French pianist, composer, and bandleader Martial Solal's intuitive approach to improvisation has earned him an honored place among the greatest minds in all of jazz. Thoroughly versed in the tradition from New Orleans (he worked extensively with Sidney Bechet) to big-band swing to bop to post-bop and beyond, Solal has also composed chamber music, written scores for more than 20 films, and recorded more than 70 albums as soloist and leader. For more than 60 years, Solal has personified the cross-pollinated splendor of European jazz by utilizing styles and influences from both sides of the Atlantic to generate and sustain musical ideas that almost invariably come across as intelligent, pleasant, and gratifying. Solal is highly regarded as one of the great storytelling soloists; many critics praise his unaccompanied outings -- his 1954 debut French Modern Sounds, 1974's Himself, and 1998's Jazz 'n (E)motion are prime examples). Likewise, Solal is also a formidable duo partner who pushes others to great heights of improvisation and harmonic inquiry. Besides Bechet, he has toured and recorded with some of the great jazz soloists, including Niels Henning Ørsted-Pedersen (Movability, 1976) Lee Konitz (Duplicity, 1978), Stéphane Grappelli (Happy Reunion, 1980), Michel Portal (Fast Mood, 1999), and modernists such as Dave Douglas (Rue De Seine, 2006) and David Liebman (Masters In Bordeaux, 2017).

A student of 20th century European composers such as Béla Bartók, Igor Stravinsky, Alban Berg, and Olivier Messiaen, his early influences on piano were Fats Waller, Teddy Wilson, and Art Tatum, followed by Erroll Garner, Bud Powell, and Bill Evans. Some might hear elements of Herbie Nichols or Dodo Marmarosa. Both Oscar Peterson and Duke Ellington held him in highest esteem. As a composer he is clearly descended from both Ellington and Thelonious Monk. Each of these currents flows freely yet systematically through his music, tempered by his own unique sensibilities and a vast store of impressions harvested and manifested during a lengthy lifetime spent in absorption, reflection, and emanation.

Born to French parents in Algiers, North Africa, on August 23, 1927, Martial Solal grew up under the influence of his mother, an opera singer who encouraged him to learn to play piano, clarinet, and saxophone. In 1942 the Vichy government's adopted Nazi racial policies (enforced in the French colony of Algeria) resulted in his expulsion from school, solely on account of his father's Jewish ancestry. Already familiar with the classical piano repertoire from Bach to Debussy, young Solal now became a full-time musical autodidact. A turning point occurred when he pushed himself to emulate a recording he heard over the radio, unaware that he'd been listening to a piece for piano four hands. (Similarly, finger-style guitar virtuoso Guy Van Duser cited an overdubbed Chet Atkins record as an important inspiration for his own exceptional accomplishments.) By the age of 15, Solal was performing publicly, often playing to an audience of U.S. Armed Forces personnel.

Solal continued to study and perform while enlisted in the military, began working professionally in 1945, and moved to Paris in 1950, performing in nightclubs and making his first recordings as soloist and sideman, sometimes under the name of O.J. Jaguar. During this period he worked with bassist Pierre Michelot and in bands led by trumpeter Aimé Barelli, drummers Gerard Pochonet and Benny Bennett, and triple-threat trumpet/clarinet/tenor sax man Noel Chiboust. Solal formed a quartet in 1951 with trumpeter Roger Guerin, bassist Paul Rovère, and drummer Daniel Humair. He recorded with an ensemble under the direction of composer Andre Hodeir in 1952, then cut an LP with his own trio and participated in Django Reinhardt's very last session in 1953. In 1955 Solal played on what appears to have been Argentine composer and bandoneon virtuoso Astor Piazzolla's first European recording date. He jammed with guitarist Henri Crolla and progressive clarinetists/tenor saxophonists Hubert Rostaing and Maurice Meunier, and in 1956 was heard on one of earliest albums ever to appear under the name of Claude Bolling.

Solal's artistic collaborations with visiting or expatriate U.S. jazz musicians during the '50s and early '60s included sessions with trumpeter Clark Terry, trombonist Quentin "Butter" Jackson, saxophonists Sidney Bechet, Don Byas, Lucky Thompson, and Stan Getz, guitarist Jimmy Gourley, bassist Joe Benjamin, and drummers Kenny Clarke and Roy Haynes, as well as bassist Curtis Counce among a small contingent of instrumentalists associated with bandleader Stan Kenton. In 1960, Solal achieved international fame when he scored music for the soundtrack to Jean-Luc Godard's film A Bout de Soufflé. Together with trumpeter Roger Guerin, alto saxophonist Pierre Gossez, vibraphonist Michael A. Hauser, bassist Paul Rovère, and drummer Daniel Humair, Solal created a fascinating suite of deceptively simple variations that greatly enhanced the film's restless pacing, thrilling plot, and revolutionary editing. Other film projects would include scores for films by Godard's contemporaries Jean-Pierre Melville, Henri Verneuil, Edouard Molinaro, and Jean Becker, as well as Jean Cocteau's Testament of Orpheus and Franz Kafka's The Trial as interpreted by Orson Welles.

A period of busy productivity ensued, including live performances and several albums with Humair and bassist Guy Pedersen. In 1963, Solal appeared live in Berlin, at the Hickory House in New York, in Montreal, and at the Newport Jazz Festival with bassist Teddy Kotick and drummer Paul Motian. A brief alignment with Attila Zoller and Hans Koller resulted in a configuration remembered as Zo-Ko-So. From 1965-1969, Solal's reconstituted trio included Gilbert "Bibi" Rovère and drummer Charles Bellonzi. In 1967 Solal was heard in San Francisco and at the Monterey Jazz Festival. During the '60s he recorded with guitarist Wes Montgomery and trombonist Slide Hampton, initiated a long-standing artistic relationship with saxophonist Lee Konitz, and performed in duet with pianist Hampton Hawes backed by Pierre Michelot and Kenny Clarke. During the '70s Solal recorded as a soloist at various locales including Villingen, Germany, and Warsaw, Poland; in duets with Konitz, Stéphane Grappelli, Joachim Kühn, and bassist Niels-Henning Ørsted Pedersen; in trios with Pedersen, Rovère, Jean-François Jenny-Clark, and Humair; in quartets with Konitz, Pedersen, Dave Holland, guitarist John Scofield, and Jack DeJohnette; and with a band led by George Gruntz.

During the '80s Solal led a 25-piece big band, appeared live at New York's Town Hall with an ensemble led by Daniel Humair, and continued to record as a soloist. Solal's two piano concerti, composed during the '80s, were recorded in 1989. A resurgence of activity occurred during the '90s, as he teamed up with pianists Katia and Marielle Labèque and engaged in creative duets with pianist Joachim Kühn, violinist Didier Lockwood, mouth organist Toots Thielemans, trumpeter Eric Le Lann, and tenor saxophonist Johnny Griffin. Solal's trios now involved bassists Marc Johnson and Gary Peacock, drummers Paul Motian and Peter Erskine. He also made an album with bassist Mads Vinding and Daniel Humair backed by the Danish Radio Jazz Orchestra.

Martial Solal inaugurated the 21st century by composing music for Les Acteurs, a film directed by Bertrand Blier, and remained active in the recording studios. In one setting, Solal's quartet was augmented by an orchestra conducted by Patrice Caratini. Solal's 12-piece "Dodecaband" interpreted an album's worth of Ellington tunes and his "Une Piece Pour Quatre" was included with compositions by Phil Woods, Paquito d'Rivera, and Aldemaro Romero in an album by the Accademia Saxophone Quartet.

In 2007, Solal released Exposition Sans Tableau featuring a scaled-down "Newdecaband" that included vocalizations by his daughter Claudia Solal. Also around this time, he collaborated with clarinetist Rolf Kuhn and with trumpeter Dave Douglas. He then delivered the trio album Longitude with brothers Louis and François Moutin. A concert album, Live at the Village Vanguard, followed in 2009. In 2016, Solal joined fellow French pianist Eric Ferrand-N'Kaoua for Martial Solal: Works for Piano and Two Pianos. The following year, he and saxophonist David Liebman released the duo album Masters in Bordeaux, followed by the solo outing My One and Only Love: Live at Theater Gütersloh in 2018. ~ arwulf arwulf

A highly skilled, versatile drummer, Peter Erskine has anchored big bands and jazz-rock fusion groups. He's known for sophisticated rhythms, distinctive accompaniment, and powerful, rippling solos. Erskine began drumming at three, and participated in Stan Kenton's National Stage Band Camps from the age of six. He studied with Alan Dawson and Ed Soph, attending the Interlochen Arts Academy in Michigan and Indiana University. He played with Kenton from 1972 to 1975, then from 1976 to 1978 with Maynard Ferguson. Erskine joined Weather Report in 1978, and was their drummer and percussionist until 1982. He also did several West Coast sessions in the late '70s, and was a member of Steps and Steps Ahead. During the '80s he worked with John Abercrombie's groups and the quartet Bass Desires. He's also worked with Joe Farrell, Marc Johnson, Mike Brecker, Randy Brecker, John Scofield, Bob Mintzer, Lew Soloff, Kenny Kirkland, Mike Mandel, and Kenny Werner, among others. As a leader, he debuted with Peter Erskine in 1982 on Contemporary, followed by several well-received efforts for Denon. During the '90s, he developed a good relationship with ECM, releasing such albums as 1992's You Never Know, 1995's As It Is, and 1998's Juni. Also during the '90s, Erskine founded his own Fuzzy Music label, delivering such albums as 1995's From Kenton to Now with tenor saxophonist Richard Torres and 1998's Lava Jazz. In the 2000s, Erskine continued to release albums via Fuzzy Music with 2002's Badlands, 2005's The Lounge Art Ensemble: Music for Moderns, and 2016's Dr. Um, which introduced his Dr. Um Band featuring keyboardist John Beasley. In 2017, Erskine reunited Beasley and the Dr. Um Band for Second Opinion. ~ Ron Wynn

Marc Johnson gained his initial reputation as a member of Bill Evans' last rhythm section and his work with Bass Desires (a group featuring both Bill Frisell and John Scofield on guitars) showed off his versatility. While at North Texas State University, Johnson played with a group that included Lyle Mays. He was with Woody Herman's Orchestra (1977), Bill Evans (1978-1980), Stan Getz (1981-1982), and John Abercrombie (1983) before forming Bass Desires (1985). The latter group recorded two intriguing albums for ECM. In 1989, Marc Johnson made a series of duets with various all-stars for EmArcy and in 1993, he led the group Right Brain Patrol, a trio with guitarist Ben Monder and percussionist Arto Tuncboyaci that recorded for JMT. He landed at Verve for 1997's The Sound of Summer Running; If Trees Could Fly followed two years later. ~ Scott Yanow