The Denjean family originally came from the city of Foix, capital of the French department of Ariège located on the border with Spain. The family consisted of two sons, Claude and Jacques, who exhibited exceptional musical talent. His father, Lucien, worked as an accountant, while his mother, Cécile, held the position of director of the school.

Claude Denjean, the eldest son of the Denjean family, was born in March 1924. He was a versatile musician, known for his proficiency as a violinist, conductor, and arranger in the pop field. In the 1960s, he gained widespread recognition for scoring some of the biggest hits of French singers Dalida and Charles Aznavour. In 1970, he relocated to Canada, where he lived until the mid-1990s. During his time in Canada, he worked as a producer and artist, recording several albums, including his critically acclaimed “Moog!” which featured him playing the Moog synthesizer and brought him international fame. Claude passed away in Marzan, Bretagne in November 1998.

Going back to the beginning of the story, it should be remembered that in 1927, the Denjeans moved to Igny, a city located in the Essonne department within the Île-de-France region. It was here that Jacques, the younger brother, was born on May 25, 1929. Both Jacques and Claude attended the Paris Conservatory to study classical music. However, their paths diverged after that. In 1947, Jacques received the first prize for piano, as well as a medal for music theory and harmony from the Conservatoire de Versailles. That same year, he turned his attention to jazz and won a piano competition at an mateur Jazz Tournament. Excited about pursuing a professional music career, Jacques formed a trio with two young musicians: Alphonse “Totole” Masselier on bass and Harry Montaggioni on guitar. From that moment on, Jacques immersed himself in bebop, a genre for which he would become known for playing with great skill and energy. Their talent did not go unnoticed. Charles Delaunay, a jazz promoter and the leader of the Hot Club de France, took notice of Jacques’ trio and offered them a chance to play before Dizzy Gillespie’s historic big band concert at the Salle Pleyel on February 28, 1948.

After that successful performance, Delaunay organized a tour of the provinces for the trio and even arranged for them to record with baritonist Michel de Villers and drummer Kenny Clarke for the Swing label. During the recording session, they recorded “Working Eyes,” a Tyree Glenn tune, and “Stuffy” by Coleman Hawkins.

In 1952, Jacques Denjean formed a new trio with Christian Jouan on guitar and Claude Gerby on bass. They were hired to perform at the famous jazz club Boeuf sur le Toit. At the end of the year, Jean-Marie Ingrand replaced Gerby as the bassist and the trio continued to play in various venues, not always focused on jazz, including the legendary cabaret “Chez Patachou.”

One night, Jacques Denjean’s playing caught the eye of American singer June Richmond, who lived and worked inParis. She hired him to play in her orchestra at the Casino de Paris, where they had great success. Denjean traveled the world with the Richmond Orchestra. In 1955 he left the singer and spent almost a year in New York, where he met Kenny Clarke, who became one of his best friends. During his stay Denjean immersed himself in the local jazz scene and learned from American jazz musicians, honing his skills and developing a deeper understanding of how to “feel” music as they did.

Returning to France at the end of 1956, he devoted himself more and more to musical writing, creating arrangements for singers and various groups. At the same time, he worked in the Alix Combelle orchestra. Then, in 1957, he joined Maxim Saury’s New Orleans Sound, at the famous “Caveau de La Huchette.”

In 1958, Jacques Denjean frequently played with the drummer Gerard Pochonet and his French All Stars, where he had the opportunity to perform swinging modern jazz alongside accomplished musicians like Gérard Badini, tenor saxophone; Bernard Hulin, trumpet; Claude Gousset trombone; and trumpeter Gilles Thibaut. It was during this time that Denjean and Thibaut became close friends.

In the fall of that year, Jacques Denjean was called upon by Gilles Thibaut to act as pianist and musical director for Thibaut’s first album, “Jazz pour danser”, which was released by the Club National du Disque. Thibaut, a fervent admirer of Louis Armstrong, assembled a talented group of musicians to support him on the album, including Claude Gousset on trombone, Gérard Badini on clarinet, Jacques Denjean on piano, Georges Lucas on bass, Marcel Blanche on drums, and vocalist Colette Magny.

In early 1959, Jacques Denjean had his first chance to showcase his skills as a big band arranger when the Club National du Disque organized the recording of an EP featuring Gilles Thibaut as guest soloist with the Jacques Denjean Orchestra. Denjean brought together some of the finest jazz musicians in Paris to back Thibaut with a Count Basie-like punch on four tracks: “Sablons 28-26,” “The Nearness of You,” “Somebody Loves Me,” and “April in Paris.” The trumpeter shines with his in-tune and tasteful solos, but it was the orchestra that really caught the critics’ attention.

Denjean’s ability to select the right musical influences was a crucial part of his talent as a composer, as noted by Raymond Mouly in Jazz Magazine: “Don’t say the last record you heard wasn’t ‘Atomic Basie,’ arranged by Neal Hefti. Plus, you couldn’t hear better music, and your memories were expertly recorded on your 45rpm. The art of choosing the right models is a necessary form of talent in a composer, and as such deserves praise.”

In 1960, Jacques Denjean joined the newly formed vocal group Double Six, founded by Mimi Perrin and Christiane Legrand, both former members of the Blue Stars. This time, however, Denjean did not play the piano but joined as one of the vocalists. The group recorded the acclaimed album “The Double Six Meet Quincy Jones.”

In 1961, we find Denjean again at the piano, this time with the Christian Chevallier orchestra, alongside Christian Garros on drums, Jacques Hesse on bass, and Raymond Gimenès on guitar.

In the spring of 1961, Jacques Denjean was inspired by the idea that the young French generation should be able to take an interestin an orchestra of jazz formed by excellent national musicians, much like the German public for Kurt Edelhagen and the English public for Ted Heath. Since the end ofthe Second World War, there hadn’t been a major group that could sustain its own existence by playing only jazz. Despite this, Denjean worked enthusiastically on the realization of his project. He had to solve several problems, including recruiting musicians who were good readers, passionate about jazz, and disinterested in other musical genres. Denjean persisted with the help of a publisher who lent him his studio, giving up on seeking preliminary financing for his expenses. He spent about 2,000 NF for the realization of the essential musical material.

The Jacques Denjean orchestra, consisting of eighteen musicians including the conductor on piano, was capable of performing before any audience, and the level of quality it achieved since its debut surprised even the most skeptical. Denjean’s use of very sober arrangements evoked Count Basie. Despite being known or unknown, the musicians were bound to their leader by a friendly spirit and rare trust, and everyone rightly believed that the first step, the most difficult one, had already been taken on the road to success. Jacques Denjean’s orchestra channeled the sound and drive of Count Basie through its restrained arrangements. Finally, on July 15, 1961, Jacques Denjean’s orchestra made their television debut, captivating audiences with their lively and dynamic performances.

On November 10, the entire Jacques Denjean Orchestra took the stage at the Municipal Theater of Bourges, a town located in the Cher department, in the Center region. They played their repertoire and presented a series of sound illustrations during the conference by Aris Destombes, “The Evolution ofthe Great Jazz Orchestra since Its Origins”. Thanks to the brilliant and hopeful public performances of the orchestra, which were the result of a collective effort and hard work, Denjean secured a record deal with the Polydor label. Soon after, he recorded his first 45 EP. For his debut, the orchestra performed jazz arrangements written by its leader of hits such as “Blue Moon”, “Près de la Fontaine” and “African Waltz” (known in France as “Ça tourne rond”).”

A few weeks later, at the urging of his Polydor producer, he embarked on a project to attract a younger audience by covering popular hits of the time, begining up with a commercial EP featuring a small guitar group playing well-known “Twist” tunes, such as “The Twist,” “Let’s Twist Again,” “Dum-Dum,” and “You Can Have Her.”

In 1962, Denjean returned to the jazz band format, but with a smaller ensemble of 10 musicians, producing a new EP of sharp and dynamic renditions of hits such as “Madison Time,” “Big M,” “The Huckle Buck,” and “Swingin’ the Madison.” Denjean’s arrangements were disciplined yet lively, pulsating with energy. The main soloists on this swinging session included George Arvanitas on piano, Pierre Dutour on trumpet, Claude Gousset on trombone, and Dominique Chanson and Gérard Badini on tenor sax. That same year, Denjean recorded “Lover Please,” “Dream Baby,” “En suivant notre amour,” and “Tu l’aimeras toujours” in a style that evoked the famous Mar-Keys/Booker T. and the MGs. The events surrounding the orchestra were unfolding faster than expected, and its popularity was growing every day, with more and more people talking about it.

As part of his broadcasts on Radio Luxembourg, producer André Salée regularly enlisted Jacques Denjean’s orchestra to provide orchestral support for the stars and musical interludes. “We can see how the team spirit has progressed within the orchestra, whose collective work continues with one or two rehearsals per week. This work is bearing fruit and the recent releases of the big band suggest that we will soon have a new Grand Orchestre de Jazz of international class in France,” wrote Aris Destombes in “Jazz Hot.”

In spring at the request of Polydor’s producer Bernard de Bosson, Denjean was commissioned to arrange twelve slow tempo standards chosen from the great successes of the American Songbook repertoire. In early May 1962, a large orchestra under Denjean’s direction accompanied the legendary tenor saxophonist Don Byas during the recording sessions of his album “Amoureusement Votre” at the Hoche studios in Paris. Denjean assembled an orchestra of exceptional quality, including violins, violas, cellos, flutes, horns, and oboes performed by soloists from the Paris Opera. Joining these musicians were excellent jazz players such as Georges Arvanitas on piano, Pierre Sim on bass, Philippe Combelle on drums, Ivan Jullien and Pierre Dutour on trumpets, Raymond Guyot on flute, Raymond Fonsèque on tuba, and Nat Peck and Raymond Katarzinsky on trombones. The album featured classic ballads such as “Laura,” “I Remember Clifford,” “Autumn in New York” and “Don’t Blame Me,” performed by Byas in his own distinctive style and with his own self-assurance.

A few days later, on May 16th,the Denjean Orchestra traveled to Rouen to perform at the small concert hall of Sainte-Croix-des-Pelletier. The first part of the program was dedicated to one of Aris Destombes’ musically illustrated lectures on the evolution of the “Big Band”. During his lecture, Aris demonstrated that, in addition to being a remarkable speaker, he was also a good vocalist, as he showcased in his interpretation of the traditional song “When It’s Sleepy Time Down South.” In the second part of the performance, the orchestra played their usual repertoire before an enthusiastic audience, with the musicians demonstrating the pleasure and joy they felt while playing.

At the end of June 1962, Jacques Denjean’s orchestra recorded their first Long Play as a bandleader at the Polydor Studios. The 10-inch album, titled ‘Jazz,’ remains a landmark achievement for the band. This is a rich and dynamic set featuring valuable and interesting performances that still captivate listeners in this age of big band monotony. The ensemble’s pure and powerful sound provides ample space for solo blowing of generally high quality.

As far as its cohesion goes, the swinging energy emanating from the orchestra provides the fundamental pulse for the eight tunes performed here. Four of these compositions, “Flash,” “Tenor Contest,” “Studio 1,” and “Honky Tonk Tonk,” are by Jacques Denjean, while the remaining four, “Saint Louis Blues,” “Halleluyah,” “Walkin’,” and “The Champ,” are covers with arrangements by Denjean, except for the last two, which were arranged by Ivan Jullien.

Denjean was responsible for the Basie style arrangements on the album, with the influence of its master, Count Basie, carefully preserved in notable pieces such as “Honky Tonk Tonk,” which he cowrote with Alix Combelle. This particular piece features a simple motif played in crescendo on a perfectly balanced tempo, reminiscent of Neal Hefti’s scores.

On the other hand, more complex interpretations were signed by Ivan Jullien, whose conceptions were similar to those of Quincy Jones. This can be heard in Jullien’s brilliant arrangements of two well known jazz standards, “Walkin’” and “The Champ,” showing that the orchestra could establish various climates. Philippe Koechlin, in his 4-star review of the album for Jazz Hot, wrote: “One has the choice between music focused on swing or refinement in sound color. Both are enjoyable... but let’s talk in detail about the soloists and the pieces. Flash allows us to appreciate the excellent Jean-Louis Chautemps, biting to the desired degree, and the calm Raymond Fonsèque, with a rigorous setup. We will find Jean-Louis Chautemps again in St Louis Blues, where his clipped and slightly mocking playing is a delight. Raymond Fonsèque also takes a very good atmospheric solo in Walkin’, appealing in its simplicity, well-constructed and relaxed. Tenor Contest showcases the orchestra’s two star tenors, Dominique Chanson and Gérard Badini. The first has a smooth style, derived from Coleman Hawkins or Paul Gonsalves, while the second is a rough blower, with a thick sound, sometimes muddled but very swinging, directly inspired by Eddie 'Lockjaw' Davis. In Walkin’, Chanson dominates with very pretty ensembles on the flute with a delicious sound color; always on the flute in Studio I, he plays a solo proving that the instrument suits him well. Badini, on the other hand, showcases his qualities as a go-getter in Hallelujah.

The Champ, a tune full of swing, is brilliantly executed. It is worth mentioning the excellent soloist Jacques Nouredine on the alto saxophone, who plays very pretty things with great elegance. The piece contains a striking tutti of trumpets, delicate in execution but which the section handles well. St Louis Blues, one of the most interesting tracks in the collection, is attacked by Pierre Dutour in a very nuanced style. This trumpeter has a beautiful sound, round, muffled, and clear —it is he who gives so much relief to the exposition of Walkin’— and his part in St Louis Blues exudes a subtle melancholy atmosphere enhanced by the soft background of the orchestra. After a tempo acceleration, Michel Camicas manifests himself with a very joyful ardor, and his two choruses are full of verve. Finally, it’s worth mentioning Ivan Jullien, who delivers an outstanding solo on Honky Tonk Tonk, showcasing his emotional depth and gradually building intensity through powerful riffs. The leader, Denjean, also demonstrates his mastery in both punctuations and solos, as exemplified in the same piece.

From all these performances emanates a friendly atmosphere and the pleasure of playing that animates the musicians is a large part ofit. The qualities of this record are many. It allows us to hear French jazzmen who are talked about but record little. It is worth noting the arranging skills of Ivan Jullien, who is assertive and knows how to make the ensembles ring beautifully.” The album was unanimously praised by critics. It is the National Big Band, some dared to say. “Le premier grand orchestre de jazz français,” said the slogan on the LP cover.”

The July-August 1962 issue of Jazz Hot magazine featured a section devoted to Jacques Denjean’s Big Band, with a lengthy article by Jef Gilson that concluded with this question: “Why one should go to Rouen (without minimizing the importance of this city) to listen to the best Jazz Big Band in Europe... it’s amazing that RTF [French Radio and Television] doesn’t have a Jazz orchestra attached, like the big German radio stations, maybe the youngsters will be interested in something else than the twist if given the opportunity to discover better music, especially since Jacques Denjean’s orchestra out performs many famous American groups.”

The Jacques Denjean Orchestra solidified its place in the world of jazz by opening the III Antibes Jazz Festival on Wednesday, July 18th. The following evening, they played a second set that delighted connoisseurs and further showcased the musicianship of all the band members.

In September 1962, Philippe Koechlin wrote in Jazz Hot about Denjean’s performance at the festival, stating, “The biggest European jazz orchestra? Yes, but we wish it could last.’”

At the annual “Nuit du Jazz” concert held at Salle Wagram on December 15, the orchestra had the privilege of performing with legendary trumpeter Buck Clayton, earning them a well deserved standing ovation. Henri Renaud was the featured pianist invited by Denjean for this special performance.

Jacques Denjean’s popularity was amply demonstrated in the Jazz Hot readers’ referendum results that came outin the February 1963 issue. His band was voted the best French jazz orchestra of 1962, with 3,500 votes. This was a significant achievement, putting him ahead of other notable names in French jazz such as Martial Solal (2,498), Claude Bolling (2,066), and Jean Claude Naude (1,277).

In 1963 Jacques Denjean’s reputation was established. The artistic directors call on Jacques Denjean and his orchestra, the famous sound which is his trademark. Record labels have understood that their young artists need an orchestra with catchy sound.

Guitarist Raymond Gimenès says, “Having Denjean was a guarantee of success. Jacques Denjean’s orchestra and pianist and blues singer Memphis Slim were the stars of the jazz concert in addition to the grand ball organized by the Association of UNESCO Clubs in Nantes on Saturday 19 January. After this joint concert, Slim and Denjean will meet two years later for the recording of Slim’s album “Clap Your Hands” While continuing to perform jazz in his concerts throughout 1963, Jacques Denjean’s recordings also followed the current trends, but were imbued with his versatile Denjean touch. During that time, Denjean’s orchestra shifted away from jazz in their recordings and embraced a style often compared to the American Mar-Keys, blending rock rhythms, jazz organ sounds, and a combination of saxophones and brass instruments to create a distinctive sound. This unique style proved successful for the orchestra, as they not only accompanied the stars of the yéyé generation, but also produced their own instrumental pieces.

The results of the Jazz Hot readers’ referendum published in February 1964 confirmed the Jacques Denjean Orchestra’s popularity as it maintained its first place position in 1963 with 3,408 votes, leading ahead of Claude Bolling (1,386) and Martial Solal (1,256).

After dissolving his jazz orchestra, Jacques Denjean shifted his focus to arranging and directing for the new generation of French popular song. He collaborated with artists such as Johnny Hallyday at the Olympia in 1964 and accompanied Nana Mouskouri and Alain Barriere, among others.

This new stage was reflected in the Jazz Hot Readers’ Referendum of 1964, published in the February 1965 issue, in which Denjean had dropped to seventh place, a clear indication that he had chosen a different path, one that moved him away from jazz and of his followers. This compilation has brought together the only recordings made during the period when Jacques Denjean’s orchestra was at the pinnacle of European jazz.

Jacques Denjean left his mark on the French music scene with a unique sound that blended brass instruments and solid rhythms. He was not only successful as a jazz musician but also made a name for himself in popular music, thanks to hits such as “The Road” and “In the Wind,” as well as his orchestrations of many other popular songs. Denjean has written over 20,000 arrangements and is considered one of the pioneers of French groove.

Jacques Denjean passed away in Paris on December 21, 1995. Ivan Jullien remembered him as a gifted musician and conductor who knew how to form a team with the best studio musicians from the jazz scene. Denjean was known for being a hardworking, kind, funny, and loyal person who was well-liked by his colleagues. He was appreciated for his human qualities by the musicians who worked with him. Denjean’s team was always available for him, reflecting the strong bond he had with his musicians.

—Jordi Pujol (Taken from the inside liner notes of "Jacques Denjean and His Jazz Orchestra 1959-1962" FSRCD 1131)