This here is the definition of international jazz, recorded in Paris in 1956 by two relaxed, unpretentious, melodic, and well rehearsed groups including both American and European jazz musicians. These meetings were documented in two excellent albums: “Jazz on the Left Bank” and “Réunion à Paris.”

The remarkably versatile trombonist-writer Billy Byers and pianist Martial Solal wrote these loosely swinging arrangements, and although they took care of one album each, their work blends seamlessly in the hands of a group of consistently professional musicians. Byers playing is satisfying in both albums, while Solal feeds chords almost imperceptibly, with his solos bouncing along effortlessly helped by the propelling force of Benoît Quersin’s skilled bass support.

And although the wonderful, cohesive group sound present in these two albums was significantly shaped by Byers and Solal, all their colleagues demonstrate their usual, considerable skill—the competent playing of trumpeter Dick Mills, the full sound and guts of William Boucaya on baritone, as well as the ever-present taste of drummer Wessel Ilcken on “Jazz on the Left Bank.” Jimmy Deuchar’s exciting solo work on trumpet, and Allen Eager’s flow of ideas on tenor are stimulated by the rhythm effort of Quersin once again, this time with Kenny Clarke’s drums on “Réunion à Paris.” The music in these two albums is an invigorating set of flowing originals and arrangements that make an out of the ordinary listening experience.

—Jordi Pujol (From the back liner notes of FSRCD 978)