DOCSLIB.ORG

Yk† Ìúôł["÷ljN

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Yk† Ìúôł[ 120821bk Django9 7/9/05 9:52 PM Page 8 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to produce restorations that have set new standards in the field of historical recordings. Available in the Naxos Jazz Legends series … 8.120739 8.120740 8.120746 8.120766 8.120771 8.120772 These titles are not for retail sale in the USA 120821bk Django9 7/9/05 9:51 PM Page 2 DJANGO REINHARDT Vol.9 Personnel Track 1: Leon Ferreri, piano; Django Reinhardt, Track 11: Alex Renard, Noel Chiboust, Gaston ‘With Vocals’ Original Recordings 1933-1941 guitar; Max Elloy, drums Lapeyronnie, trumpets; René Weiss, Pierre Track 2: Eugène d'Hellemmes, trombone; Deck, trombones; Andre Ekyan, Andy Foster, ‘The most creative jazz musician to originate anywhere outside the USA’ – Mercer Ellington Andre Ekyan, alto sax; Stephane Grappelli, clarinet, sax; Maurice Cizeron, alto sax, flute, clarinet; Alix Combelle, tenor sax, clarinet; Jean Immortalised in the annals as a key innovator in the playing of others. His playing, even after the violin; Michel Emer, piano; Django Reinhardt, guitar; Max Elloy, drums Chabaud, piano; Michel Warlop, Stephane the European jazz tradition, ‘gypsy jazzman’ par superimposition of the Afro-American jazz idiom, Grappelli, violins; Django Reinhardt, Joseph excellence Django Reinhardt was the first non- was steeped in the spontaneous, Magyar-derived Track 3: Andre Ekyan, clarinet; Alex Siniavine, Reinhardt, guitars; Louis Pecqueux, bass; American to make a decisive impact in the genre. Francophone tsigane traditions. piano; Django Reinhardt, guitar Maurice Chaillou, drums A curious blend of extrovert showman and self- After gaining his first professional experience Tracks 4, 12-13: Stephane Grappelli, violin; Track 14: Andre Ekyan, clarinet; Alec Siniavine, styled loner, this volatile yet elegant miniaturist, in touring shows with his family, in 1921 he Django Reinhardt, Joseph Reinhardt, Roger piano; Django Reinhardt, guitar; Louis Vola, although prodigal of his talents – not averse to formed a duo with the accordéoniste Guérino and Chaput, guitars; Louis Vola, bass accordion ‘disappearing’ for lengthy periods to pursue with him made regular appearances at local bals- Track 5: Pierre Allier, Maurice Mouflard, Tracks 15-16: Stephane Grappelli, violin; other interests (among which fly-fishing and musettes and in houses of ill repute. Later he trumpets; Marcel Dumont, trombone; Andre billiards at which he was a champion) – left a migrated up-market, to dance-halls and cafés Django Reinhardt, Joseph Reinhardt, guitar; Ekyan, alto sax, clarinet; Amédée Charles, alto Louis Vola, bass legacy of finely-honed gems. The son of travelling and, it is reported, won several talent contests. sax; Alix Combille, tenor sax; Charles Lisée, entertainers (his father a violinist, his mother a In 1928 (for Ideal) he made his first discs, in an baritone sax; Michel Warlop, violin; Stephane Track 17: Stephane Grappelli, violin; Django dancer) Django was born Jean Baptiste accordion band led by Jean Vaissade, which Grappelli or Alain Romans, piano; Django Reinhardt, Joseph Reinhardt, Pierre Ferret, Reinhardt in a caravan in a French-speaking reached the ears of English bandleader- Reinhardt, guitar; Roger Grasset, bass; guitars; Lucien Simoens, bass Manouche gypsy settlement at Liberchies, near impresario Jack Hylton, who made him a firm Maurice Chaillou, drums Tracks 18-19: Stephane Grappelli, violin; Luttre, Belgium on 23 January 1910. offer of work. Later that same year, however, Tracks 6-7: Garland Wilson, piano; Django Django Reinhardt, Joseph Reinhardt, Eugene From 1918 Django lived with his mother and physical injury (including the loss of two fingers Reinhardt, guitar Vees, guitars; Emmanuel Soudieux, bass guitarist brother Joseph in a shantytown caravan, of his left hand) in a caravan fire fortuitously Tracks 8-9: Alex Siniavine, piano; Django Track 20: Leo Chauliac, piano; Django near Choisy on the outskirts of Paris. There, his provided Django with the spur to devise the Reinhardt, guitar Reinhardt, Joseph Reinhardt, guitars; Tony family formed part of a troupe of players whose individual method through which he became Rovira, bass; Pierre Fouad, drums incessant wanderings made his youth a nomadic famous. An enforced eighteen month Track 10: Alex Renard, trumpet; Michel and unstable existence. He was surrounded from convalescence led to a re-appraisal of his Warlop, Sylvio Schmidt or Stephane Grappelli, his earliest youth by music making, however, and technique and by 1930 Reinhardt had resumed violin; Alain Romans, piano, celeste; Django took early to both violin and banjo, although he his career in Parisian cafés and cabarets, where Reinhardt, guitar; Lucien Simoens (?), bass soon changed to guitar and from the start his his style, a blend of traditional native Romany playing of this was intuitive also, rather than in rhythm and imported American jazz, was any sense formally instilled. Self-taught and self- perfected. motivated, Django learned most from observing In Paris Django met with visiting American 2 8.120821 8.120821 7 120821bk Django9 7/9/05 9:51 PM Page 6 11. Darling, je vous aime beaucoup 3:18 16. Rendezvous sous la pluie 2:35 jazzmen (players like Benny Carter, Coleman the Atlantic, with Reinhardt hailed as international (Anna Sosenko) (Charles Trenet–Johnny Hess) Hawkins and Eddie South) and in 1933 was celebrity. Hildegarde with Patrick et son Orchestre de Jean Sablon with instrumental heard by the painter Emile Savitry, through The Quintette which (by general agreement) Danse accompaniment whom he met Jean Sablon (1906-1994), at that made great jazz, easily on a par with anything Pathé PA 538, mx CPT 1844-1 Columbia DF 1847, mx CL 5518-1 time a rising star of Continental cabaret and ethnically American performed a disparate, Recorded 4 March 1935, Paris Recorded 7 December 1935, Paris dubbed the ‘French Crosby’. For some months cross-cultural repertoire which knew no 12. Lily Belle May June 3:34 17. I'se A-Muggin' 3:05 the pair collaborated successfully as a duo, boundaries. Intermixing classical and pop with (Earle T. Crooker–Henry Sullivan) (Stuff Smith) recording (for French Columbia) with Django folk, ad lib, in a ‘world-jazz fusion’ it survived for Jerry Mengo with the Quintette of the Hot Freddy Taylor with the Quintette of the Hot playing in the style of the recently-deceased almost five years, although due to Django’s Club of France Club of France American guitarist Ed Lang (1902-1933) – and unpredictability and frequent arrogant outbursts Ultraphon AP 1444, mx P 77240 HMV K 7704, mx 0LA 1057-1 also in a larger ad hoc ensemble, whose his relationships, particularly with the reserved Recorded March 1935, Paris Recorded 4 May 1936, Paris personnel regularly featured his French colleague, and more precise Grappelli, were by all accounts 13. Sweet Sue, Just Sue 2:52 18. Undecided 2:30 clarinettist-saxophonist André Ekyan (alias far from easygoing. The disbanding of the (Victor Young-Will Harris) (Charles Shavers–Sid Robin) Echkyan, 1907-1972). Quintette just before the outset of World War II, Jerry Mengo with the Quintette of the Hot Beryl Davis with the Quintette of the Hot By 1934 Django and violinist Stephane during the group’s British tour, may therefore, at Club of France Club of France Grappelli were working in a fourteen-piece least privately, have come as something of a relief Ultraphon AP 1444, mx P 77241 Decca F 7140, mx DR 3861-1 fronted by Louis Vola at the Hotel Cambridge, to Grappelli, who remained in England for the Recorded March 1935, Paris Recorded 25 August 1939, London the Parisian branch of Claridge’s (although they duration of hostilities. Prior to the German 14. Un amour comme le notre 2:58 19. Don't Worry 'Bout Me 2:57 had first met the previous year, as members of occupation, Django the gypsy fled Paris, but later (C. Borel-Clerc–Alex Farel) (Ted Koehler–Rube Bloom) Ekyan’s resident band at the Croix de Sud Club) in the war he returned larger-than-life to the Jean & Germaine Sablon with Andre Ekyan's Beryl Davis with the Quintette of the Hot and from this plush socialite background, the French capital. Towards the close of the war he Orchestra Club of France niche of an international musical elite, courtesy resumed his itinerant life-style; taking to the road HMV K 7515, mx 0LA 520-1 Decca F 7140, mx DR 3863-1 of writer-producer Charles Delaunay (1911- he succeeded in dodging the Nazis as he worked Recorded 17 May 1935, Paris Recorded 25 August 1939, London 1988), the world famous Quintette sprang to his way from Switzerland to North Africa. From 15. Cette chanson est pour vous (Life Is A 20. Le Cigale et la Fourmi 2:22 life. In 1937 the co-founder, with Hugues 1942 much of his time was spent in Belgium. Song) 3:04 (Charles Trenet–J. de la Fontaine) Panassié, of the Swing record label, Delaunay By 1945 Reinhardt was again resident in (Henri Varna–Marc Cab–Fred Ahlert– Charles Trenet with the Quintette of the Hot promoted concerts on behalf of the Hot Club de Paris where he led a big band and, switching to Joe Young) Club of France France. Essentially a stylistic harking-back (the electric guitar, formed another quintet, in which Jean Sablon with instrumental Columbia DF 2886, mx CL 7410-1 critics thought) to the defunct Lang-Venuti Grappelli’s place was filled by clarinettist Hubert accompaniment Recorded 12 March 1941, Paris American ensembles of the late 1920s, in a little Rostaing. In 1946 he co-wrote (with André Columbia DF 1847, mx CL 5487-3 Sung in French except track 9 in Italian & French, Recorded 7 December 1935, Paris over a year, largely through the medium of Hodeir) the music for the film Le village de la tracks 17-19 in English recording (by 1939 the group had recorded over colère and visited England and Switzerland.
Load more

Recommended publications
  • CATALOGUE WELCOME to NAXOS JAZZ LEGENDS and NAXOS NOSTALGIA, Twin Compendiums Presenting the Best in Vintage Popular Music
    NAXOS JAZZ LEGENDS/NOSTALGIA CATALOGUE WELCOME TO NAXOS JAZZ LEGENDS AND NAXOS NOSTALGIA, twin compendiums presenting the best in vintage popular music. Following in the footsteps of Naxos Historical, with its wealth of classical recordings from the golden age of the gramophone, these two upbeat labels put the stars of yesteryear back into the spotlight through glorious new restorations that capture their true essence as never before. NAXOS JAZZ LEGENDS documents the most vibrant period in the history of jazz, from the swinging ’20s to the innovative ’40s. Boasting a formidable roster of artists who forever changed the face of jazz, Naxos Jazz Legends focuses on the true giants of jazz, from the fathers of the early styles, to the queens of jazz vocalists and the great innovators of the 1940s and 1950s. NAXOS NOSTALGIA presents a similarly stunning line-up of all-time greats from the golden age of popular entertainment. Featuring the biggest stars of stage and screen performing some of the best- loved hits from the first half of the 20th century, this is a real treasure trove for fans to explore. RESTORING THE STARS OF THE PAST TO THEIR FORMER GLORY, by transforming old 78 rpm recordings into bright-sounding CDs, is an intricate task performed for Naxos by leading specialist producer-engineers using state-of-the-art-equipment. With vast personal collections at their disposal, as well as access to private and institutional libraries, they ensure that only the best available resources are used. The records are first cleaned using special equipment, carefully centred on a heavy-duty turntable, checked for the correct playing speed (often not 78 rpm), then played with the appropriate size of precision stylus.
    [Show full text]
  • Hermann NAEHRING: Wlodzimierz NAHORNY: NAIMA: Mari
    This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Hermann NAEHRING: "Großstadtkinder" Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; Henry Osterloh -tymp; recorded 1985 in Berlin 24817 SCHLAGZEILEN 6.37 Amiga 856138 Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Stefan Dohanetz -d; recorded 1985 in Berlin 24818 SOUJA 7.02 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; Volker Schlott -fl; recorded 1985 in Berlin A) Orangenflip B) Pink-Punk Frosch ist krank C) Crash 24819 GROSSSTADTKINDER ((Orangenflip / Pink-Punk, Frosch ist krank / Crash)) 11.34 --- Hermann Naehring -perc,marimba,vib; Dietrich Petzold -v; Jens Naumilkat -c; Wolfgang Musick -b; Jannis Sotos -g,bouzouki; recorded 1985 in Berlin 24820 PHRYGIA 7.35 --- 24821 RIMBANA 4.05 --- 24822 CLIFFORD 2.53 --- ------------------------------------------ Wlodzimierz NAHORNY: "Heart" Wlodzimierz Nahorny -as,p; Jacek Ostaszewski -b; Sergiusz Perkowski -d; recorded November 1967 in Warsaw 34847 BALLAD OF TWO HEARTS 2.45 Muza XL-0452 34848 A MONTH OF GOODWILL 7.03 --- 34849 MUNIAK'S HEART 5.48 --- 34850 LEAKS 4.30 --- 34851 AT THE CASHIER 4.55 --- 34852 IT DEPENDS FOR WHOM 4.57 --- 34853 A PEDANT'S LETTER 5.00 --- 34854 ON A HIGH PEAK
    [Show full text]
  • Sounding Nostalgia in Post-World War I Paris
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Sounding Nostalgia In Post-World War I Paris Tristan Paré-Morin University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Paré-Morin, Tristan, "Sounding Nostalgia In Post-World War I Paris" (2019). Publicly Accessible Penn Dissertations. 3399. https://repository.upenn.edu/edissertations/3399 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3399 For more information, please contact [email protected]. Sounding Nostalgia In Post-World War I Paris Abstract In the years that immediately followed the Armistice of November 11, 1918, Paris was at a turning point in its history: the aftermath of the Great War overlapped with the early stages of what is commonly perceived as a decade of rejuvenation. This transitional period was marked by tension between the preservation (and reconstruction) of a certain prewar heritage and the negation of that heritage through a series of social and cultural innovations. In this dissertation, I examine the intricate role that nostalgia played across various conflicting experiences of sound and music in the cultural institutions and popular media of the city of Paris during that transition to peace, around 1919-1920. I show how artists understood nostalgia as an affective concept and how they employed it as a creative resource that served multiple personal, social, cultural, and national functions. Rather than using the term “nostalgia” as a mere diagnosis of temporal longing, I revert to the capricious definitions of the early twentieth century in order to propose a notion of nostalgia as a set of interconnected forms of longing.
    [Show full text]
  • Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
    Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297).
    [Show full text]
  • Karaoke Mietsystem Songlist
    Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.
    [Show full text]
  • 01 Combelle Jazz Story
    Combelle, Jazz Story extraits d’un texte de Pierre Lafargue La dynastie des Combelle a affirmé de bonne heure ses prérogatives sur le développement du jazz en France: - François, le père, saxophoniste alto, - Alix, le fils, saxophoniste ténor - et Philippe, le petit-fils, batteur toujours en exercice. Il est d’ailleurs curieux de constater qu’Alix Combelle démarra dans la musique tout gamin, en jouant de la batterie -dont il avait étudié la technique avec un musicien de la Garde Républicaine, Delfosse, confrère de François - avant de se consacrer au saxophone. Au contraire, son fils Philippe débuta dans l’orchestre paternel aux saxophones (ténor et baryton) et n’adopta qu’ultérieurement la batterie, qu’il travailla sous la tutelle de Félix Passerone, timbalier de l’Opéra. François Combelle (ci-dessus chez Selmer), disparu en 1953, était l’un des plus éminents solistes de la célèbre Musique de la Garde Républicaine, dont il assuma même la direction lors de l’enregistrement de plusieurs disques chez Pathé vers la fin des années vingt. À titre indicatif, mentionnons Mon Paris (one-step) et Savez-Vous (fox-trot) chez Pathé (ref. saphir 6889). Le saxophoniste des Mitchell’s Jazz Kings étant tombé malade, c’est François Combelle qui est chargé de le remplacer au pied levé dans cet orchestre vedette du “Casino de Paris” (Cf. “Le Jazz en France” Vol. I - Pathé 1727251). En dépit de son manque d’expérience du jazz, il est jugé seul capable d’exécuter certaines interprétations ardues. Ce seront les premiers contacts de la famille Combelle avec la “musique populaire des nègres d’Amérique’’, comme on l’écrivait dans les catalogues de disques de l’époque.
    [Show full text]
  • Viewed One of the First “Films Parlants” in 1930 in London
    FROM GOLDEN AGE TO SILVER SCREEN: FRENCH MUSIC-HALL CINEMA FROM 1930-1950 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Rebecca H. Bias, M.A. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Judith Mayne, Advisor Professor Diane Birckbichler _________________________ Advisor Professor Charles D. Minahen Graduate Program in French and Italian Copyright by Rebecca H. Bias 2005 ABSTRACT This dissertation examines French music-hall cinema from 1930-1950. The term “music-hall cinema” applies to films that contain any or all of the following: music-hall performers, venues, mise en scène, revues, and music- hall songs or repertoire. The cinema industry in France owes a great debt to the music-hall industry, as the first short films near the turn of the century were actually shown as music-hall acts in popular halls. Nonetheless, the ultimate demise of the music hall was in part due to the growing popularity of cinema. Through close readings of individual films, the dynamics of music-hall films will be related to the relevant historical and cultural notions of the period. The music-hall motif will be examined on its own terms, but also in relation to the context or genre that underlies each particular film. The music-hall motif in films relies overwhelmingly on female performers and relevant feminist film theory of the 1970s will help support the analysis of female performance, exhibition, and relevant questions of spectatorship. Music-hall cinema is an important motif in French film, and the female performer serves as the prominent foundation in these films.
    [Show full text]
  • Allez Viens Poupoule Septembre 1902. Après Être
    ALLEZ VIENS POUPOULE Septembre 1902. Après être passé par la scène de la Scala, le célèbre music-hall parisien du boulevard de Strasbourg où il interprète son répertoire Montmartrois, Félix Mayol enregistre son premier disque chez Zon O Phone. Son titre : Viens Poupoule. Cet ancien matelot de la Marine nationale arrivé huit ans plus tôt à la capitale pour chanter dans les cabarets se produi- sait déjà, adolescent, dans sa ville de Toulon sous le nom de « Petit Ludovic ». À trente ans, il est désormais une star reconnue, et reconnaissable, grâce au brin de muguet qu’il porte à la boutonnière et à la houppe qui trône au-dessus de sa tête. Mais c’est avec Komm Karlineken, un air créé par l’Allemand Adolf Spahn en 1898, que Mayol deviendra riche et très célèbre. Cet air, Mayol l’entend sur la scène de la Scala, interprété en conclusion de son tour de chant par un artiste venu d’outre-Rhin. Enthousiaste, il demande à son ami, le parolier Alexandre Trébitsch, de l’adapter. Mais le gros problème est de remplacer le prénom Karlineken par un prénom, ou un surnom : Lisette, Ninette, Poulette, rien ne vient, ou plutôt, rien ne va… jusqu’au jour où, à la sortie du cabaret, il entend un homme lancer à son épouse : « Allez, viens Poupoule »… 15 SI LE CURÉ N’AVAIT paS ÉTÉ LÀ Mars 1914. Costume de troufion sur le dos, Bach se présente sur la scène du café-concert l’Eldorado de Paris et chante devant les soldats en permission la nouvelle chan- son de son répertoire : c’est un succès ! Face à un public composé essentiellement de jeunes militaires partant à la guerre, La Madelon et, il faut bien le dire, son hilarante interprétation à la fois burlesque et théâtrale font mouche.
    [Show full text]
  • French Musical Broadcasting in 1939 Through a Comparison Between Radio-Paris and Radio-Cité Christophe Bennet
    French Musical Broadcasting in 1939 through a Comparison between Radio-Paris and Radio-Cité Christophe Bennet To cite this version: Christophe Bennet. French Musical Broadcasting in 1939 through a Comparison between Radio-Paris and Radio-Cité. 2015. hal-01146878 HAL Id: hal-01146878 https://hal.archives-ouvertes.fr/hal-01146878 Submitted on 6 May 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. French Musical Broadcasting in 1939 – PLM – Christophe Bennet – May 2014 FRENCH MUSICAL BROADCASTING IN 1939 THROUGH A COMPARISON BETWEEN RADIO-PARIS AND RADIO-CITÉ by Christophe BENNET THE year 1939 leads us to conclude the annual panorama of the French musical broadcasting of the thirties, a panorama organized through the prism of two big stations of the public and private networks. We have seen that in 1938, while the influence of the Government was weighing even more on the public stations (without any improvement of the programs), the commercial stations, strengthened by several years of experience, were adapting their program schedules in accordance with the success of their new formulas. By responding to the expectations of their audience, those stations continue their action in 1939.
    [Show full text]
  • Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C
    DOCUMENT RESUME ED 301 906 C3 506 492 AUTHOR Newsom, Iris, Ed. TITLE Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C. REPORT NO ISBN-0-8444-0570-1; ISBN-0887-8234 PUB DATE 87 NOTE 189p. AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing Office, Washington, DC 20402 (Ztock No. 030-001-00120-2, $21.00). PUB TYPE Collected Works - General (020) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Cultural Activities; *Dance; *Film Industry; *Films; Music; *Television; *Theater Arts IDENTIFIERS *Library of Congress; *Screenwriters ABSTRACT Liberally illustrated with photographs and drawings, this book is comprised of articles on the history of the performing arts at the Library of Congress. The articles, listed with their authors, are (1) "Stranger in Paradise: The Writer in Hollywood" (Virginia M. Clark); (2) "Live Television Is Alive and Well at the Library of Congress" (Robert Saudek); (3) "Color and Music and Movement: The Federal Theatre Project Lives on in the Pages of Its Production Bulletins" (Ruth B. Kerns);(4) "A Gift of Love through Music: The Legacy of Elizabeth Sprague Coolidge" (Elise K. Kirk); (5) "Ballet for Martha: The Commissioning of 'Appalachian Spring" (Wayne D. Shirley); (6) "With Villa North of the Border--On Location" (Aurelio de los Reyes); and (7) "All the Presidents' Movies" (Karen Jaehne). Performances at the library during the 1986-87season, research facilities, and performing arts publications of the library are also covered. (MS) * Reproductions supplied by EDRS are the best that can be made * from the original document. 1 U $ DEPARTMENT OP EDUCATION Office of Educational Research and Improvement 411.111....
    [Show full text]
  • The Assimilation of American Jazz in Trance, 1917-1940
    le hot the assimilation of american jazz in trance, 1917-1940 William h. kenney iii The assimilation of American jazz music in France, an instance of the cultural transmission of an emerging American musical art, began at the time of World War I. Within the subsequent history of jazz in France lies the tale of the progressive mastery of the two principles of improvisation and rhythmic swing and the modification of American sounds to suit the particular cultural terrain of France between the two World Wars. The process was eased by the obvious fact that France already contained, indeed originated in some cases, the basics of western music: instrumental definitions, chromatic and diatonic scales and the myriad chords from which they were constructed. Still, the principles of melodic and particu­ larly harmonic improvisation were little known in France as was the surprising phenomenon of rhythmic swing so that when early jazz arrived in that country French musicians knew most of the vocabulary of jazz without knowing how to make jazz statements. A small number of French musicians learned to "sing" with a swing and in the process created their own "école française de jazz." Ragtime and the musical precursors of jazz were carried from the U.S.A. to France by military bands sent by the American government in 1917. The most famous was the 369th Infantry Regiment's Hell Fighters Band, an all-Black outfit organized and led by James Reese Europe. Europe was a pioneer of ragtime in New York City where he had organized 0026-3079/84/2501-0005S01.50/0 5 concerts of Black music, headed the famous Clef Club, and accompanied Irene and Vernon Castle's introduction of the foxtrot in America.
    [Show full text]
  • Download the Alto Saxophone of Andre Ekyan
    1 The ALTOSAX and CLARINET of ANDRE EKYAN Solographers: Jan Evensmo & Christian Dangleterre Last update: Feb. 28, 2020 2 Born: Meudon, France, Oct. 24, 1907 Died: near Alicante, Spain, Aug. 9, 1972 Introduction: We learned first to know Andre Ekyan at the famous “Crazy Rhythm” with Coleman Hawkins from 1937, battling with Benny Carter on altosax. Later we discovered that he was one of the top vintage altosax artists in Europe. History: Self-taught as a musician. Led band at Le Perroquet in Paris in the 1920s, then played with Jack Hylton (London, 1930-31), Gregor (1932-33) and Tommy Dorsey (1936). Made a number of recordings as a leader between 1935 and 1946; on those from the period 1937-41 his altosax and clarinet soli were accompanied by Django Reinhardt. Also played with Tommy Benford, Benny Carter, Coleman Hawkins (1937), Ray Ventura (1938), Joe Turner, Jack Butler, Frank “Big Boy” Goudie (1939), again with Ventura (Switzerland, 1941) and with Bobby Nichols (1945) and Mezz Mezzrow. In 1950 he recorded again with Reinhardt as a member of the Quintette du Hot Club de France (ref. The New Grove Dictionary of Jazz). 3 ANDRE EKYAN SOLOGRAPHY JACK HYLTON & HIS ORCHESTRA London/Milan/Berlin/Paris, Jan.-April, 1931 Personnels including Andre Ekyan (cl, as, ts, vo). Several recording sessions for HMV(E), some have been available, and there is no reason to believe there are any altosax soli on these quasi-jazz sessions. Postscripit of May 10, 2017: But there is at least one interesting item: London, Feb. 3, 1931 Movie short, Pathetone, “The Magic Box”, illustrating the processing of HMV records: Choo Choo (cl)-Solo 8 bars.
    [Show full text]