Customer Reviews

A Hot Night In Paris

5 star:		(26)
4 star:		(6)
3 star:		(3)
2 star:		(3)
1 star:		(1)

 

 

On this cd, Phil Collins goes back to his roots as a jazz drummer. While a few Phil fans may be disappointed that there are no vocals, or that the standards don't sound quite like the originals, I doubt that was Phil's point, to put out another cd of hits. Here he branches out, playing tunes by Miles Davis and Phil's saxophonist Gerald Albright. This is definitely a cd to be enjoyed for the pure talent of the musicians. As a jazz musician and composer myself, I think the arrangements were downplayed a little, so the non-jazz familiar audience would enjoy them more, but the excitement and talent of the players more than makes up for it. The solo horns on the Phil standards to me sound as expressive as any voice could be--who needs words for everything when horns can say the same thing? But a very well done cd, excellent musicians, and Phil gets to show off in the genre he started out in. Not every drummer can bridge the gap between pop and jazz, especially big band jazz, so easily. Three cheers for Phil and his most excellent big band, which can be enjoyed equally by jazz and pop fans alike.

...As a longtime Phil Collins fan for well over two decades now, I've gotten used to the constant idiotic bad reviews of Phil's singing & songwriting abilities that have plagued him since 1985's "No Jacket Required" album, which are stupid enough. But to put down Phil's talent as a *drummer* is absolute bull---t! Phil Collins is without a doubt one of the greatest drummers in the world. NO ONE on God's given Earth plays drums like Phil Collins. He is a master, a pro, and he has a unique drumming sound that's entirely his own. He KNOWS his way around that drumkit. If you can't hear the brilliance of Phil's drumming on "A Hot Night In Paris," or on ANY album that Phil has drummed on throughout his career for that matter, then you are obviously, 100%, frigging DEAF! Now that I've gotten that off my chest....Phil Collins has always had great affection for jazz music, and, in 1999, he did a brief tour with his own jazz band, playing certain jazz classics, as well as jazz arrangements of some of his solo & Genesis material. No singing, just some major kick-butt jazz playing. His big band's stop in Paris is well-documented on "A Hot Night In Paris," as Phil & company put excellent jazz rave-up spins on Phil favorites like "Sussudio," "I Don't Care Anymore," Genesis hits "That's All," "Invisible Touch," and their 1976 prog-rock warhorse, "Los Endos," and a phenomenal, mindblowing, 12-minute blast through the old Average White Band classic, "Pick Up The Pieces." Phil & his big band are simply sensational on this recording---I wish I could've been at the concert myself! If you're a diehard Phil Collins fan, then "A Hot Night In Paris" is a definite must-have. Rock on, Phil!

...Gene Krupa. Other reviewers have touched on the specific numbers collectively better than I could, so I'll just deal with Phil The Drummer here. I know friends who have always dissed the way Collins has used all four of his toms in a way that walks all over the backbeat as defined by his snare. I used to say; "Well, that's 'cause he's more of a jazz man than a rock drummer", but I went no further than that. Rock has always been backbeat-centered, so a drummer like Collins is always going to leave the rock listener a bit cold. But it wasn't until I bought this disc that I realized that the slam-boom beat of "I Don't Care Anymore" has always been more derivative of Gene Krupa (specifically "Sing, Sing, Sing") than any rock drummer. Not even the use of horns in songs like "It Don't Matter To Me" and Genesis' "Paperlate" tipped me off to the fact that this man should have done a big band album years ago. I'm not saying that he should abandon pop entirely, but the switch of Brian Setzer to swing, the fact that Lyle Lovett's Large Band has a solid following, and the fact that Chuck Mangione's brother Gap has converted from small ensemble to big band--all of this at least suggests that (at least at the moment) there's an appetite for the sound.

"A Hot Night In Paris" is Phil Collins and friends (including long-time Genesis live session man Daryl Steurmer) deliver a "different" type of solo album with this very jazz sounding CD. Released on the heels of his very succesful "Tarzan" soundtrack with its #1 single "You'll Be In My Heart", some fans might be turned off by Phil just drumming and no singing on this CD, but like his buddy Eric Clapton sometimes he just likes to sit back and play what made him famous. The standouts here are the big band versions of "That's All", "Against All Odds", and the "Los Endos Suite" which is a nice touch to an overlooked Genesis gem from "A Trick Of The Tail" which was Phil's first as lead vocalist. Also the sound is first-rate. A nice change of pace for Mr. Collins.

This CD rocks. No vocals at all, just good, solid big band music. The fun thing--and the thing that separates this from any other big band CD--is that it's CONTEMPORARY big band. Sort of a cross between swing, contemporary jazz, and a little lite FM, it's something that can't easily be described, you just have to hear it.

Many of these are tunes either written or performed by Collins as a vocalist, but arranged for big band. (And might I add that the arrangements are incredible!) But there is a Miles Davis piece ("Milestones") and one or two by alto saxophonist Gerald Albright, the lead sax, who is probably responsible for much of the contemporary jazz sound. Albright easily steals the show, putting in solo after amazing solo, most notably a slick, hip-hopping turn on "Sussudio," a sparkling romantic lead on "Against All Odds," and as the bopping lead in the spicy, percolating mambo "Chips & Salsa." Written by Albright and originally on his 'Giving Myself to You' CD, this is one of the best songs; the beat gets under your skin and makes you move whether you feel like it or not!

Other great numbers include wonderfully Sinatra-esque arrangements of Phil's "That's All" and "I Don't Care Anymore," the sly, slinky "Invisible Touch," and a wild twelve-minute-plus tour-de-force of the Average White Band's "Picking Up the Pieces." And even though there's only ten songs, there's no shortage of music--all the tracks play rather long, the shortest being just under five minutes.

Phil really achieved his goal of showing just how good a jazz drummer he is, providing solid foundations for everyone to build on. He also accomplished making this into a CD that you can't stop playing. Perfect for a fun get-together or driving on a summer night with the windows down, even non-jazz fans will love this.

Phil Collins has always been influenced by jazz. In his first solo album, Face Value, you can hear a jazz influence with the Phoenix Horns playing on many of his arrangements. He was greatly influenced by Buddy Rich in his early years and has stated he wanted to do a jazz album because of Buddy's influence. A Hot Night In Paris, is that. Hot! His arrangements on "I Don't Care Anymore" and "Milestones" are dynamic. As a drummer, Phil knows how to drive a band and insert fills at the right time. He's shown this in his early albums and definetly on this one. This is one of his best albums. I hope he continues to record his big band sound.

They snuck this all instrumental cd out with very little promotion , and no wonder ; 1. It's jazz and (omigod!) 2. it has no vocals at all , a death knell for commercial success. Phil Collins proves that he's one hell of a "chops" drummer on this ; the "charts" rank with some of the best big-band jazz I've ever heard , and Phil pops every break and accent right on the money. Every true musician tries his hand at a jazz set , (I know, I've done mine !) and Phil Collins should be proud of this ! It smokes ! Bob Welch (ex-Fleetwood Mac etc)

This is Phil Collins' best solo project to date. With Genesis, he delved into progressive rock, experimenting with different sounds and making music that sounded more at home on classic rock stations than light-rock stations. I had high hopes for Collins when he announced his departure from the group. With more time to concentrate on his solo carreer, maybe he could actually make some music that was up to par with his Genesis work. After hearing Tarzan and various other things he had done, I had almost given up hope. That hope has been rejuvinated with this album. Collins is where he belongs, behind the drums, playing good music that you won't hear from every mother's mini-van on her way to pick up carpool. Excellent drumming, and just flat dab good music.

The arrangements are awesome, the band powerful. Wonderful treatments of many of Phil Collins' best hits. The driving funk groove behind Gerald Albright's solo on track 1 is reason enough to get this CD. I hope another one is in the works!

If you're expecting to hear Phil Collins sing on this one walk away now. That is not what this CD is about. This is Phil Collins going back to his jazz influences and putting a whole new spin on some of his songs and those by Genesis.

I have recently become a BIG fan of jazz and big band music. This CD is in the spirit of the masters: Buddy Rich, Count Basie, and Duke Ellington - all of whom Phil Collin's states as influences.

I have always liked the Genesis song, "Hold on my heart." The way it shows up here is incredible. That along with "Milestones" and "Pick up the pieces" are my favorites.

If you want to try something new...with just a hint of something familiar, then give this a shot.