Jean-Michel Defaye was a French pianist, composer, arranger, and conductor born in 1932 who is most notable known for his works written for brass, specifically the trombone. Of the thirteen pieces Defaye wrote to feature the trombone, the most notable by far is his Deux Danses. Written in 1954, the piece falls into the category of classical trombone repertoire, but is characterized by its many jazz influences. The first movement of the trombone melody is written in a way that is supposed to emulate the great jazz trombone ballad players of the 30’s and 40’s, specifically Tommy Dorsey. The melody is embellished with glissando and written falls the way a jazz trombonist would add inflection. Aside from the melody the piano accompaniment is written with dense block chords with extensions giving the piece a modern sounding and mysterious palette.

Fortunately enough the original recording of Deux Danses features Jean- Michel Defaye himself as the pianist as it was recorded shortly after it was written. The trombonist featured is Gabriel Masson, a French trombonist and contemporary of Jean-Michel Defaye’s of the time. Not much anything else is known or recorded by Masson other than the album this recording is from. The first noticeable characteristic of this recording is the fast and even vibrato that Masson uses. At certain points it becomes almost comical and even offensive. This is in direct imitation of the great Tommy Dorsey who is sole most distinguishing feature is his use of very fast and almost immediate vibrato. Another aspect of this recording is the concerted effort to move the piece along. Very little push and pull occurs other than a few very obvious ritardandos. The accompaniment is very rigid and the solist tends to lean on the front end of the beat, squaring off rhythms and giving the piece a very unsettled sense of forward direction. Masson also uses very harsh articulations for much of the technical tonguing sections. His sound comes across as very pingy and sharp. This leads to the last and most important point, equipment. Masson in this recording is using a very small straight tenor trombone. It is believed to be a Selmer Bolero model. Regardless of model, this small equipment is indicative of the times. The horns size gives it this characteristically narrow, focused, and sometimes stuffy sound. That being said Masson is able to zip around on the horn pulling off very clean and impressive feats of technical proficiency due to his ability to overpower the horn.

The modern day recording is a live recording of Joe Alessi from a masterclass performance in 2000. Joe Alessi is widely recognized as the greatest living orchestral trombonist. He is Principal Trombone of the New York Philharmonic and a World class solist. Immediately in this recording the listener notices a difference in the quality of sound Alessi produces. Again this is because of equipment. The modern orchestral style dictates the use of large bore tenor trombones with F attachment valves and larger bells. All of this results in a warmer, darker, richer sound with less edge and more depth. This makes Alessi’s sound more rounded, silky, and bulbous. Another aspect this recording chooses to interpret differently is the use of vibrato. Alessi uses a more modern and commercial style of slide vibrato that is only used on certain notes and when implemented is done so gradually in a very tasteful matter. This style is more akin to the way jazz trombone vibrato developed as a result of the practices of Bill Watrous, Urbie Green, and other later jazz trombonists. Overall Alessi’s style is more slick, aiming for a much more smooth and silky performance. Even in the short technical passages Alessi’s articulations are rounded and wide. Another aspect of this recording that is different from the original is the freedom and relaxed nature of the accompaniment as well as the soloists approach. The piece is allowed to breath, ebbing and flowing, leaving the listener with a very natural and relaxed take.

In comparing the two recordings one can learn more about the perception of Jazz music at the times they were recorded than anything else. For Defaye in the 50’s the jazz he experienced was much more square and hokey. For Alessi, Jazz had developed into a lush and slick art form. More freedom of choice as well as a focus on a silky, smooth, beautiful sound coupled with larger equipment informs Alessi’s take leaving us with the ultimate result.