A Comparison of Claude Bolling’s 1975 and Laurel Zucker’s 2004 Recordings’

his commissioning of this particular piece. Zucker, on the other hand, typically records Baroque, Classical, and Romantic music with very little contemporary music included in her repertoire. This singular jazz/cross over album stands as a testament to her versatility. In terms of tempo, Rampal's recording starts off slightly faster than Zucker's, adhering closely to the prescribed tempo of dotted minim=55. Rampal begins at dotted minim=53 whereas Zucker starts at 51.

The 1st blues section (E) marks the next significant tempo change. Rampal designates it as minim = 70, while Zucker's version is minim = 68. Rampal returns to the original speed when the piece returns to the Baroque section (H), maintaining this tempo consistency throughout the piece (even in the following blues section (L)). On the other hand, Zucker's recording displays an element of inconsistency, with the second blues section speeding up to minim = 70. The jazz waltz segment (N) sees Rampal increase to a dotted minim of 73 and Zucker to 71. Overall, Rampal and Bolling's recordings are always slightly quicker than Zucker's, lending an enduring sense of heightened energy throughout.

Throughout this piece, there are minimal changes in tempo except for the return to the Baroque section which goes back to the original tempo. The recordings feature varying amounts of rubato in different sections. Specifically, Rampal's recording is generally straight with strict timing during the Baroque sections and shifts to a more relaxed and improvisational style within seconds of entering the jazz sections. Rampal accelerates in pace at one point but this is rare in the recording. Bolling plays freely in the piano cadenza section. The relatively fast tempo set by Rampal

may contribute to the lack of rubato.

Comparing the performances of Zucker and another, it is found that Zucker's rendition has a more noticeable use of rubato. Zucker initially adheres to a strict tempo until reaching point E, when the incorporation of blues causes the tempo to become more relaxed and swung. The tempo then returns to strict at point H, but at point L, it becomes swung again in an interesting way, as the pianist improvises/composes a different piano solo from what is actually written. The result is a unique swing that reflects the pianist's personal style. Even during the jazz waltz section at point O, the performance maintains a measured quality while still incorporating swing effectively. As the piece approaches point U, the tempo slows down in the last three bars before returning to a straight and strict tempo once again.

Within the piano cadenza, the expected rubato can be found, yet the remainder of the piece follows a straight rhythm. Zucker initiates the performance at an apt volume for the mf marking; however, compared to the flute entrance, the piano is not as soft. Nevertheless, with the exception of the increase to f at C, the piece maintains a largely consistent intensity beyond E, possibly indicating that any imbalance is attributable to the studio mix rather than the performers themselves.

Despite a marked change from p to mf, there is no significant change at E. Both Baroque stages maintain consistent flute mf. At M, the piano exhibits a more active dynamic range with natural crescendos, while the flute remains constant till the last five bars of Q where there is a diminuendo. During the

cantabile section, the piano follows the pitch line with matching dynamics, but the flute does not do the same, which is interesting.

Despite the lack of dynamics in the repeated notes between BB and four after FF, Zucker takes a laid-back approach towards dynamics and ignores the dynamic markings four before V. This stands in contrast to the piano, which imbues the repeated notes with interest and excitement through accents and subtle dynamics four before V. Meanwhile, the piano demonstrates significant dynamic variation during the piano cadenza at FF. The flute, on the other hand, adheres consistently to mf throughout the last Baroque section, and reaches FF at the end of the piece as indicated in the score.

Thanks to his father's orchestral background, Rampal's musical education differed significantly and placed greater emphasis on music rather than technique. Consequently, his intuitive sense of dynamic placement is evident without any deliberate effort. Rampal's mastery of articulation and phrasing amplifies the clarity of his technique. He seamlessly integrates crescendos and diminuendos in sequential pieces, directing their trajectory towards climaxes or phrase endpoints. The first four bars of "O" exemplify his natural use of crescendos. In "J," Rampal introduces an additional crescendo not present in the score, demonstrating his determination to achieve an optimum effect. However, during the high note four bars into "Q," he displays restraint and fails to accentuate it adequately, resulting in a minor anticlimax.

It's fascinating to note that Rampal executes a crescendo towards the last note of the phrase before S, despite the pitch falling. This showcases his mastery in naturally adjusting the dynamics based on the notes, an exemplary classical technique. See a copy of

the score at T. Rampal adheres to the dynamic marking in the last four bars before V, as he does throughout the piece. Although there aren't many dynamic markings, he emphasizes the first note of X, turning the dim into an fp.

He plays the final notes before V and Y, with an interesting exception to Rampal's natural rise and fall between AA and BB. Rampal showcases his musicality in GG by playing p when the piano has the tune, enhancing the jazz group sound. Notable moments also occur at OO, with a noticeable increase in volume in the piano left hand and Bass ostinato patterns, and at PP, where there is a build-up towards the end. Rampal does not play at the top of his dynamic range at PP but rather at the peak of producing a beautiful sound. Both performers remain in tune throughout the pieces.

Both flautists demonstrate excellent tunefulness with their respective ensembles, though E natural in the third octave is notably difficult for flautists to play in tune. Zucker has consistently clear notes throughout, as desired for a flawless studio recording. Meanwhile, Bolling favors a more genuine jazz experience through one take recordings. Though Rampal's tonal quality falters slightly with a cracked note in the second bar of KK, this only occurred once in the recording and adds to its authenticity. This approach mirrors the trend of adding recorded fret noises to computer generated guitar sounds for a more believable effect.

Zucker's consistent vibrato throughout the piece is unsurprising given his previous recording history. The heavy vibrato on the last note of D is particularly noticeable and is also performed by Rampal on

this occasion. Zucker's recording showcases two distinct styles.

Within the Baroque sections, the 'Baroque colour' is characterized by a moderate vibrato that is slightly present throughout the piece, but stronger on longer notes. The accentuation and articulation are also highly emphasized. Meanwhile, the second color can be found between U and W and between PP and the end, presenting a spikier and more intense tone with a strong vibrato all throughout. On the other hand, Rampal displays a consistently bright tone, with vibrato applied on accented and longer notes within the Baroque sections. His tone is clear and relatively straightforward.

The reason for the ideal suitability of a certain flute technology or a personal choice for this piece may vary. However, it enables quick changes in style, articulation, and emphasis which is necessary. Various articulation patterns exist in the composition, with the most noticeable being the 'Baroque' pattern. This comprises one staccato, two slurred notes (beginning with an accent), and a final staccato note.

Despite posing a challenge for performers, both Q and Bolling's Baroque sections strictly adhere to the same pattern, maintaining accuracy throughout. However, Bolling's use of a repeated note pattern causes difficulty due to its impossibility for many instruments. It is uncertain if Rampal received clarification from Bolling regarding the intended articulation pattern, leading both performers to execute this section differently. Zucker opts to separate air by contracting diaphragm muscles instead of using the tongue to articulate the repeated notes.

The separation of notes with a slight 'huh' at the start is caused by this. Alternatively, Rampal uses tongue action on the three notes. The score should be inserted at Q. Even though there's

a great variation in this section, Zucker demonstrates accuracy in the articulation during the Jazz Waltz (N).

At U, Zucker deviates from the norm of precisely following the articulation indicated in the score. He chooses to staccato the quavers, despite it only suggesting tonguing. Interestingly, he staccatos the notes in the same way as indicated in the score, two bars before W. However, in the passage before BB, he plays them slurred according to the scoring. Rampal, on the other hand, consistently plays both sections staccato. It appears that he believes this to be more appropriate. In Y's first bar, Zucker chose to slur all 6 quavers instead of only the three that are marked as slurred in the score.

It is noteworthy that Zucker emphasizes the distinction between the two 3s just two bars later. Despite its challenging nature, the articulation in Y and Z is correctly executed. However, Rampal opts to tongue all the notes in Z, contradicting what is indicated on the score. On the other hand, in Y, he performs the awkward articulation pattern as written. The issue of repeated notes also arises at AA. Zucker employs the diaphragm technique to articulate them, while Rampal tongues every note regardless of repetition.

BB sees Rampal returning to playing the articulation as written. Surprisingly, the repeated notes are not double tongued, but rather played with more energy and clarity. GG features both Zucker and Rampal shortening the last note in the pattern rather than tonguing it legato. At HH, Rampal's rendition becomes more difficult as he tongues the last two notes, diverging from the standard phrasing pattern in a peculiar manner.

Included is a pattern

of GG. The balance of both recordings ensures that each instrument can be heard distinctly. Nevertheless, there is a difference in emphasis. Zucker's recording creates a prominent feature of the Flute and backing, whereas Rampal's recording highlights the band with a lead of Flute and Piano. The variation in emphasis could potentially be attributed to the different compositions of their bands.

Within Zucker's band, Zucker stands out as the most renowned member, driven by her desire to record the suites. Meanwhile, Bolling and Rampal were already significant French musicians, and the collaboration between them from the outset creates a sense of a duet with accompaniment, rather than a solo performance with accompaniment. To assess accuracy, Hal Leonard's published score is often used as a reference point, being the only major publication of this suite. However, Zucker's recording displays several discrepancies.

Changes have been made to the piano solos in various places. For example, at section E, the solo now includes grace notes and a different bass line. Additionally, there is a completely different solo between sections L and M than what was originally written. Zucker adheres to the score articulation at two bars before BB, even though it contradicts a previous pattern. At the fourth bar of EE, Zucker unexpectedly puts the flute part up an octave for one measure. It is also notable that at FF, the piano cadenza is played as written, which is unusual given the alterations made to other piano solos. Lastly, Zucker and Rampal slightly embellish the final section by adding a mordant elaboration to the E natural in the bar prior to HH and JJ.

Rampal slides to the b natural

three bars before OO, giving the recording a jazzy feel. While this detracts from the classical theme, the improvisational nature of the embellishment remains in keeping with the rest of the performance. The inspiration for Claude Bolling's recording came from a quote by famous jazz musician Sidney Bechet. Bechet said, "You can't feel the Sun, unless you're in the sun, it's the same with music." Bolling interpreted this as meaning that classical musicians could only truly experience jazz by immersing themselves in the jazz environment. This led to the incorporation of jazz elements, ambient recording techniques and old style piano sound in the recording. While it meant that classical musicians might play classical music instead of becoming successful jazz musicians, Bolling was excited by this new juxtaposition and achieved a successful fusion of classical and jazz styles.

The two recordings exhibit notable disparities in both recording techniques and sound quality. The 1970s recording technology utilized results in slightly inferior recording quality compared to the 2004 recording. An example of this can be discerned from the Bolling recording, where at around '30 (E) a group member's singing can be heard; while it adds a sense of genuineness to the sound, this would not be condoned in a more recent recording, as showcased in the second recording where any sound not explicitly noted in the piece is absent. These two recordings differ significantly, with each succeeding in different ways and embodying variations in musical traditions across three decades. They are produced by two distinct musicians, employing different instruments, attitudes, and mixing techniques, with the objective not being to achieve the "impossible fusion of classical music and

jazz"3 but rather to create a "strong exciting juxtaposition for the ear"4- as intended by the piece.

Below are some helpful links:
- Here is a performance by the same lineup at Versailles Palace. Although not used in the comparison, it highlights the immense respect each member had for each other and their ability to effectively communicate within the group.

Get the discography, composition details, and recordings information of Claude Bolling at http://www.claude-bolling.com. The Suite and Recordings Background in Appendix 1 explains that Bolling's recording of the composition is considered the most definitive and highly successful, remaining in the top 40 of the US Hit Parade Jazz Album for an impressive 10 years and topping it for two years. The platinum album is widely acclaimed in the USA. Zucker's recording is also hugely successful and receives praise from Bolling himself who commends the excellent musicians' partnership and superb flute playing by Laurel Zucker. Bolling credits meeting flautist Jean-Pierre Rampal as the inspiration behind this composition.

Jean-Pierre expressed interest in jazz despite not playing and requested a piece that would combine classic flute with jazz. Claude Bolling took on this challenge and created the first three movements over several weeks. Jean-Pierre's enthusiasm for jazz was evident and inspiring.

The idea for the "Suite for Flute and Jazz Piano Trio" was originated by Rampal, who had a clear vision for how he wanted to play it. Being a great supporter of cross over music, he was well-versed in playing various styles. Meanwhile, Bolling, an accomplished jazz pianist, played with his regular group and composed the piece. Despite the technical difficulty of the piano part, which is

at least as challenging as the flute part if not more so, it remains a natural fit under his skillful hands.

Appendix 2: The following email exchange occurred between Elliot Black and Claude Bolling:

To: Claude Bolling
From: Elliot Black
Date: March 25th 1.15pm

Dear Sir,

I am an A level student studying at a 6th form College in Britain. As part of my music A-Level, I am required to compare two recordings of a piece and perform it in a recital. Since I play the flute, I have chosen to perform several movements from your first suite for Flute and Jazz Piano Trio.

Thank you,
Elliot Black

I am comparing your 1975 recording with JP Rampal's Baroque and Blue, and Laurel Zucker's more recent recording. I would appreciate your assistance with two queries regarding your groundbreaking recording: 1. I have come across multiple sources stating that you played the piano part on an old upright piano discovered in a Parisian jazz club, but I am unable to verify the brand or model of the piano.

2. Did any noteworthy musicians influence both the composition and execution/recording you strived for? 3. Were you taken aback by its achievements in the United States? Thank you for your valuable time.
Sincerely, Elliot Black
From: Claude Bolling
To: Elliot Black
Date: March 28th, 7:43 P.M.
Hello Elliot,
You would be impressed by the numerous responses I still receive regarding Baroque and Blue, as well as the other parts of the suite.

It's nice to know that my music appeals to younger people, despite the fact that most of the queries come from older individuals. The upright piano used in the recording was discovered at the Lionel Hampton

jazz club, which is situated within the Meridian hotel in Paris. The exact make and model of the piano is unknown, but I played it during a big band concert on multiple occasions and enjoyed its sound. I convinced the owner of the club to allow me to record on it, which is what you are currently listening to. The picture on the back of the score of me with Rampal was taken during a later performance where we were surrounded by a Steinway, causing confusion among some people. Sidney Bechet's quote about feeling music in the sun resonates with me personally.

When composing and performing a crossover piece, I realized that I needed to give the classical performer a genuine jazz experience. This meant abandoning the orchestra, formality, and incorporating jazz elements throughout. I even insisted on keeping the early singing heard on the record during one-take recordings to create an authentic experience for Rampal and the listener. Rampal's enthusiasm injected energy into areas that I thought lacked and almost made him a co-composer. Despite his ignorance of jazz conventions and history, he inspired me. The success in America surprised me, but many similar ideas and bands were playing comparable music.

Individuals tend to be more receptive to fresh concepts, and it's plausible that my pieces' Ellington influences were attractive to them. I trust that this correspondence will be beneficial to your endeavors, and I express remorse for any grammatical shortcomings in my writing!!