...ras brzaneb, didis mocicebit mogartvit
* * *
Charles Trenet - Swing Mr. Trenet 1937-1950
Artist: Charles Trenet
Album: Swing Mr. Trenet 1937-1950
Label: EMI
Year: 1937-1950
Release: 1989
Format, bitrate: mp3, 320kb/s
Time: 1:13:24
Size: 153MB
Charles Trenet was among the last of his kind of singer, a holdover from the era of pre-World War II France and the prime of Maurice Chevаlier, as well as singer/composers such as Georges Brassens and Lйo Ferrй. Originally an art student, Trenet turned to singing in his early twenties, initially in partnership with pianist Johnny Hess in a duo billed as "Charles and Johnny." In his earliest stage persona, Trenet was also known as a musical impressionist, with a special penchant for doing exaggerated impersonations of Chevаlier. Ironically, amid the manic antics of the act, he actually suffered from deep stage fright, which he never fully overcame, but later learned to mask. After a year working with Hess, he ended up drafted — into the French Air Force, no less — during which time he shaved his head and sported a monocle, two attributes that gave him a bizarre appearance and got him the nickname, for a time, of "The Singing Madman." He resumed his career and civilian status in 1936, amid that brief mid-'30s period of social and economic reform, culminating with the election of the Popular Front government under Leon Blum. By that time, Trenet had outgrown the Chevаlier impressions and came to be known for his smooth, light baritone which, coupled with his seemingly relaxed persona, won over audiences in music hall performances. At one of his most famous engagements, in 1938, he was scheduled to sing three songs in what was the opening set of the evening and was called back by the audience and performed a total of 12 songs that night, and the featured performer never went on.
Trenet composed as well as sang and enjoyed his first big hit in 1939 with "Boum" an infectiously bubbly tune that captured the French listening public's attention. After World War II, Trenet's career moved into international circles as his songs started getting picked up in translation, usually with lyrics by Lee Wilson — his biggest success was "La Mer," a piece that Bobby Darin turned into an English language hit (as "Beyond the Sea"). His other hits included such songs as "Le Soleil a Des Rayons de Pluie," "Il Y Avait Des Abres," "Printemps a Rio," "Bonsoir Jolie Madame," and "Que Reste-Il De Nos Amours" (better known in English as "I Wish You Love").
Trenet's longevity was something of a surprise even to him — the singer had intended to retire in the 1970s, and had made a farewell tour of France; then he agreed to a request for a farewell concert in Canada and found the reception there so encouraging, that he chose to keep performing and was still working in the 1990s, a period in which at least four CDs of his work were released, including a best-of collection produced by British reissue expert Tony Watts. Over the course of his 60-year career, Trenet published some 850 songs as well as books of poetry and a handful of novels, although he tended to dismiss the significance of his productivity with a certain detached amusement. Into his 80s, he still presented an ebullient visage, a broad grin topped by thinning red hair that made him look exactly like the aging music hall entertainer that he was. Trenet was still writing songs very prolifically in the late '90s, often inspired by thoughts that occurred to him as he worked on his fiction, which was one reason he had so much trouble completing the latter.
~ Bruce Eder, AMG
1.Je Chante (Unissued Take) 2:46
2.En Quittant Une Ville (J'entends) 2:33
3.Pigeon Vole 3:20
4.Vous Oubliez Votre Chevаl 3:00
5.J'ai Connu De Vous 2:48
6.Il Pleut Dans Ma Chambre 2:36
7.Quand J'etais P'tit 3:06
8.Tout Me Sourit 2:25
9.Hop ! Hop ! 2:32
10.Le Soleil Et La Lune 2:24
11.Boom ! (English Version) 2:18
12.Your Hand In My Hand (English Version) 2:49
13.Pic, Pic, Pic 2:28
14.La Cigale Et La Fourmi 2:21
15.Swing Troubadour 3:22
16.Sur Le Fil 2:26
17.Le Temps Des Cerises 3:19
18.Devant La Mer 2:26
19.Ma Riviere 2:52
20.Souvenir 2:45
21.La Poule Zazoue 2:42
22.Le Bonheur Ne Passe Qu'une Fois 1:59
23.Que Reste-T-Il De Nos Amours ? 3:13
24.Debit De L'eau, Debit Du Lait 2:28
25.Si Vous Aimiez 3:12
26.Chacun Son Reve 2:17
27.Grand' Mama, It's New York (English Version) 3:17
Personnel:
CHAULIAC LEO QUINTETTE
Hot Club De France Quintet
TRENET CHARLES ORCHESTRE
Django Reinhardt
http://www.megaupload.com/?d=2COYRZDE * * *
Various Artists - Cafe Parisien: Chansons Accordeons Croissants
Artist: Various Artists
Album: France - Cafe Parisien (Chansons Accordeons Croissants - 25 Original French Accordion Songs)
Label: Metro
Year: March 13, 2000
Genre: Jazz
Format, bitrate: mp3, 320kb/s
Size: 169MB
Welcome to the tree-lined boulevards of Paris and the heyday of the Bal Musette.
Sit back with your cafe au lait and croissant and relax as
Edith Piaf,Jean Gabin, Gus Viseur, Tony Murena and other star
performers serenade you with a collection of the finest accordion classics ever made
.
There can be few sounds more universally associated with a city than the sprightly but wistful bal musette accordion, which is as redolent of Paris as striped teeshirts, berets and Boyard smoke.
But if the style itself was born in Paris, its constituent parts were not.
The musette, also known as the cabrette, was a small goatskin bagpipe, one of the most popular instruments in the nineteenth century in the Auvergne, the great expanse of hills and meadows at the heart of the French Massif Central. It was brought to Paris by the Auvergnat immigrants who poured into the capital to find work as building labourers, and then opened little bar/shops selling charcoal and wine, and the miniature dance-halls known as bal-musettes. The first bal-musettes featured Auvergnat bourrées, plus polkas, mazurkas and, above all, waltzes.
In the 1900s the accordion appeared on the scene, brought by Italian immigrant workers. At first excluded from musette bands, the brash, sophisticated accordion eventually penetrated them, notably in the hands of the early star Charles Peguri in the Bal Bouscat of the cabrettaire Antoine Bouscatel. By the early 1900s the bagpipe had been completely supplanted.
In the inter-war years, the bal-musettes flourished, with foxtrots, paso dobles and javas augmenting the dance repertoire. The java especially, with its entwined, hands-on-partner’s-bottom stance and underworld association with the swaggering young dudes known as the apaches, came to typify the louche world of bal-musettes such as the Balajo around the Place de la Bastille, or the Bastoche in Paris’ slang. In the 1930s two other elements were added to the mix. The first was jazz, known as "swing", which, like the accordion, was strongly resisted at first: the mobile, acrobatic antics of swing dancers didn’t fit at all among the close-clasped couples on a packed little bal-musette dance-floor. The second, linked to jazz improvisation, was manouche, or gypsy, playing. Gypsies began to join the musette bands as banjoists, then as guitarists - Django Reinhardt started his career in musette bands - and were crucial in infusing swing into the musette canon.
Right through the 1950s, musette accordion was the sound of popular France, and stars like Gus Viseur, Tony Murena and Jo Privat travelled to the USA and guested with bands of the stature of Glenn Miller’s. Although from the 1960s onwards, rock, disco and newer dance musics marginalised the musette accordion style, it has survived remarkably well. Dozens of little regional dance groups still feature accordion waltzes and javas among a cross-section of dance styles for everyone from teenagers to grand-parents at rural summer bals and weddings across the country. At the other end of the spectrum, serious accordion virtuosi such as Richard Galliano, who accompanied the chanson star Barbara, continue to attract great critical respect in the jazz and new music world.
And the 80s and 90s saw a resurgence of interest in the musette accordion by cutting edge popular groups such as the Negresses Vertes, the Garcon Bouchers, the Tete Raides and Paris Combo. A number of the old dance halls survive intact: in one of them, the Tango, the final years of the bal-musette’s century saw a new weekly gay night open, La Boite A Frissons (The Trembling Box - an old slang term for an accordion). Here a new style of couple is rediscovering the pleasures of dancing in each others’ arms to the swirling accordion.
This compilation represents some of the cream of the golden years of an urban music style as rich and distinctive as any in the world, and with a lot of life in it yet. Philip Sweeney
France - Cafe Parisien (Chansons Accordeons Croissants - 25 Original French Accordion Songs)
1. Orchestre Colombo Du Bal Tabarin - Rosa Bianca
2. Gus Viseur & Son Orchestre - Swing Valse
3. Gus Viseur & Son Orchestre - Nuages
4. Edith Piaf - L'Accordeoniste
5. Orchestre Musette Carlinin -Caprice Musette
6. Gus Viseur's Music - Winds & Strings (Andalousie)
7. Roger Etlens & Son Ensemble - Swing Guitare
8. Albert Huard/Ensemble De La TSF - Alhambra
9. Gus Viseur & Son Orchestre - Matelotte
10. Maurice Muno/Orch. Musette De La Rue De Lappe - La Java Du Tabarin
11. Les Freres Colombo Du Bal Tabarin - Jeannette
12. Gus Viseur - Bois De La Cambre
13. Jean Gabin - Quand On S'Promene Au Bord De L'Eau
14. Gus Viseur & Son Orchestre - Porter
15. Tony Murena & Son Ensemble - Café Au Lait
16. Guérino/Orchestre Musette De La Boite A Matelots - Brise Napolitaine
17. Gus Viseur & Son Orchestre - Flambée Montalbaniase
18. Les Freres Colombo Du Bal Tabarin - Pégurinade
19. Gus Viseur & L'Orchestre Victor - Valse De Minuit
20. Louis Richard & Son Ensemble - Jour De Swing
21. Roger Chaput/Orchestre Musette - Je Ne Saurais Jamais Dire Ca
22. Germaine Béria w/Les Vagabonds Melomane - Dans Les Musettes De Paris
23. Orchestre Musette de Grock - A La Bastoche
24. Emile Vacher - Mado
25. Robert Trognée & Ses Virtuoses - Retour Des Hirondelles
TRACK DETAILS:
Gus Viseur
[relates to tracks 2, 3, 6, 9, 12, 14, 17,19]
Viseur was born in 1915 in Belgium, another major source of accordion talent, and treated to music lessons by his father, a keen amateur accordionist. By the thirties, he was playing in Paris bal-musettes - the Petit-Jardin, the Bal Myrrha, the Bal Polonceau - and Pigalle cabarets. Viseur was the first bal-musette accordionist to take up swing jazz and became France’s most eminent jazz accordionist, and a member of the Hot Club de France. He was also a prominent integrator of gypsy style into the musette genre. His Swing Valse, co-written with gypsy guitarist Baro Ferret, is an all-time classic, and Nuages, Django Reinhardt’s classic "slow" features Reinhardt on guitar. Mediterranean influences in Viseur’s music are represented by Flambée Montalbanaise, a reference to the bombing in 1940 of the southern town of Montauban, and Winds & Strings, with its Andalucian theme.
Emile Vacher (track 24), born in poverty in Tours in 1883, is often referred to as the father of the musette genre. His blend of strict time and melodic inspiration shine through his classic waltz Mado, named after his wife.
Tony Murena (track 15) was born to Italian parents, became a childhood accordion prodigy, friend and collaborator of Gus Viseur, and one of the greatest stars of jazz musette.
Jean Gabin (track 13) achieved fame as the star of films such as Pepe Le Moko, but began his career as a singer. This track, from the 1936 film La Belle Equipe, evokes another typical musette setting - the banks of the rivers Seine and Marne, and Sunday afternoons spent eating, drinking and dancing at the guingettes which lined them.
Edith Piaf [track 4]
One of the great star’s most famous songs, a tale of the fated love between a musette accordionist and a prostitute, with accordion by Gus Viseur.
Other
[Tracks 1, 5, 7, 8, 10, 11, 16, 18, 20, 21, 22, 23, 25]
Among the musicians who catered to the booming bal-musette scene of centres such as the rue de Lappe, cross-influences were not restricted to jazz and rabouin (slang for gypsy) music. The Bal Tabarin, haunt of the Colombo brothers, was a centre for tango. Louis Richardet, a virtuoso jazz accordionist, also played Cuban and Antillean music, while the extraordinary "Grock", a Swiss musical clown and multi-instrumentalist, incorporated Tyrolean elements, discernible here even under the hyper-Parisian title of the track A La Bastoche.
http://www.megaupload.com/?d=MT1Q914K This post has been edited by kaxaR on 16 Jul 2009, 01:40 
JAZZ DOWNLOAD VOL. XVI, Jazzicted
· ახალი თემა · ახალი გამოკითხვა
Pages:
(101) « პირველი ... 28 29 [30] 31 32 ... ბოლო »