Originally from Nice, Gérard Gustin was born on February 10, 1930. Despite not achieving the same level of recognition in the jazz scene as some of his French counterparts, he can be considered one of the finest pianists of his generation.

Gérard’s musical journey began at the age of nine when he started taking violin lessons. However, upon discovering his lack of affinity for the instrument, his father bought him a Klein upright piano. Under the  guidance of a new teacher, he embarked on piano lessons, which continued until 1946 when he entered the Nice Conservatory, emerging as the top student among forty.

During his time at the conservatory, Gérard’s love for jazz became apparent. Alongside his rigorous practice of Czerny’s exercises, he would often, albeit discreetly when the professor was absent, explore the realms of boogie-woogie, much to the delight of his fellow students during their gatherings. His affinity for jazz was nurtured by his father, an avid amateur, who introduced him to recordings by Chick Webb, Duke Ellington, and Benny Goodman.

Until 1948, Gérard had never contemplated a career in music. He completed his bachelor’s degree with aspirations of becoming a lawyer. However, one day, after immersing himself in the sounds of Charlie Parker, Dizzy Gillespie, and Bud Powell, he experienced a change of heart. He resolved to pursue music professionally, seeking continuous engagement with the art form, especially jazz, which he avidly consumed. Consequently, he delved into the study of harmony while continuing to refine his piano skills.

Gerard began to make his mark in the local jazz scene on the Côte d’Azur. He cofounded the Hot-Club de Cannes alongside other local enthusiasts. However, his most formative experiences came from interactions with esteemed musicians like Guy Lafitte, Marcel Zannini, Jean-Pierre Sasson, Louis Belloni, and Georges Hadjo, whom he encountered during the 1949 winter season in Megève. It was in Megève where Gerard absorbed invaluable lessons about jazz. His talents left a lasting impression on tenor saxophonist Guy Lafitte, who subsequently recruited him for his Toulouse orchestra.

In the winter of 1950, he found himself performing as a solo pianist at the “Speak-Easy” club in Cannes, drawing not only fans but also musicians from Hubert Rostaing’s orchestra, who were performing at the Casino during the season. Shortly thereafter, Gérard was enlisted in the army and stationed in Marseille for eighteen months. Throughout his stay in the city, he graced the stage almost nightly at the Saint-James Club, collaborating with esteemed local musicians such as Marcel Zannini, Louis Belloni, Paul Piguillem, and Gilbert Gassin.

During this period, just after completing his military service, he made the decision to form his own trio, consisting of guitarist Paul Piguillem and bassist Gilbert Gassin, who happened to be stationed in the same barracks as him. Thus, he assembled one of the most renowned small French jazz ensembles, capable of satisfying both the most discerning listeners and dance floor enthusiasts.

In February 1954, while the trio was performing at a nightclub in Megève, they caught the attention of pianist René Urtreger, who was captivated by their performance. He spoke of them with great enthusiasm, using flattering and eulogistic terms, and recommended that Gérard consider the possibility of moving soon to Paris to make himself known in the capital’s clubs. But this option would still take a while to arrive.

In spring 1954, Gustin moved to Juan-les-Pins, engaged at the “Vieux Colombier.” Notably, he expanded his basic trio by adding the renowned tenor saxophonist Bob García and drummer Louis Belloni. However, as the sole orchestra, Gérard found himself responsible for all the dance sets. At the beginning of the summer season, Gustin, in accordancewith club policy, had to adapt to performing popular repertoire, while Claude Luter’s orchestra took care of jazz performances. But every morning, around three o’clock, and sometimes until dawn, Gerard Gustin transformed the “Vieux Colombier” into a hub for modern jazz, hosting endless jam sessions that attracted luminaries such as Jimmy Gourley, Barney Wilen, Benny Vasseur, William Boucaya, Bib Monville, Sacha Distel, and Jay Cameron.

Throughout the season, Gérard Gustin seized every opportunity to establish himself and gain the appreciation of fellow jazz musicians, who became his advocates. Subsequently, he travelled for the first time to Paris with his trio. During this short stint, he was heard during morning sessions at the “Club Saint-Germain,” captivating listeners with the originality of his compositions and the clarity of his arrangements. Despite still being relatively unknown to the public, he immediately left a strong impression, sparking interest in the trio that had captivated them. From that moment on, the name of Gérard Gustin rose to prominence. Following this inspiring visit, he went to Geneva during the winter.

At the end of the season, in March 1955, Gustin finally settled in Paris, determined to find stable employment. He not only began performing with his trio but also composed music for three short films, titled “Ténèbres,” “Ciel bleu,” and “Les essais.” In June, he replaced Raymond Fol at Club Saint-Germain for the entire month. Gustin’s immediate impact on the Parisian scene did not go unnoticed by Eddie Barclay, the owner and chief producer at the Barclay label, who recognized his undeniable value and offered him his first recording contract.

Following this, Gérard Gustin’s trio secured an engagement at the Casino of Evian. Upon their return to Paris, still as a trio, he joined Stéphane Grappelli’s orchestra at the “Claridge,” where he reunited with Mac Kac, Bob Garcia, and Michel Hausser. Shortly thereafter, Paul Piguillem departed from the trio to join Jacques Hélian’s orchestra. It was at this juncture that Gustin assembled a quintet, making their debut at the “Schubert” in the fall of 1955, where they remained successfully appearing throughout the winter.

During this period, Gustin met Chet Baker and participated in the recording of the trumpeter’s second album for the Barclay label. This collaboration was prompted by the unexpected and tragic death of Baker’s pianist, Dick Twardzik.

The Barclay album with Chet Baker was a revelation for those who had not yet discovered Gérard Gustin’s excellence as a pianist. Despite being influenced by masters such as Horace Silver, Johnny Williams, and George Wallington, Gustin exhibited notable originality in his musical language and sound. In his contributions to the quartet, he infused its work with thoughtful, well-constructed improvisations that nonetheless retained a relaxed spontaneity. He was noted for his performances of exceptional musicality, as exemplified in tunes such as “Autumn in New York” and “Lover Man,” setting the tone from the beginning and sustaining it throughout the performance.

Five out of the eight recorded tunes were also featured on the U.S. release of the album “Chet Baker in Europe” by the Pacific Jazz label, with which the trumpeter held an exclusive contract. In his review for Down Beat magazine, Nat Hentoff remarked, “What little is heard of Gustin indicates a forceful pianist with a good, though partly derivative, conception. However, I would like to hear more before providing a detailed commentary.”

In January 1956, Barclay decided to record Gérard Gustin on a 10-inch album, marking his debut as the leader of a trio consisting of guitarist Sacha Distel and his regular bassist Gilbert Gassin. The repertoire included four standards and four original compositions by Gustin, showcasing his innate ability as a composer.

Shortly afterward, he assembled a new group featuring Bib Monville on tenor saxophone and Pierre Sim on bass, to perform during an early summer engagement in Cassis, on the Côte d’Azur, where he was always well received by the local audience.

Instead of returning to Paris, Gerard accepted an offer to join the popular commercial orchestra of Aimé Barelli at the Casino du Sporting Club in Monaco. This marked his initial step into popular music. At the end of the season, disillusioned with the instability of his job as a jazz player, he opted to continue his adventure with Barelli’s band.

Months passed, and Gérard’s album for Barclay still remained unreleased. By the time Barclay finally published it in September 1957, almost two years after its recording, Gérard had already distanced himself from jazz and found satisfaction and respect working with Aimé Barelli. He remained with Barelli’s orchestra for more than three busy years, during which he recorded and accompanied some of the greatest international performers of the era on piano, including Sammy Davis Jr., Frank Sinatra, and Nat King Cole.

His versatility as a musician led him to explore various paths within the diverse recording field. In the early 1960s, hemade a series of well-known recordings, often under one of his various pseudonyms, associated primarily with popular music and dance. Among his occasional forays into jazz, a highlight is a sextet album he recorded under the pseudonym Dick Patton in the early 1960s, titled “Immortal Jazz.”

From 1963 to 1971, Gérard began a long and successful collaboration with Sacha Distel, who had already achieved success as a singer by then. Gérard accompanied him on piano during his tours and served as the musical director of his weekly television program, “Le Sacha Show.” Gérard’s contribution as a composer significantly contributed to Sacha Distel’s recording successes.

Fully integrated into the realm of show business, Gérard accompanied a diverse array of artists with his orchestra and also ventured into musical theater. Throughout these years, he occasionally revisited jazz, notably as a member of his friend Stéphane Grappelli’s quartet in 1980, and later with his “Gérard Gustin Onztet” in 1990. He also performed as Gerard Gustin Jazz Group at the Meridien hotel in Paris.

As a composer, Gérard Gustin was remarkably prolific, with 450 titles registered in the National Library of France, although only a fewwere in the jazz genre. He also composed numerous radio jingles and musical themes for television programs that enjoyed great popularity in the 1980s.

[...] Having recorded so little as leader and making the rapid transition to focus his career on show business has led most jazz fans to forget his name. Without a doubt, this lack of recognition as a jazz musician is the reason for the relative anonymity of pianist Gérard Gustin. A versatile and multifaceted musician, he remained unwaveringly dedicated to music until his death in Cannes on May 20, 1994.

—Jordi Pujol (taken from the inside liner notes of FSRCD)