"Toots Thielemans - The Live Takes Vol. 1" in the Press

From Jazz Zine (October 2000)

We live In a world filled with names for all the new music we are inundated with on a daily basis: funk, techno jazz, acid, club disco, rap, hip-hop, the list goes on forever. We've lost sight of the artist and his music. It's all so packaged by the record promoters looking to sweeten the bottom line. Napsters are stealing music and we have a constant tug of war for the royalties. Excuse me, where is the art and the essence of what good music is all about? In this confused and dizzying whirlwind of outrageous personalities in their futile attempts at daring to be different; in this tasteless, bland and overwhelming society that needs to have their eyes nurtured in order to find contentment for their ears; in this techo world of electricity, with gimmicks and tools to enhance the flavor of something that has lost its taste - in this world folks, thank God for Toots Thielemans.

Toots is one of the last of a dying breed of everlasting poets of jazz. Just like Zoot or Dexter, Freddie or Miles, Toots gets beneath the lyric and finds that core that only the mind and heart of someone touched with the graces of sensitivity, taste and a mastery of his ax can accomplish.

You heard it all before. Toots is the master of the harmonica. He has gone even further than Larry Adler did for the classical realm. Many years ago, I first saw him with the George Shearing Quintet back at Basin Street East in New York City. Way back then, he was an excellent guitarist. Some time later he switched off to the mouth organ and the rest, as they say, is history.

On "The Live Takes" we hear the artist during the culmination of all his achievements. It is on this CD that we hear this virtuoso perform with an incredible perception and depth to the point where it left me trying to regain my balance while bouncing back from my reverie.

The depth and musical wisdom of Toots Thielemans is profound. He finds things in the music that we, as laymen, could never locate. Its as if Toots has entered the soul of the writer and has brought the essence back for the rest of us to savor. If you doubt me, just listen to him on "Body and Soul."

"I loves you Porgy/Summertime" is woven together masterfully with a variety of tasty Porgy and Bess quotes from Toots. "Começar de Novo" the wonderful Ivan Lins piece opens with a mobile and reflective introduction by pianist Kenny Werner. Toots who is at home with the Brazilian composers drifts us along on the clouds...the romance is impenetrable and infectious all at once.

Toots shows us his skills as a writer with the delicate rose petal lines in, "Hard to say goodbye." Again, Kenny Werner serves as a more than appropriate accompanist to Toot's style. If I were ever asked, "Which song will I never tire of listening to for the rest of my life?" The answer would be "Stardust." Listen to the new life Toots breathes into this Evergreen with his mouth organ as support for my choice.

If "Body and Soul" were the only cut on this CD it would be well worth the price. This haunting version is a drifting interlude that works like a mysterious rhapsody with Toot's skillfully playing with remnants of the theme. Whew! Kenny Werner lends a non-intrusive layer of atmosphere so tastefully and skillfully that it nearly reduced me to tears. Please buy this CD. You wont be sorry.

"I do it for your love" is so nicely layered. From thunderous crescendos to peaceful flowing ballads, this music begs for romance. Toots is all heart on this and a nice keyboard solo by Michel Herr takes us downstream. The Pastorius line, "Three view of a secret" is a contrast between Toot's lyrical approach and the percussive keyboarding of Herr. Toot's literally sings through the harmonica on "All the way."

The set ends with "The Misty Red Beast" and I'm left to myself wondering what flows through the heart of a musician, poet and interpreter whose feelings we all have but have trouble explaining to others. Toots is all of these and more. His depth and soul leave an everlasting mark upon his music and we all sense it and go away feeling a lot better than we did before we ever experienced and became a part of it.

Toots Thielemans
The Live Takes, Volume One

by John Barrett JazzUSA.com (October 2000)

You know the sound: a lonely reed steps out, seemingly weak but stuffed with romance. Toots Thielemans was an original, making the harmonica sound like a sax, always ready for a jam session. Here he’s in his element, on stage with assorted small bands, blowing simply and oh so well. This alone makes him stand out; while his approach didn’t scream for attention, his playing always did.
Liner notes would have helped; there are three different groups, and it never says who plays where. (Among the cast: Kenny Werner and Ray Drummond.) The opening keys radiate warmth, and Toots comes in slowly, stating "Porgy" almost as an afterthought. Brushes whisk and the harp yawns — until they start "Summertime". The piano plays "All Blues" in the style of Tyner; Toots makes a drawl, thinking the theme more than playing it. Twelve minutes of this and the crowd is in a frenzy; take a listen and find out why.
"Comecar de Novo" takes parts of "Corcovado" and scatters the melody; other sambas are quoted, but never too long. Toots pumps the notes, almost like a concertina — he’s bathed in a string synthesizer, and turns more romantic. There’s a quiet, cocktail sound to "Stardust" (the leader quotes "If I Only Had a Brain"!) and from there proceeds to "Body and Soul". (Here the synth is way too lush, drowning the poor harp.) It’s lighter on "I Do It for Your Love": Toots goes skipping, while the keys seem to tingle. "All the Way" is a wonderful yawn: slow, supple, and silky. The synthetic strings work this time, and it floats like a dream. That word describes everything: the album glides, snuggles — and makes us wish for more. Thankfully, this is Volume One.

Toots Thielemans
The Live Takes, Vol.1

by Denai Burbank . JazzReview.com (September 2000)

The legendary harmonica master Toots Thielemans is widely written and talked about. Therefore, I shall attempt to concentrate on the music. While I can’t come up with anything more profound about his reputation, suffice it to say that this CD is class all the way.
It opens with the Gershwin medley, "I Loves You Porgy/Summertime." While the first portion is sweet and sensitive, the group livens up to a true jazz statement. The strong piano solos, bass and rhythms bring a special sassiness. They even borrow a little from"Milestones," the ultimate of cool. From that, the track settles into "Summertime," and closes like a champion winning in a favorite sport.
"Comecar de Novo," is quite beautiful and represents a softer side of Brazilian music, the ballad. Filled with emotion and intensity, Thielemans exhibits a quiet strength when he plays. At the next turn, Thielemans strikes the melancholy chord in "Hard To Say Good-bye." A lilting piano solo that drives the point home gently follows him.
Thielemans maintains the beauty of the soul of the music he’s chosen. One cannot underestimate the tenderness displayed. It’s obvious why Thielemans has been lauded by so many greats in the music industry. So many of us are grateful for this dimension of an instrument used primarily for country, and humor. If you’re in need of peace, this is something you should own. "Stardust" is perhaps one of the most tender tracks from the whole CD, but "Body and Soul" and "I Do It For Your Love," pack a little more punch and varying moods to boot.
We get a really different vibe in "Three Views of a Secret," with some jammin’ keyboard and drums that build up, climax and mellow out to a very smooth groove. The romance is alive and well with "All The Way," but that could be said about the entire CD, really. "That Misty Red Beast," closes the CD with a variety of moods and textures; soft but increases with into a festive celebration of sound.
This is some of the best soft jazz I’ve heard in a long time. There are no irritating wails, no showoffs, just good strong, yet tender playing by this harmonica legend and his ensemble of worthy musicians.

Let’s give another toast to Toots. RAISE THEM HIGH and take it all in!

It stands to reason that Belgian harmonica player Toots Thielemans's main influence was Django Reinhardt. His wispy, wistfully romantic tone immediately suggests nostalgia for another time, when early American jazz filtered through gypsy sensibilities before reaching Thielemans's native country, and the music signified bohemian nonconformity. The Live Takes has Thielemans playing before an audience thirsty for a similar nostalgia. Renditions of "Summertime" and "Body and Soul" are reverently presented as if time had stood still--around 1935, when jazz evoked an escape from narrow, bourgeois minds. Indeed, the entire album has a similar sound and feel, with slow, gently romantic tempos prevailing. Toots Thielemans is not so much an acquired taste as a sui generis musician: he is the jazz harmonica. Whether you find his unique sound evocative or cloying, we probably won't see his like again. --Wally Shoup

Toots Thielemans: The Live Takes - Volume One

by Lyle Rebbeck (Medicine Hat News)(2000)

It has been said that Ornette Coleman, in the early days of his avant garde experimentations, use to appear at clubs where other musicians were playing and say to them, "have you ever thought of just playing free?" I wonder if somebody is making the same rounds today, only asking, "have you ever thought of playing smooth?"
Smooth jazz is enjoying a tremendous surge in popularity. And, as with any fad, there is a wide range in quality. Some of the best, while leaning towards the easy listening side of the spectrum, still allows the players true colours to shine through, and remain true to their genre.

Narada Jazz, from my exposure to this label, seems to be doing as good a job as any of just that. This is the same label that just recently gave us Ramsey Lewis's Appasionata album. Toots Thielemans is as true and pure a jazz player as you could hope to find. His instrument just happens to be the chromatic harmonica, and he is, in fact, credited with introducing this instrument to the world as a jazz instrument. Born in 1922, Jean Baptiste Thielemans played the harmonica early in life, and then after a lung disease, taught himself the guitar, and gigged around his native Brussels. After the war, he took up the harmonica again, and emigrated to the US, where he played with Charlie Parker and toured with the Benny Goodman Sextet and later played guitar and harmonica with the George Shearing Quintet. He has also played and recorded with Oscar Peterson, Clark Terry, Stephane Grappelli, John Coltrane, Ella Fitzgerald, Miles Davis and Dizzy Gillespie, to name a few. He has recorded for many studio dates, including the soundtrack for the movie the Midnight Cowboy.

Don't let the Narada label turn you away if you are a true-blue jazz fan. Toots shows his chops on this recording and plays some dazzling bop lines. It is his incredible control of pitch and phrasing nuances, however, that set him apart, in my estimation. The free blowing reed of a harmonica is no barrier to his smooth delivery, and he shows all the subtle control of a human voice, or lip controlled reed instrument. As is the case with every Narada recording I've listened to, this is a beautiful sounding CD. The production is superb, balance, tone colour - everything is true. At times, like on Summertime, or Stardust, this sounds like a straight ahead jazz album. At other times, like on Comecar do Novo, Body and Soul, or I Do It For Your Love, strings and electric keyboards fill out the sound, and we slide to the smooth side. Toots uses four separate groups on this recording, including the great Kenny Werner on piano and Ray Drummond on bass.

My pick is the opening Gershwin medley of I Loves You Porgy and Summertime. Toots interprets the melody with impressive flourishes of extended lines, while the slow pace continues in piano, bass and drums. The riff from Miles Davis' All Blues serves as a connector into Summertime, played at a fairly quick tempo. The quartet really cooks here, and Toots blows an inspiring solo. This is a very fine sounding CD with great playing, beautiful arrangements, and just enough of the smoothness to make it appealing to a wide audience.

Toots Thielemans
The Live Takes Volume One


Rating


Nobody doesn't like Toots Thielemans.

The Belgian label Quetzal has compiled a number of Thielemans' live performances, including ones at the Blue Note and throughout Europe. And the American label Narada Jazz is making these invaluable performances available in North America. Backed by his long-time pianist Kenny Werner, Thielemans starts out the CD with a reminder not only of his emotional sensitivity, but also of sure sense of swing as he glides from "I Loves You Porgy" into a 3/4 version of "Summertime," similar in attitude to Miles Davis' "All Blues." "Body And Soul," an evocative jazz tune for decades, assumes a synthesized orchestral texture as Thielemans, as always, soars above it all in a meditative and rhythmless approach that compels close listening and delivers comforting satisfaction.

We have heard many of Thielemans' licks and phrases before. We eagerly approach each of his recordings with a sense of knowing. And yet, his mastery of the instrument and his instinctive knowledge of a tune's depth of meaning continue infinitely to please the listener in much the same way that Lester Young did. Such familiarity breed contentment. In other words, it seems impossible to tire of Thielemans' playing.

Toots Thielemans: The Live Takes Volume One allows yet another channel of expression by a rules-breaking and beloved jazz voice who is forever in a class of his own.

Reviewed by Don Williamson ( September 2000)

Toots Thielemans – The Live Takes Vol. 1 (QZ108)

Et revoilà Toots Thielemans tel qu'il apparaît un peu partout sur nos scènes belges depuis quelques années. Philanthrope, il aimerait y inviter tous ses nombreux amis mais, musicien avant tout, il ne retient que les meilleurs. Les pianistes Michel Herr, Nathalie Loriers et Kenny Werner, le bassiste Michel Hatzigeorgiou, les batteurs Bruno Castellucci et Jukkis Uotila….. , tous sont ici conviés à la fête. Pendant le concert, il les présente au public en racontant des anecdotes, les encourage à aller plus loin dans leurs solos, s'arrête soudain de jouer pour montrer qu'il apprécie une envolée ou leur fait des blagues musicales comme ce soir à Liège lorsque, après une fausse sortie, il éclata de rire en apostrophant Kenny Werner d'un "I've got you" bon enfant. Lui, c'est le maître de musique. Sur cet instrument populaire naguère vilipendé par les musiciens professionnels qu'est l'harmonica chromatique (l'orgue de bouche comme disent les américains), il sait tout faire, de l'harmonie la plus complexe à la note la plus inusitée. Et puis, il y a ce son velouté, cette tonalité onctueuse, cette expression délicate, ce timbre aérien : c'est la touche Toots aujourd'hui sollicitée dans le monde entier aussi bien par Pat Metheny que par Diana Reeves ou par les grands compositeurs de musique de film.

Qu'il revienne encore une fois sur ces vieux standards qu'il affectionne particulièrement, comme Stardust, Body And Soul ou I Love You Porgy, importe peu puisqu'il insuffle à toutes ses interprétations le même amour, la même émotion, la même tendresse. Et quand il paie son tribut aux musiciens qu'il a côtoyés dans sa prodigieuse carrière - ici Jaco Pastorius avec Three Views Of A Secret - c'est comme avec Sergio Leone : impossible à la fin de savoir si c'est le western spaghetti qui rend hommage au cinéma hollywoodien ou l'inverse. Dans la trentaine de disques que le compositeur de Bluesette a enregistrés en leader, il y en a - disons-le gentiment - pour tous les goûts. Mais, en partie parce que Toots n'est jamais aussi bon que face à son public, celui-ci est à ranger à côté des meilleurs, par exemple à la suite de Man Bites Harmonica (58), le Live de Polydor avec Bruno Castellucci (75), Live In The Netherlands (80) et Only Trust Your Heart (88). Cinq disques pour cinq décennies. Cinq œuvres brillant comme des phares pour tous les navigateurs du jazz qui l'ont suivi jusqu'ici.

(Pierre Dulieu – Le Jazz Janvier 2000)

Extraordinaire, je pèse mes mots ! C'est vraiment le meilleur de Tonton Toots de ces dernières années.
Avec sa sentimentalité évanescente, il nous enveloppe de son souffle d'amour; c'est la musique des anges.
Parmi ces sept concerts, Patrick Bauwens a choisi des vieux standards ,( "Stardust, Body and Soul ") et des ballades moins connues (" Começar de novo "), des thèmes du répertoire ancien, une compo du regretté Pastorius (" Three Views of a Secret ") et une autre du patron (" Hard to Say Goodbye"). Les accompagnateurs sont les habitués des deux continents: Kenny Werner, Michel Herr, Michel Hatzi et Bruno Castellucci, mais Toots nous fait aussi découvrir Jukkis Uotila et Jay Anderson, redécouvrir Ray Drummond et Adam Nussbaum, et il ouvre ses bras à la nouvelle génération du jazz belge avec Nathalie Loriers et Sal LaRocca. Je ne m'étendrai pas sur l'approche de l'un ou l'autre des rythmiciens, elle diffère selon les morceaux et le tempérament de chacun: plus appuyée pour Castellucci et Hatzigeorgiou, plus timorée pour Drummond et Anderson. Quant aux trois pianistes il n'y a que des éloges à faire, ils sont tous parfaitement en adéquation avec le leader lorsqu'ils aquarellisent les ciels ou lorsqu'ils remplissent les espaces que le maître leur ouvre pour qu'ils acquiescent la pertinence de son discours. La prise de son est excellente au Forum de Liège et le boulot du trio de Michel Herr sur l'oeuvre de Jaco Pastorius est d'une rare densité (solos de Michel et Michel). Les choix sont à l'image de ces réputés compromis à la Belge: un peu des deux continents, un peu des différentes rythmiques et des enregistrements qui se font à Bruxelles, en Flandre, en Wallonie et à New York.
Toots a la double nationalité ; avec ce disque il s'affirme aussi comme un pacificateur communautaire et ni Philippe ni Mathilde, ni Albert, ni Paola ne diront le contraire.

(Jean-Marie Hacquier - JAZZ HOT Septembre 2000)

Toots ThieIemans (°1922) verdient beter dan de gewone titel "The Live Takes " Hij speelt hier " Live " negen ballads,opgenomen tussen 1994 en 1998. De albumtitel mocht beslist serener en warmer van hart klinken. Toots zegt zelf dat zijn muziek zich situeert tussen een Iach en een traan. 0ok spreekt hij van het muzikaal samengaan van het hart en de geest. Dit weet hij best te ill ustreren in deze buiten gewone CD, waarbij hij niet alleen zijn virtuositeit en zijn stijlkeuze ergens midden Parker en Coltrane illustreert, maar tevens diephumaan, gevoelig en meeslepend improviseert. Het is de belijdenis van een gevoelsmens met een muzikale ervaring van meer dan een haIve eeuw. De heerijike melodieën volgen elkaar op: "I Love You Porgy" met "Summertime" (hij citeert hier eveneens "It Ain’t Necessarily So"), "Começar de novo" (Braziliaanse meesleper van Ivan Lins), "Hard To Say Goodbye" (een langzame waIs), "Stardust", "Body And Soul" (een meesterwerk), "I Do It For Your Love" (beaat), "Three Views 0f A Secret" (de Jaco Pastorlus icoon), "All The Way" en "That Misty Red Beast" (funky). Thielemans kan bogen op vier uitstekende ritme-trio's: primo Nathalie Loriers, Sal La Rocca en Bruno Castellucci, secundo Kenny Werner, Ray Drummond en Jukkis Uotila, tertio Kenny Werner, Jay Anderson en Adam Nussbaum, en quarto Michel Herr, Michel Hatzigeorgiou en Bruno Castellucci. Onder zijn begeleiders dienen beslist Kenny Werner (specialist van de "strijkers" op de synthesizer), Michel Herr (een beklijvende solo op elektrilsche piano tijdens "I Do It For Your Love") en Michel Hatzigeorgiou ("Three Views 0f A Secret") een speciale pluim. Een must van een CD !

(Juul’s Halo - Maart 2000)

Nu u o.a. op het recentste Jazz Middelheim-festival hebt kunnen ondervinden dat de beroemdste Brusselse Ket aller tijden nog steedsJean Baptiste - Toots - Thielemans (78) heet en zijn mooi opgeblonken chromatische mondharmonica, waarmee hij zijn voorganger Larry Adler nu al decennia lang in de schaduw speelt, nog steeds een zee van gevoelens kan opwekken, hetzij aan de zijde van Kenny Werner, hetzij in het drieëndertig koppen tellende gezelschap waarmee Michel Hatzigeorgiou een schitterende hommage aan wijlen Jaco Pastorius bracht, verheugen wij ons op het verschijnen van nieuw live materiaal van onze grote jazzvader. Wij krijgen hem hier als lid van vier verschillende kwartetten te horen, nl. met Nathalie Loriers (piano), Sal la Rocca (contrabas) en Bruno Castellucci (drums) in het Brusselse Congrespaleis (oktober '98), met Kenny Wemer (piano, andere toetsen), Ray Drummond (contrabas) en Jukkis Uotila (drums) in de New Yorkse Birdland (november '97), met Michel Herr (piano, andere toetsen), Michel Hatzigeorgiou (elektrische bas) en Bruno Castellucci (drums) in het Luikse Forum (maart '94) en de Ternatse Ploter (april '94) en met Kenny Werner, Jay Anderson (contrabas) en Adam Nussbaum (drums) in de Brusselse Luna en de Kalmthoutse Biblo (februari '95). We krijgen schitterende versies van o.a. Gershwins 'Summertime', Rogier Van Otterloo's 'That Misty Red Beast' en Jaco Pastorius' 'Three Views of a Secret) te horen, al vond ik Hatzigeorgious big band-versie vorige zomer op Jazz Middelheim toch nog een stuk sterker. Eén nummer, 'Stardust' van Parish en Carmichael wordt in een duet met Michel Herr gespeeld (opgenomen in de Antwerpse Singel in december '98). Quelle classe!

(J.Samijn / Stage – Maart 2000)

TOOTS THIELEMANS
The Live Takes 1
In-akustik records / Virgin

Der Mann an der Mundharmonika ist längst Legende. Wer ihn nicht als Solisten diverser Jazz-Formationen gehört hat, dem ist die spitz-schräpige Mundharmonika des Belgiers mindestens schon mal als Filmmusik begegnet: ein Schwarzweiß-Gangster-Movie wird erst durch die Musik von Thielemans erst richtig spannend, niemand kann so viel Spannung und Verlorenheit mit wenigen Tönen erzeugen. Die "Live Takes" sind Mitschnitte diverser Auftritte in den 90ern, alles in kleiner Besetzung (Baß, Klavier, Drums) exzellent aufgenommen. Mit "Body And Soul", "Summertime" oder "Stardust" gibt's hauptsächlich Klassiker, die längst auch in die Pop-Geschichte eingegangen sind. Begleitet von Jazz-Größen wie Adam Nussbaum, Jay Anderson oder Michael Herr sind die "Live Takes" ein qualitativ hochwertiger Jedermanns-Jazz, der sich einfach gut anhört.
Tim Aulbid

Universally acknowledged as the supreme virtuoso of jazz harmonica, Toots Thielemans is a wonderfully creative and imaginative musician — and this is vividly in evidence on this album, a compilation of nine superb tracks recorded in various locations between March 1994 and December 1998. The compositions featured have been carefully selected for their melodic and harmonic sophistication and Thielemans, as ever, demonstrates his well-known ability to bring out the full beauty of a well-crafted romantic ballad.
This is Toots in characteristically inspired form. Unquestionably a must for Thielemans fans.

US, Japan, German and Italian covers lay out of "The live takes Vol 1"