1		Hispanic Dance (With A Blues Touch)	5:35
2		Mexicaine	6:19
3		Invention	4:02
4		Serenade	4:45
5		Rhapsodie	6:42
6		Africaine	4:25
7		Finale	5:50

Bass – Michel Gaudry
Drums – Marcel Sabiani
Guitar – Alexandre Lagoya
Piano – Claude Bolling

Proving conclusively that Claude Bolling's engaging guitar concerto has legs and can withstand differing interpretations, George Shearing and classical guitarist Angel Romero put out their own version as a rival to the Bolling/Alexander Lagoya recording. And there are differences, though to a subtle degree that classical listeners would be more accustomed to debating. To cite a few details, Shearing and Romero take "Hispanic Dance" and "Rhapsodic" a little faster than Bolling/Lagoya; Romero is more of a precise virtuoso than Lagoya; and Shearing displays a touch more freedom in the improvised portions of the piano part. Shelly Manne is expertly adept at the percussive effects that Bolling asks for, and he and bassist Ray Brown usually outswing their French counterparts. Yet this performance has a softer focus in general, and Angel's early digital sound is not as sharp as CBS's analog recording. However, it does have something that the composer's recording does not -- five Spanish works for solo guitar as encores. While both recordings are excellent, this one is a better buy. ---Richard S. Ginell, allmusic.com

Claude Bolling był jednym z pierwszych kompozytorów „Crossover” współpracujących z muzykami klasycznymi, takimi jak Jean-Pierre Rampal i Alexandre Lagoya. Najbardziej znanym dziełem Bollinga jest Koncert na gitarę klasyczną i jazzowe trio fortepianowe. Jest to doskonała synteza muzyki jazzowej, bluesowej, latynoamerykańskiej i klasycznej, wyjątkowe stworzenie wielokulturowej ekspresji. ---empik.com

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1		Rococo	5:26
2		Madrigal	4:16
3		Gaylancholic	7:15
4		Fantasque	5:21
5		Canon	3:32
6		Tendre	5:58
7		Badine	4:38

Bass – Guy Pedersen
Drums – Daniel Humair
Flute – Jean-Pierre Rampal
Guitar – Alexandre Lagoya
Piano, Producer, Composed By – Claude Bolling

Mr. Bolling played and composed in a variety of styles — the Claude Bolling Big Band played regularly for years at the Méridien Etoile hotel in Paris — and wrote the scores for dozens of movies and television shows in both France and Hollywood. But “Suite for Flute and Jazz Piano,” written for and recorded with the famed classical flutist Jean-Pierre Rampal, elevated him to a new level of fame.

Although the record drew criticism from both classical and jazz purists as, in the words of one article, “watered-down jazz with a thin classical veneer,” the listening public loved it. News accounts from the mid-1980s, noting that it was still on the charts after a decade, said only the Pink Floyd album “The Dark Side of the Moon,” released in 1973, had achieved such longevity at that point. (“Dark Side” remained on the Top 200 album chart until 1988 and has periodically returned.)

Mr. Bolling was inspired to pursue other crossover projects, including the 1980 album “Picnic Suite,” recorded with Mr. Rampal and the guitarist Alexandre Lagoya. An image on Mr. Bolling’s website shows the Billboard classical album chart from Sept. 4, 1982. “Suite for Flute and Jazz Piano,” in its 343rd week on the chart, sits at No. 5, with “Picnic Suite” at No. 22, his “Toot Suite for Trumpet and Jazz Piano” at No. 27, his “Concerto for Classical Guitar and Jazz Piano” at No. 30 and his “Original Boogie Woogie” at No. 39. ---livedailynews24.com

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