly and to how superbly and delicately he backs and accentuates Dusko’s trumpeting on High Notes.

I feel this record proves that jazz is where you feel it. And, I think, it’s only reasonable that Kenny, the old master, and Francy, the younger master, plus a couple of eager and intelligent soloists from all over Europe join their efforts to produce what they feel is good music.

-JACK MELLISH

Cover Photo by UWE OLDENBERG
Recording by WOLFGANG HIRSCHMANN
Mastering by RUDY VAN GELDER

Produced by GIG CAMPI (May 18 and 19, 1961 - Cologne, Germany)