| Blues |
I have never been a fervent admirer of the great B.B. King, perhaps because, during my childhood, his music seemed inescapable. The same song would echo incessantly across the mere three or four radio stations available in France at the time. For me, it became a genuine ordeal—one inflicted by radio programmers whose musical discernment was, shall we say, less than refined. Thus, I approached this album/ documentary, recorded in 1977 at one of France’s most beautiful jazz festivals, Nancy Jazz Pulsations, with a mixture of bemusement and curiosity. The performance was captured by the French television network of the era, then known as ORTF, which much later evolved into what we know today as France Télévisions.
Decades later, this album landed in my hands. Evidently, the arrangements and orchestrations were reimagined to align with the jazz festival’s character, with the addition of brass instruments lending a tempered yet soulful richness to King’s performance. At moments, he transcends his usual style, becoming more soulful than ever, his artistry illuminated by jubilant horns that lend a distinctive texture to his craft. For the first time, I found myself listening to this artist with genuine pleasure—a departure from my prior view of him as overly verbose on the guitar, offering what often felt like repetitive ideas. Here, none of that applies.
It is worth recalling that B.B. King was, for a long time, one of the few blues artists to dominate European stages. As this album demonstrates, European audiences of that era found in King’s music a kind of artistic renewal—a warmth sorely lacking among many European performers, who at best attempted pale imitations of their American counterparts. This album captures King in his prime, showcasing dexterity that demands admiration and a vocal delivery rooted in the gospel traditions of his youth. It imbues his live performances with the warmth I referenced earlier. This is a little-documented period in King’s career, and recordings from his appearance at the 1977 Nancy Jazz Pulsations are exceedingly rare.
Here, his voice occasionally takes on a rugged quality, but his guitar playing is brimming with fiery inspiration. B.B. King is at the height of his artistry. Listen to his electrifying solo at the close of To Know You Is to Love You. Devotees of the artist will note that the tempo here is faster than on the original. The instrumental track, Soul Where I’m Wrong, offers Texan guitarist Milton Hopkins—cousin to the legendary Lightnin’ Hopkins—a chance to shine. King boldly takes the stage with a few measures of the jazz classic Blue Monk by Thelonious Monk before segueing into Louis Jordan’s *Caldonia*. Remarkably, this is the only (albeit brief) recording of a Monk piece by King.
The setlist is intriguing to study. King typically reserved his signature song, The Thrill Is Gone—a composition by pianist Roy Hawkins—for the end of his concerts. Yet here, it appears mid-show, for reasons unknown to me. This recording, restored and mastered by Matthew Lutthans at The Mastering Lab, was transferred from the original tapes by INA (formerly ORTF), a legendary French institution. The album also includes liner notes by French author Jean Buzelin and remarkable photographs by Jean-Pierre Leloir, Ozier Muhammad, and Jean-Marc Birraux, the latter capturing King’s performance in Nancy.
On the technical side, significant effort has gone into this restoration, with the analog limitations of the era perceptible mainly in the bass and midrange frequencies. For this album, I would recommend investing in the double LP version. The CD offers no additional value, although owning both formats could be wise—should your LPs lose their fidelity over time, the CD remains a reliable alternative for preserving this gem.
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Thierry De Clemensat (Paris Move/ Bayou Blue Radio/ ABS Magazine)
Gilbert Guyonnet (Radio Clapas/ ABS Magazine)
PARIS-MOVE, November 18th 2024
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