A Hot Night in Paris

( 2 )

Editorial Reviews

Barnes & Noble - Steve Futterman
One of the true perks of being a superstar is that you can have your cake and eat it, too. On his new live, all-instrumental recording, Phil Collins performs the hits that made him a pop prince, but in a style that pleases the musician in him. Collins loves swinging jazz, and here familiar tunes from his solo career and work with Genesis, including "That's All," "Against All Odds," "I Don't Care Anymore," and "Invisible Touch," are given the sonic heft and textural body that only a mighty big band can provide. Outfitted with snappy new arrangements that allow such featured soloists as saxophonist Gerald Albright to stretch out, these pop staples take on vibrant new ...
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Editorial Reviews

Barnes & Noble - Steve Futterman
One of the true perks of being a superstar is that you can have your cake and eat it, too. On his new live, all-instrumental recording, Phil Collins performs the hits that made him a pop prince, but in a style that pleases the musician in him. Collins loves swinging jazz, and here familiar tunes from his solo career and work with Genesis, including "That's All," "Against All Odds," "I Don't Care Anymore," and "Invisible Touch," are given the sonic heft and textural body that only a mighty big band can provide. Outfitted with snappy new arrangements that allow such featured soloists as saxophonist Gerald Albright to stretch out, these pop staples take on vibrant new life. Collins started out as a drummer, and his creative chops show through. Sitting behind his drum kit with the band, Collins also gets his kicks swinging through funk and jazz classics like "Pick Up the Pieces" and "Milestones." Half the fun of A HOT NIGHT IN PARIS is hearing Collins have fun.
All Music Guide - Stephen Thomas Erlewine
In the latter half of the '90s, Phil Collins' career hit a bit of a sales slump, and instead of shamelessly chasing after another number one single, he decided to change pace and try something different. Returning to the drums, he assembled the Phil Collins Big Band, reviving the sound of such idols as Buddy Rich and Sonny Payne, but largely sticking with his original material. After a brief European tour in 1996 which happened to feature Quincy Jones as conductor and Tony Bennett as vocalist, he created a new version of the band featuring several accomplished jazz and studio musicians in support -- notably alto saxophonist Gerald Albright, but also guitarist Daryl Stuermer, tenor saxophonist James Carter, and pianists George Duke and Brad Cole, among many others, in varying roles. That band toured America and Europe in 1998, and it's the one featured on the ten-song, 70-minute live album A Hot Night in Paris. Initially, it may be disarming for long-time fans and detractors to hear "Sussudio," "That's All," and "Against All Odds" blaring forth in brash, brassy arrangements, and it is true that the melodies can occasionally sound thin in this context, but once that first reaction passes, A Hot Night in Paris is actually entertaining. Collins doesn't try anything new with the big band form -- he just updates it with his own songs, including the Genesis chestnut "The Los Endos Suite," along with covers of Miles Davis' "Milestones" and the Average White Band's "Pick up the Pieces." As such, it's the sort of record that will inevitably irk purists, since it's targeted right at mainstream jazz audiences, ones that aren't really familiar with big band music but have a vague idea of what it sounds like, but anyone whose standards aren't quite as exacting will likely be pleasantly surprised with A Hot Night in Paris. When the band just plays -- which is quite often, since the themes are stated quickly enough so they're recognized, then they disappear -- this is swinging, accomplished music that's unpretentious and fun. It's never more than simply entertaining, but that's all it needs to be -- it's more enjoyable than any record Collins has put out in over a decade, and it suggests that this is a dignified and charming way for him to mature.
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Product Details

  • Release Date: 1/13/2008
  • Label: Warner Bros Uk
  • UPC: 639842722124
  • Catalog Number: 427221
  • Sales rank: 128,061

Album Credits

Performance Credits
Phil Collins Primary Artist, Primary Artist, Primary Artist, Drums
Gerald Albright Alto Saxophone
George Duke Piano
Daryl Stuermer Guitar
Mark Bettcher Trombone
James Carter Tenor Saxophone
Brad Cole Piano, Keyboards
Luis Conte Percussion
Daniel Fornero Trumpet, Flugelhorn
Antonio Garcia Trombone, Bass Trombone
Harry Kim Trumpet, Flugelhorn
Ian Nevins Tenor Saxophone, Woodwind
Larry Panella Tenor Saxophone, Woodwind
Arturo Velasco Trombone
Doug Richeson Bass
Matt James Alto Saxophone, Woodwind
Chris Collins Tenor Saxophone, Tenor (Vocal), Woodwind
Alan Hood Trumpet, Flugelhorn
Ron Modell Trumpet, Flugelhorn
Technical Credits
Phil Collins Composer, Liner Notes
Steve Hackett Composer
Gerald Albright Arranger
Miles Davis Composer
Daryl Stuermer Producer
Tony Banks Composer
Mike Barone Arranger
John Clayton Arranger
John Clayton Jr. Arranger
Harry Kim Arranger, Musical Director
Arif Mardin Arranger
Don Murray Producer, Mastering
Sammy Nestico Arranger
Mike Rutherford Composer
David Stout Arranger
Mauricio Guerrero Engineer
Robert Vasgien Mastering
Christophe Suchet Engineer
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Customer Reviews

Average Rating 4.5
( 2 )
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Sort by: Showing all of 2 Customer Reviews
  • Anonymous

    Posted October 1, 2010

    "White Fly"

    This album is simply INDISPENSABLE!!!   The Phil Collins Big Band was really A BIG BAND!   They got mix JAZZ with a LATIN SWING and the musicians are abnormally sensational.   PHIL COLLINS is fantastic on DRUMS.   GERALD ALBRIGHT put "house on fire" with his ALTO SAX. (This man plays TOO MUCH! part of KENNY G team...)   HARRY KIM show us WHAT IS A TRUMPET in his solos...   ... ALL METAL PLAYERS ARE WONDERFUL!   - Well, if you love the REAL GOOD MUSIC, or you HAVE this album, or you MUST HAVE it...

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  • Anonymous

    Posted October 1, 2010

    Who'd a thunk it?

    Hey, we all knew the guy could play some cool grooves, and do a lot of different feels - early Genesis was some of the most subtle drumming ever, but of course the direction of the music changed...here, Phil Collins seems to have really studied the mecahnics of the music - it seems he's always loved this stuff - and he just plays it straight, some good simple funk, a few legitimately swinging numbers, decent brushes, no grandstanding. Timings good, it flows. Even some of the dippier pop stuff seems to make for good jazz arrangements. Sounds like too much work to have been a vanity project - I'll take this over

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