Kenny Clarke - Modern Jazz Quartet and Move To Paris

Modern Jazz Quartet and Move To Paris

While playing at Minton's, Clarke made many recordings, most notably as the house drummer for Savoy Records. When the musicians from the Minton's band moved to different projects, Clarke began working with a young pianist and composer John Lewis and vibraphonist Milt Jackson. With the addition of bassist Ray Brown, they formed the Modern Jazz Quartet, or MJQ. The group pioneered what would later be called chamber jazz or third stream, referring to its incorporation of classical and baroque aesthetics as an alternative to hard bop, the bluesier successor to the bebop combo sound which emerged in the mid-1950s. Clarke stayed with the MJQ until 1955, when he began contemplating a move to Paris, where he eventually relocated in 1956. Clarke had toured Europe numerous times going all the way back to a stint in the Army during the mid 1940s. He was undoubtedly attracted to the better pay he could earn in France: "Why not stay here?" Ira Gitler quotes him as saying, "I earn a good living, a very good living." It is also possible that, like many African American expatriate musicians and writers, he was attracted to the better social treatment he received there. As soon as he moved to Paris, he regularly worked with visiting American musicians, including Miles Davis on the legendary score to Ascenseur pour l'échafaud, a classic film noir directed by Louis Malle. Clarke also formed a working trio, known as "The Three Bosses", with pianist Bud Powell, another Paris resident, and bassist Pierre Michelot, who had played on the Davis soundtrack too. In 1963 The Three Bosses recorded the classic album Our Man in Paris with tenor saxophone great Dexter Gordon.

In 1961, with Belgian pianist Francy Boland, Clarke formed a regular big band, The Kenny Clarke-Francy Boland Big Band, featuring leading European and expatriate American musicians, including among many others, Johnny Griffin and Ronnie Scott on tenor saxes. The big band, which had been the idea of Italian producer Gigi Campi, lasted for eleven years.

After 1968 Kenny Clarke played and recorded with the French composer and clarinettist Jean-Christian Michel for 10 years.