The range, invention and depth outstrips most large ensemble jazz albums of the time at times muscular and powerful, at others delicate and sensitive, the interplay of the musicians, arrangements and compositions make for a stand-out recording that bristles with confidence and energy.”ĭuncan Heining – All About Jazz: (abridged):ĭéjeuner is one of the finest British jazz records of any period. The combination of classical orchestration and jazz made it more than a third-stream experiment. The New Jazz Orchestra assembled by Neil Ardley into a distinctively voiced ensemble, whilst acknowledging the debt to Duke Ellington and Gil Evans, expressed an English sensibility that can be best described as ‘pastoral’, distinctively drawing on the classical idiom. The NJO was active for less than ten years and recorded only two albums, one of which, their second, Le Dejeuner Sur L’Herbe (Verve SVLP 9236, 1969), is regarded by some as one of the finest British jazz album of the period. ” Among the most forward thinking and distinctive of all the British big bands of the mid to late-60s was the New Jazz Orchestra (NJO) under the direction of Neil Ardley. Several good writers have done the heavy lifting, so on this occasion I’ll put my feet up. Of academic interest, the people Manet used to pose for the painting were close family relatives and two artists models. The subjects have been posed on location, to ensure consistent lighting and a convincing blend with the forest floor. It is indeed an unusual picture in its own right, but also a jolly vehicle as a record cover spoof, a good inside joke.īelow left shows Neil Ardley (left) and John Hiseman (right), with two “friends”. Nudity was acceptable in “classical art”, but not in “the real world”, which is where Manet artfully pitches it. The idealized female form had been a convention of classical art for centuries.
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It was not the nude female form that shocked, it was the well-dressed professional men in their presence. Where Dejeuner Sur L’Herbe was recorded is not named, presumably Pye Studios, not known to me.Įdouard Manet scandalised the Paris art-establishment with his controversial painting Lunch on the Grass (1863), juxtaposing a group of clothed and unclothed figures having a picnic in the woods. MGM was approached to record and issue this second NJO LP. NJO’s previous LP, “Western Reunion, London 1965”, was recorded for Decca at Decca Studios West Hampstead, engineer Arthur Bannister. Howard Barrow : mastering and lacquer cutting engineer at Pye Studios, Marble Arch, London.
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Jack Bruce, bass, shortly after break-up of Cream, dabbling briefly in jazz. Neil Ardley, Musical Director Jack Bruce, bass Jon Hiseman, drums Dave Gelly, tenor sax, clarinet, bass clarinet Jim Philip, tenor sax, flute, clarinet Dick Heckstall-Smith, tenor sax, soprano sax Barbara Thompson, tenor sax, soprano sax, flute Derek Wadsworth, John Mumford, Michael Gibbs, Tony Russell, trombone Derek Watkins, Harry Beckett, Henry Lowther, trumpet Ian Carr, trumpet, flugelhorn George Smith, tuba Frank Ricotti, vibraphone, marimba Howard Barrow, recording engineer Grahame Dudley, design Tony Reeves, producer recorded September 17 & 18, 1968. Naima (John Coltrane arr Alan Cohen) 4:41Ģ. Le Dejeuner Sur L’herbe (Neil Ardley) 7:42Ģ.
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