array:2 [
  0 => ProductListingLazyArray {#609
    -imageRetriever: ImageRetriever {#614
      -link: Link {#163
        #allow: 0
        #url: "/index.php"
        +protocol_link: "https://"
        +protocol_content: "https://"
        #ssl_enable: "1"
        #urlShopId: null
      }
    }
    -link: Link {#163}
    -priceFormatter: PriceFormatter {#601}
    -productColorsRetriever: ProductColorsRetriever {#615}
    -translator: TranslatorComponent {#55
      #catalogues: array:1 [
        "fr-FR" => MessageCatalogue {#59
          -messages: array:200 [ …200]
          -metadata: []
          -resources: []
          -locale: "fr-FR"
          -fallbackCatalogue: null
          -parent: null
        }
      ]
      -locale: "fr-FR"
      -fallbackLocales: []
      -loaders: []
      -resources: []
      -formatter: MessageFormatter {#56
        -selector: MessageSelector {#57}
      }
      -cacheDir: "/space/apache/vhosts/preprod.fremeaux.com/public/var/cache/dev/translations"
      -debug: false
      -configCacheFactory: ConfigCacheFactory {#58
        -debug: false
      }
    }
    #settings: ProductPresentationSettings {#612
      +catalog_mode: false
      +catalog_mode_with_prices: 0
      +restricted_country_mode: null
      +include_taxes: true
      +allow_add_variant_to_cart_from_listing: 1
      +stock_management_enabled: "0"
      +showPrices: true
      +lastRemainingItems: "3"
    }
    #product: array:127 [
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      "id_manufacturer" => "0"
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      "on_sale" => "0"
      "online_only" => "0"
      "ean13" => "3700368474020"
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      "upc" => null
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      "minimal_quantity" => "1"
      "low_stock_threshold" => "0"
      "low_stock_alert" => "0"
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      "wholesale_price" => "0.000000"
      "unity" => null
      "unit_price_ratio" => "0.000000"
      "additional_shipping_cost" => "0.00"
      "reference" => "FA035"
      "supplier_reference" => null
      "location" => null
      "width" => "0.000000"
      "height" => "0.000000"
      "depth" => "0.000000"
      "weight" => "0.000000"
      "out_of_stock" => "2"
      "additional_delivery_times" => "1"
      "quantity_discount" => "0"
      "customizable" => "0"
      "uploadable_files" => "0"
      "text_fields" => "0"
      "active" => "1"
      "redirect_type" => "301-category"
      "id_type_redirected" => "0"
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      "available_date" => null
      "show_condition" => "0"
      "condition" => "new"
      "show_price" => "1"
      "indexed" => "1"
      "visibility" => "both"
      "cache_is_pack" => "0"
      "cache_has_attachments" => "0"
      "is_virtual" => "0"
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      "date_add" => "2021-10-13 12:12:23"
      "date_upd" => "2022-06-23 13:55:38"
      "advanced_stock_management" => "0"
      "pack_stock_type" => "3"
      "state" => "1"
      "price_code" => "228"
      "id_shop" => "1"
      "id_lang" => "1"
      "description" => "<p>La musique hawa&iuml;enne du d&eacute;but du XXe si&egrave;cle a consid&eacute;rablement influenc&eacute; toutes les musiques populaires am&eacute;ricaines : Country Music, blues... Des virtuoses hawa&iuml;ens &ndash; rarement &eacute;gal&eacute;s &ndash; ont d&eacute;fini le jeu de guitare en slide connu mondialement. G&eacute;rard Herzhaft dresse un panorama de la musique Hawienne enregistr&eacute;e dans toute l'am&eacute;rique en 2 CD avec un livret 32 pages.<br /><strong>Patrick Fr&eacute;meaux<br /></strong><br /><strong>Inclu titre original &quot;Oua oua&quot; de Kanui &amp; Lula<br />entendu sur la pub TV de Vittel.<br /></strong><br /><em>Droits audio : Groupe Fr&eacute;meaux Colombini SAS - La Librairie Sonore.<br /></em><p>Les ouvrages sonores de Fr&eacute;meaux &amp; Associ&eacute;s sont produits par les meilleurs sp&eacute;cialistes, b&eacute;n&eacute;ficient d&rsquo;une restauration analogique et num&eacute;rique reconnue dans le monde entier, font l&rsquo;objet d&rsquo;un livret explicatif en langue fran&ccedil;aise et d&rsquo;un certificat de garantie. La marque Fr&eacute;meaux &amp; Associ&eacute;s a obtenu plus de 800 distinctions pour son travail mus&eacute;ographique de sauvegarde et de diffusion du patrimoine sonore.</p><em>This album, issued by the world-famous publishers, Fr&eacute;meaux &amp; Associ&eacute;s, has been restored using the latest technological methods. An explanatory booklet of liner notes in English and a guarantee are included.<br /></em></p><br><br><p>SOL HOOPII &bull; FRANCK FERRERA &bull; KALAMA'S QUARTET &bull; KING BENNY NAWAHI &bull; KANE'S HAWAIIANS &bull; SOL K. BRIGHT &amp; HIS HOLLYWAIIANS &bull; KANUI &amp; LULA &bull; KING BENNY NAWAHI &bull; JIM &amp; BOB &bull; TAU MOE FAMILY &bull; RODNEY RODGERS &amp; THREE JACKS &bull; SAM KU WEST &bull; JIMMIE RODGERS WITH JOE KAIPO &bull; JIMMIE RODGERS WITH CHARLES KAMA &bull; LOUIS ARMSTRONG WITH SAM KOKI &amp; THE POLYNESIANS &bull; DANY STEWART &bull; ROY SMECK &bull; DICK MC INTIRE &amp; HIS HARMONY HAWAIIANS &bull; ROY ACUFF WITH COUSIN JODY &bull; BOB WILLS &amp; HIS TEXAS PLAYBOYS &bull; JENKS 'TEX' CARMAN &bull; CASEY BILL WELDON.</p>"
      "description_short" => "<h3>HONOLULU - HOLLYWOOD - NASHVILLE</h3>"
      "link_rewrite" => "hawaiian-music"
      "meta_description" => null
      "meta_keywords" => null
      "meta_title" => null
      "name" => "Hawaiian Music"
      "available_now" => null
      "available_later" => null
      "delivery_in_stock" => null
      "delivery_out_stock" => null
      "new" => "0"
      "id_product_attribute" => 154
      "product_attribute_minimal_quantity" => "1"
      "id_image" => "527-19522"
      "legend" => null
      "manufacturer_name" => null
      "category_default" => "Hawaï"
      "orderprice" => 33.29
      "allow_oosp" => true
      "category" => "hawai"
      "category_name" => "Hawaï"
      "link" => "https://preprod.fremeaux.com/index.php?id_product=527&rewrite=hawaiian-music&controller=product&id_lang=1"
      "attribute_price" => 0.0
      "price_tax_exc" => 33.29
      "price_without_reduction" => 49.938
      "price_without_reduction_without_tax" => 33.29
      "reduction" => 9.99
      "reduction_without_tax" => 0.0
      "specific_prices" => []
      "quantity_all_versions" => 10000
      "features" => array:2 [
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          "id_feature" => "3"
          "id_product" => "527"
          "id_feature_value" => "1832"
          "custom" => "0"
          "value" => "GERARD HERZHAFT"
        ]
        1 => array:5 [
          "id_feature" => "4"
          "id_product" => "527"
          "id_feature_value" => "44"
          "custom" => "0"
          "value" => "Frémeaux & Associés"
        ]
      ]
      "attachments" => []
      "virtual" => 0
      "pack" => true
      "packItems" => []
      "nopackprice" => 0
      "customization_required" => false
      "attributes" => array:1 [
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          "id_attribute" => "147"
          "id_attribute_group" => "5"
          "name" => "527-defaultCombination"
          "group" => "AP5-Pack"
          "reference" => null
          "ean13" => null
          "isbn" => null
          "upc" => null
        ]
      ]
      "rate" => 20.0
      "tax_name" => "TVA FR 20%"
      "ecotax_rate" => 0.0
      "classic_pack_price_tax_exc" => 41.615
      "is_ap5_bundle" => true
      "dwf_parent_product" => "1"
      "dwf_distinctions" => array:3 [
        0 => array:1 [
          "distinction" => "CHOC DU MONDE DE LA MUSIQUE"
        ]
        1 => array:1 [
          "distinction" => "DISQUE D’OR LE GUIDE DU CD"
        ]
        2 => array:1 [
          "distinction" => "PLAYLIST BBC"
        ]
      ]
      "dwf_livret" => null
      "dwf_titres" => array:36 [
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          "titre" => "FAREWELL BLUES"
          "interprete" => "SOL HOOPII"
          "auteur" => " "
          "duree" => "00:02:53"
          "annee" => "1929"
          "cd" => 1
        ]
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          "interprete" => " FERERA"
          "auteur" => " "
          "duree" => "00:02:47"
          "annee" => 1930
          "cd" => ""
        ]
        2 => array:6 [
          "titre" => "KAWIKA LILLU E"
          "interprete" => " KALAMA S QUARTET"
          "auteur" => " "
          "duree" => "00:02:45"
          "annee" => 1930
          "cd" => ""
        ]
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          "interprete" => " KALAMA S QUARTET"
          "auteur" => " "
          "duree" => "00:02:55"
          "annee" => 1930
          "cd" => ""
        ]
        4 => array:6 [
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          "interprete" => " KING BENNY NAWAHI"
          "auteur" => " "
          "duree" => "00:03:25"
          "annee" => 1930
          "cd" => ""
        ]
        5 => array:6 [
          "titre" => "PALOLO"
          "interprete" => " KANE S HAWAIIANS"
          "auteur" => " "
          "duree" => "00:03:22"
          "annee" => 1927
          "cd" => ""
        ]
        6 => array:6 [
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          "interprete" => "SOL K BRIGHT AND HIS HOLLYWAII"
          "auteur" => " "
          "duree" => "00:02:57"
          "annee" => 1934
          "cd" => ""
        ]
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          "interprete" => " KANUI"
          "auteur" => " "
          "duree" => "00:02:53"
          "annee" => 1933
          "cd" => ""
        ]
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          "interprete" => " KANUI"
          "auteur" => " "
          "duree" => "00:02:47"
          "annee" => 1933
          "cd" => ""
        ]
        9 => array:6 [
          "titre" => "BLACK BOY BLUES"
          "interprete" => " KING BENNY NAWAHI"
          "auteur" => " "
          "duree" => "00:02:50"
          "annee" => 1930
          "cd" => ""
        ]
        10 => array:6 [
          "titre" => "SAINT LOUIS BLUES"
          "interprete" => " JIM AND BOB THE GENIAL HAWAIIA"
          "auteur" => " "
          "duree" => "00:02:53"
          "annee" => 1934
          "cd" => ""
        ]
        11 => array:6 [
          "titre" => "E MAMA EA"
          "interprete" => " TAU MOE FAMILY"
          "auteur" => " "
          "duree" => "00:02:44"
          "annee" => 1929
          "cd" => ""
        ]
        12 => array:6 [
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          "interprete" => "RODNEY RODGERS"
          "auteur" => " "
          "duree" => "00:02:56"
          "annee" => 1928
          "cd" => ""
        ]
        13 => array:6 [
          "titre" => "HAWAIIAN HULA"
          "interprete" => " SAM KU WEST"
          "auteur" => " "
          "duree" => "00:03:02"
          "annee" => 1930
          "cd" => ""
        ]
        14 => array:6 [
          "titre" => "HONOLULU BOUND"
          "interprete" => " KING BENNY NAWAHI"
          "auteur" => " "
          "duree" => "00:02:48"
          "annee" => 1930
          "cd" => ""
        ]
        15 => array:6 [
          "titre" => "HAWAIIAN COWBOY"
          "interprete" => "SOL K BRIGHT AND HIS HOLLYWAII"
          "auteur" => " "
          "duree" => "00:02:55"
          "annee" => 1938
          "cd" => ""
        ]
        16 => array:6 [
          "titre" => "HONOLULU MARCH"
          "interprete" => " FERERA"
          "auteur" => " "
          "duree" => "00:02:45"
          "annee" => 1930
          "cd" => ""
        ]
        17 => array:6 [
          "titre" => "HULA GIRL"
          "interprete" => "SOL HOOPII"
          "auteur" => " "
          "duree" => "00:03:05"
          "annee" => 1933
          "cd" => ""
        ]
        18 => array:6 [
          "titre" => "HULA BLUES"
          "interprete" => "SOL HOOPII"
          "auteur" => " "
          "duree" => "00:02:54"
          "annee" => 1934
          "cd" => 1
        ]
        19 => array:6 [
          "titre" => "I LIKE YOU"
          "interprete" => "SOL HOOPII"
          "auteur" => " "
          "duree" => "00:03:10"
          "annee" => 1927
          "cd" => ""
        ]
        20 => array:6 [
          "titre" => "MEDLEY OF HULA S"
          "interprete" => " KALAMA S QUARTET"
          "auteur" => " "
          "duree" => "00:02:59"
          "annee" => 1927
          "cd" => ""
        ]
        21 => array:6 [
          "titre" => "EVRYBODY DOES IT IN HAWAII"
          "interprete" => "JIMMIE RODGERS"
          "auteur" => " "
          "duree" => "00:02:50"
          "annee" => 1929
          "cd" => ""
        ]
        22 => array:6 [
          "titre" => "JIMMIE THE KID"
          "interprete" => "JIMMIE RODGERS"
          "auteur" => " "
          "duree" => "00:02:48"
          "annee" => 1931
          "cd" => ""
        ]
        23 => array:6 [
          "titre" => "ON A COCONUT ISLAND"
          "interprete" => "LOUIS ARMSTRONG"
          "auteur" => " "
          "duree" => "00:03:11"
          "annee" => 1936
          "cd" => ""
        ]
        24 => array:6 [
          "titre" => "LES FEMMES D AMERIQUE"
          "interprete" => " STEWART"
          "auteur" => " "
          "duree" => "00:02:33"
          "annee" => 1937
          "cd" => ""
        ]
        25 => array:6 [
          "titre" => "TWELTH STREET RAG"
          "interprete" => " SMECK"
          "auteur" => " "
          "duree" => "00:02:54"
          "annee" => 1931
          "cd" => ""
        ]
        26 => array:6 [
          "titre" => "LIMEHOUSE BLUES"
          "interprete" => " SMECK"
          "auteur" => " "
          "duree" => "00:02:42"
          "annee" => 1937
          "cd" => ""
        ]
        27 => array:6 [
          "titre" => "BUGLE CALL RAG"
          "interprete" => " SMECK"
          "auteur" => " "
          "duree" => "00:03:07"
          "annee" => 1937
          "cd" => ""
        ]
        28 => array:6 [
          "titre" => "HILO MARCH"
          "interprete" => "DICK MC INTIRE"
          "auteur" => " "
          "duree" => "00:02:27"
          "annee" => 1939
          "cd" => ""
        ]
        29 => array:6 [
          "titre" => "STEEL GUITAR CHIMES"
          "interprete" => "ROY ACUFF"
          "auteur" => " "
          "duree" => "00:02:44"
          "annee" => 1937
          "cd" => ""
        ]
        30 => array:6 [
          "titre" => "STEEL GUITAR BLUES"
          "interprete" => "ROY ACUFF"
          "auteur" => " "
          "duree" => "00:02:51"
          "annee" => 1937
          "cd" => ""
        ]
        31 => array:6 [
          "titre" => "STEEL GUITAR RAG"
          "interprete" => "BOB WILLS"
          "auteur" => " "
          "duree" => "00:02:43"
          "annee" => 1937
          "cd" => ""
        ]
        32 => array:6 [
          "titre" => "STEEL GUITAR STOMP"
          "interprete" => "BOB WILLS"
          "auteur" => " "
          "duree" => "00:02:32"
          "annee" => 1937
          "cd" => ""
        ]
        33 => array:6 [
          "titre" => "HILLBILLY HULA"
          "interprete" => "TEX CARMAN JENK"
          "auteur" => " "
          "duree" => "00:02:05"
          "annee" => 1940
          "cd" => ""
        ]
        34 => array:6 [
          "titre" => "THE CAISSONS GO ROLLING ALONG"
          "interprete" => "TEX CARMAN JENK"
          "auteur" => " "
          "duree" => "00:02:33"
          "annee" => 1940
          "cd" => ""
        ]
        35 => array:6 [
          "titre" => "CAN T YOU REMEMBER"
          "interprete" => "BILL WELDON CASEY"
          "auteur" => " "
          "duree" => "00:03:12"
          "annee" => 1936
          "cd" => ""
        ]
      ]
      "unit_price" => ""
      "price_digital" => 19.95
      "price_cd" => 29.988
      "img_url" => "https://preprod.fremeaux.com/img/p/1/9/5/2/2/19522-home_default.jpg"
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          "small_default" => array:3 [ …3]
          "cart_default" => array:3 [ …3]
          "home_default" => array:3 [ …3]
          "medium_default" => array:3 [ …3]
          "product_page" => array:3 [ …3]
          "large_default" => array:3 [ …3]
        ]
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          "height" => 98
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        ]
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        ]
        "legend" => null
        "cover" => "1"
        "id_image" => "19522"
        "position" => "1"
        "associatedVariants" => []
      ]
      "authors" => []
      "performers" => []
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          "medium" => array:3 [ …3]
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          "associatedVariants" => []
        ]
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      "discount_amount" => null
      "discount_amount_to_display" => null
      "price_amount" => 39.948
      "regular_price_amount" => 39.948
      "regular_price" => "39,95 €"
      "discount_to_display" => null
      "unit_price_full" => ""
      "show_availability" => false
      "availability_message" => null
      "availability_date" => null
      "availability" => null
    ]
    -language: Language {#40
      +id: 1
      +name: "Français (French)"
      +iso_code: "fr"
      +locale: "fr-FR"
      +language_code: "fr"
      +date_format_lite: "d/m/Y"
      +date_format_full: "d/m/Y H:i:s"
      +is_rtl: "0"
      +active: "1"
      #webserviceParameters: array:2 [
        "objectNodeName" => "language"
        "objectsNodeName" => "languages"
      ]
      #translationsFilesAndVars: array:5 [
        "fields" => "_FIELDS"
        "errors" => "_ERRORS"
        "admin" => "_LANGADM"
        "pdf" => "_LANGPDF"
        "tabs" => "tabs"
      ]
      #id_lang: null
      #id_shop: 1
      +id_shop_list: []
      #get_shop_from_context: true
      #table: "lang"
      #identifier: "id_lang"
      #fieldsRequired: array:4 [
        0 => "name"
        1 => "iso_code"
        2 => "date_format_lite"
        3 => "date_format_full"
      ]
      #fieldsSize: array:6 [
        "name" => 32
        "iso_code" => 2
        "locale" => 5
        "language_code" => 5
        "date_format_lite" => 32
        "date_format_full" => 32
      ]
      #fieldsValidate: array:8 [
        "name" => "isGenericName"
        "iso_code" => "isLanguageIsoCode"
        "locale" => "isLocale"
        "language_code" => "isLanguageCode"
        "active" => "isBool"
        "is_rtl" => "isBool"
        "date_format_lite" => "isPhpDateFormat"
        "date_format_full" => "isPhpDateFormat"
      ]
      #fieldsRequiredLang: []
      #fieldsSizeLang: []
      #fieldsValidateLang: []
      #tables: []
      #image_dir: null
      #image_format: "jpg"
      #translator: null
      #def: array:4 [
        "table" => "lang"
        "primary" => "id_lang"
        "fields" => array:8 [
          "name" => array:4 [ …4]
          "iso_code" => array:4 [ …4]
          "locale" => array:3 [ …3]
          "language_code" => array:3 [ …3]
          "active" => array:2 [ …2]
          "is_rtl" => array:2 [ …2]
          "date_format_lite" => array:4 [ …4]
          "date_format_full" => array:4 [ …4]
        ]
        "classname" => "Language"
      ]
      #update_fields: null
      +force_id: false
    }
    -arrayAccessList: ArrayObject {#623
      flag::STD_PROP_LIST: false
      flag::ARRAY_AS_PROPS: false
      iteratorClass: "ArrayIterator"
      storage: array:143 [
        "add_to_cart_url" => array:2 [
          "type" => "method"
          "value" => "getAddToCartUrl"
        ]
        "id" => array:2 [
          "type" => "method"
          "value" => "getId"
        ]
        "attributes" => array:2 [
          "type" => "method"
          "value" => "getAttributes"
        ]
        "show_price" => array:2 [
          "type" => "method"
          "value" => "getShowPrice"
        ]
        "weight_unit" => array:2 [
          "type" => "method"
          "value" => "getWeightUnit"
        ]
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      "dwf_livret" => "<h3>HAWAIIANS IN PARIS 1916-1926</h3><p align=justify>  </p><span class=Soustitre2>HAWAIIANS IN PARIS <br />1916-1926&nbsp;&nbsp;&nbsp; </span><span class=Texte><br /></span><span class=Soustitre>Les Ann&eacute;es Folles</span><span class=Texte><br /></span><p align=justify><span class=Texte>Entre deux hurlements d&rsquo;acier, les Ann&eacute;es Folles cherchent l&rsquo;oubli. Oubli de la &laquo;Grande Guerre&raquo; et de son cort&egrave;ge de destructions, de deuils et d&rsquo;amours bris&eacute;es; oubli des difficult&eacute;s &eacute;conomiques qui, d&egrave;s les &laquo;Ann&eacute;es 30&raquo;, sonnent le glas de la folie quand de nouveau perce l&rsquo;angoisse d&rsquo;un conflit. Cet &laquo;entre-deux-guerres&raquo; un peu suspendu est le temps des permissions. Permission du Jazz, malgr&eacute; un &agrave; priori plut&ocirc;t d&eacute;favorable au commencement&hellip;&hellip; et permission de toutes les musiques qui, soudainement lib&eacute;r&eacute;es, chantent d&rsquo;autres &eacute;lans. Permission de danser en se d&eacute;hanchant de mani&egrave;re extravagante :&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &laquo;Une jolie femme peut se permettre n&rsquo;importe quel mouvement sans para&icirc;tre ridicule. Et puis, ces danses l&agrave;, quel merveilleux exercice ! Quelle gymnastique &eacute;patante! Je suis s&ucirc;r que les femmes en seront, un jour prochain, toutes plus belles&raquo;, proclame avec enthousiasme, en 1927, le peintre Van Dongen, v&eacute;ritable arbitre des &eacute;l&eacute;gances dans les salons hupp&eacute;s. Les jambes se montrent, les dos se dessinent dans d&rsquo;audacieuses robes. Alors, per&shy;mission pour les dames de quitter un peu l&rsquo;&eacute;touffant corset, comme le propose le couturier Poiret, et permission pour les messieurs de laisser reposer leurs raideurs compass&eacute;es. Permission aussi pour les jeunes beaut&eacute;s des boulevards de &laquo;se faire couper les cheveux&raquo; comme s&rsquo;exclame la rengaine, permission encore de pencher un peu plus le chapeau ou le canotier &laquo;sur le c&ocirc;t&eacute;&raquo;, Maurice Chevalier s&rsquo;en souviendra longtemps. Mais si le Jazz est un cri, un cri farouche de lib&eacute;ration, la marque imp&eacute;rative d&rsquo;une &laquo;rage de vivre&raquo;, la musique hawa&iuml;enne en est le souffle apais&eacute; : celui des rivages heureux, apr&egrave;s le d&eacute;ferlement de la vague sonore.</span><br /></p><br /><p align=justify><span class=Texte><em><strong>Paradis&hellip;</strong></em></span><br /><span class=Texte>Les hoquets fr&eacute;n&eacute;tiques du Jazz traduisent l&rsquo;&eacute;lan vital, l&rsquo;ivresse qui saisit les Ann&eacute;es folles. La musique hawa&iuml;enne porte en elle un r&ecirc;ve heureux : celui de l&rsquo;Éden. Apr&egrave;s les songes opiac&eacute;s, les &laquo;Paradis artificiels&raquo; et leur spleen &agrave; jamais baudelairiens, l&rsquo;exotisme rena&icirc;t des souvenirs de voyages d&rsquo;un XIXe si&egrave;cle &eacute;vanoui. Mais ce ne sont plus les fastes sauvages d&rsquo;une Afrique romantique qui enchantent, ce ne sont plus les rutilances des civilisations &laquo;orientales&raquo; - mot pratique qui englobe tous les pays d&rsquo;Afrique du Nord jusqu&rsquo;au Moyen-Orient - qui attirent, mais les secrets des peuples lointains. Le go&ucirc;t des voyages conduit sur les &icirc;les myst&eacute;rieuses. Hawaii, Tahiti, d&rsquo;o&ugrave; Gauguin avait rapport&eacute; des visions troublantes, lourdes de voluptueux pressentiments, les &Icirc;les sous le vent&hellip; Heureux pays, qui ne connaissent que la douceur! Dans l&rsquo;imaginaire de maints parisiens, peu soucieux de g&eacute;ographie, toutes ces &icirc;les se m&eacute;langent, cousinent &eacute;troitement. M&ecirc;me si c&rsquo;est un leurre, l&rsquo;Occident, qui sort de l&rsquo;&eacute;tau, ne r&ecirc;ve que de ce r&ecirc;ve. Le heurt des civilisations op&egrave;re son charme. S&rsquo;il est mal&eacute;fique parfois, parfois aussi il est flamboyant. Nos tabous ne sont pas les leurs&hellip; et cette simple constatation suffit &agrave; laisser penser que &laquo;ces doux indig&egrave;nes &agrave; la peau claire&raquo; sont plus heureux que nous ! Quelle fascination en effet que cette langueur &agrave; laquelle une nature g&eacute;n&eacute;reuse semble donner tous les droits. Abondance ! Soleil, mer calme des lagons, bleu des ciels, turquoise des eaux, doux balancement des palmes comme des bras g&eacute;n&eacute;reux qui donnent encore et encore, image aussi des danseuses paraissant si simplement heureuses de n&rsquo;avoir d&rsquo;autre souci que danser les bras tendus, ondulants ainsi que des flots. La magie op&egrave;re : voici l&rsquo;Éden o&ugrave; tout semble &ecirc;tre enfin &laquo;luxe, calme et volupt&eacute;&raquo;&hellip;Volupt&eacute;, &laquo;facilit&eacute; de m&oelig;urs&raquo;! Certes le r&ecirc;ve est moins avouable, mais combien plus br&ucirc;lant. L&rsquo;image d&rsquo;une lascive vahin&eacute; envahit les nuits d&rsquo;&eacute;rotomanes en mal de sensations en bord de mer ; Isle of Paradise!</span><br /></p><span class=Texte><em><strong>&hellip; et musiques</strong></em></span><br /><p align=justify><span class=Texte>Les images doivent rester telles que les d&eacute;pliants des agences de voyage les proposent, telles que les lecteurs des magasines les souhaitent. A jamais jeunes, les filles et les gar&ccedil;ons &laquo;des &icirc;les&raquo;, toutes &icirc;les confondues (!) jouent de l&rsquo;ukulele, instrument proche de la viu&egrave;la portugaise et de la guitare hawa&iuml;enne, s&oelig;ur de la guitare espagnole. Ces instruments &agrave; eux seuls, par leurs sonorit&eacute;s m&eacute;talliques douces, tremblantes et glissantes, &eacute;voquent l&rsquo;&eacute;ternel &eacute;t&eacute;. L&rsquo;imaginaire v&eacute;hicul&eacute; par les brocanteurs de songes ne conna&icirc;t pas les r&eacute;alit&eacute;s que les ethnologues traquent!Mais qu&rsquo;entend-on dans les cornets acoustiques des phonographes ? Les derniers reflets des &laquo;hulas&raquo; traditionnels, ces po&egrave;mes &eacute;piques chant&eacute;s en l&rsquo;honneur des divinit&eacute;s, dont les accents souples et glissants, l&rsquo;harmonisation &laquo;ouverte&raquo; toute de sauts de voix et de ruptures m&eacute;lodiques - &agrave; la mani&egrave;re des tyroliennes des chanteurs des Caf&rsquo;Conc&rsquo; comme la c&eacute;l&egrave;bre Mme Rollini - frappent les esprits par leur caract&egrave;re animiste tant&ocirc;t m&eacute;lancolique, tant&ocirc;t joyeux.&nbsp; Hawaiian Hula - medley -, ce pot-pourri d&rsquo;airs traditionnels est de cette veine, de m&ecirc;me les Échos Hawa&iuml;ens. Mais, ces m&ecirc;mes Échos, d&eacute;j&agrave; frapp&eacute;s du rythme de la valse, sont, &agrave; quelques ann&eacute;es d&rsquo;&eacute;cart, propos&eacute;s sous le titre &eacute;vocateur d&rsquo;Halona Waltz par les Disques Path&eacute; ! A l&rsquo;autre bout du monde, ces m&eacute;lodies rappellent les &eacute;tranges accents tziganes entendus avant guerre, m&eacute;lodies sulfureuses teint&eacute;es de relents &laquo;d&rsquo;&acirc;me slave&raquo;, pour &laquo;neurasth&eacute;niques mondains&raquo;. Mais la musique hawa&iuml;enne ne porte en elle ni &laquo;mal de vivre&raquo;, ni trouble spleen&eacute;tique, elle transporte simplement. V&eacute;ritable ressource nationale au m&ecirc;me titre que les productions agricoles, la guitare hawa&iuml;enne s&rsquo;exporte. Les am&eacute;ricains s&rsquo;en &eacute;prennent, les soci&eacute;t&eacute;s phonographiques s&rsquo;en m&ecirc;lent. La mode &laquo;hawa&iuml;enne&raquo; qui s&eacute;duit doit bient&ocirc;t s&rsquo;adapter pour suivre la mode. Puisque la &laquo;Valse Mauve&raquo;1 ne fait plus recette, que les valses de Vienne sont des amusements pour vieilles dames et messieurs amortis, voici bient&ocirc;t les valses hawa&iuml;ennes. Elles d&eacute;tr&ocirc;nent les hulas dont les accents originaux avaient d&eacute;j&agrave; &eacute;t&eacute; revus au fil de la mode des revues de Boulevards new-yorkais [Yaaka, Hula, Hickey Dula de Wendling et Young] et se parent de noms pr&eacute;cieux, &eacute;voquant des divinit&eacute;s inconnues (Kilima Waltz, Moana chimes - les carillons de Moana -)&nbsp; Mais toujours le charme des accords souples demeure, marque sonore, marque incontestable d&rsquo;identit&eacute;. </span><br /></p><p align=justify><br /></p><p align=justify><span class=Texte><em><strong>Paris - Biarritz - Deauville : &laquo;Under the South Sea Palms&raquo;. </strong></em></span><br /><span class=Texte>Le phonographe, d&eacute;miurge puissant qui donne aux musiques enregistr&eacute;es une ubiquit&eacute; sans pareille, conduit les glissandos si caract&eacute;ristiques des m&eacute;lop&eacute;es hawa&iuml;ennes partout. Les couples amoureux r&ecirc;vent et s&rsquo;embrassent en de douces &eacute;treintes au son d&rsquo;un Dream Kiss chaloup&eacute;, et font des songes splendides environn&eacute;s d&rsquo;Hawaiian Butterfly! Paris et ses Th&eacute;s dansants fox trottent passionn&eacute;ment au son d&rsquo;un Runnin&rsquo; Wild assagi pourtant par la douceur des guitares, puis les couples langoureusement se forment pour un Tea for Two&hellip;Pour les beaux jours et leur cort&egrave;ge d&rsquo;estivants privil&eacute;gi&eacute;s r&ecirc;vant face &agrave; la mer, jamais la c&ocirc;te basque n&rsquo;aura &eacute;t&eacute; si pr&egrave;s du Pacifique! A Biarritz m&ecirc;me l&rsquo;orchestre hawa&iuml;en est l&agrave;, tout pr&egrave;s. A Deauville, seul le crissement du dernier sillon trahit une r&eacute;alit&eacute;, qui s&rsquo;efface vite d&rsquo;un tour de manivelle. </span><br /><span class=Texte><strong>Franck Ferera</strong>, nonce du r&ecirc;ve hawa&iuml;en. (Honolulu 12 juin 1885 - 26 juin 1951)N&eacute; sujet de la reine Liliuokalani, lorsqu&rsquo;il quitte Honolulu en 1902, celui qui se fait appeler Frank Ferera est am&eacute;ricain. Car en 1898 la R&eacute;publique Hawa&iuml;enne, n&eacute;e peu de temps auparavant en 1894, a demand&eacute; son annexion aux États-Unis. Mais avant de partir, - il a tout juste 17 ans - le jeune Ferera, titulaire du 6e grade de l&rsquo;Honolulu Elementary, est tout impr&eacute;gn&eacute; de la tradition musicale hawa&iuml;enne, telle que l&rsquo;&eacute;cole de musique d&rsquo;Honolulu, h&eacute;riti&egrave;re des Écoles Royales de l&rsquo;Ancien R&eacute;gime hawa&iuml;en continue de la faire vivre. Il part pour les États-Unis, attir&eacute; par les d&eacute;bouch&eacute;s fabuleux qu&rsquo;offre la vogue des musiques hawa&iuml;ennes qui fait rage jusque sur les boulevards de New-York. Il part, virtuose au style impeccable, au balancement moelleux et aux glissandos vertigineux. Il part &agrave; la rencontre de la renomm&eacute;e qui d&egrave;s 1915 le conduit dans les studios d&rsquo;enregistrements. V&eacute;ritable pourvoyeur des maisons de disques toujours avides de nouveaut&eacute;, Frank Ferera est l&rsquo;ambassadeur de cette musique qui rapidement conquiert l&rsquo;Europe. Il est parmi les premiers artistes d&rsquo;Honolulu connus, parmi les premiers recherch&eacute;s : il fait figure de pionnier. La Compagnie Fran&ccedil;aise du Gramophone diffuse les matrices &laquo;Victor&raquo; am&eacute;ricaines, puis la Compagnie Path&eacute;phone - Compagnie g&eacute;n&eacute;rale des machines parlantes Path&eacute; Fr&egrave;res - lui ouvre des pages nouvelles d&egrave;s 1922. En 1923 dans le &laquo;suppl&eacute;ment N&deg;2&raquo; du catalogue appara&icirc;t une mention &laquo;Orchestre Hawaiian&raquo;. Il faut dire que cette op&eacute;ration de charme r&eacute;pond &agrave; une nouvelle d&eacute;marche. En 1920, la firme Path&eacute; peut enfin diffuser ses disques &agrave; gravure verticale (les disques &laquo;&agrave; saphir&raquo;) sur le march&eacute; am&eacute;ricain, car les brevets &laquo;Victor&raquo; et &laquo;Columbia&raquo; pour ce proc&eacute;d&eacute; ne sont pas renouvel&eacute;s. Une campagne massive d&rsquo;enregistrements de Louise et Ferera est r&eacute;alis&eacute;e d&egrave;s cette m&ecirc;me ann&eacute;e, avant que les matrices ne soient &eacute;dit&eacute;es avec un retard soigneusement entretenu! Il faut en effet s&eacute;duire une nouvelle client&egrave;le, lui offrir des titres attractifs, profiter de la mode. D&rsquo;autant que cette derni&egrave;re, sensible aussi sur le march&eacute; europ&eacute;en, permet la diffusion des m&ecirc;mes matrices, parfois press&eacute;es avec quelques mois de retard. L&rsquo;investissement &eacute;conomique et la politique artistique de diffusion avec des &eacute;diteurs am&eacute;ricains sont, dans ce domaine, presque sans risque. </span><br /><span class=Texte>Évoluant du &laquo;picking&raquo; au glissando parfait (que la musique de jazz sous influence hawa&iuml;enne ne tardera pas &agrave; adopter dans la technique du &laquo;slide&raquo;) Frank Ferera - que les &eacute;diteurs &eacute;crivent parfois Ferrera - est le premier &agrave; b&eacute;n&eacute;ficier massivement de cet engouement. Avec Helen Louise, Madame Ferera &agrave; la ville, sa complice phono&shy;graphique jusque son d&eacute;c&egrave;s, puis Anthony Francini - ou Franchini - qui assurent les accompagnements rythmiques &agrave; la guitare basse, il constitue des duos.&nbsp; Au comble de la faveur, Frank Ferera r&eacute;unit une &laquo;hawaian troop&raquo;, formation changeante incluant des xylophones, des violons&hellip; qui servent avec maestria un r&eacute;pertoire toujours sur le fil du rasoir de la mode instable. D&rsquo;autres fois il s&rsquo;associe avec des artistes de salon ou de dancing, ouvrant &agrave; la guitare hawa&iuml;enne de nouveaux horizons. Hulas, valses, forment &agrave; cette &eacute;poque le fond principal du r&eacute;pertoire. Les musiques, les chansons &agrave; succ&egrave;s connaissent aussi leurs versions hawa&iuml;ennes, Ciribiribin&hellip; Mais le jazz&nbsp; vient bient&ocirc;t semer ses germes festifs au long des faces grav&eacute;es. Le fox-trot, le schimmy paraissent aux c&ocirc;t&eacute;s de danses de salons bien sages encore. La carri&egrave;re de Frank Ferera, commenc&eacute;e avec l&rsquo;enregistrement acoustique, est loin de se cantonner aux ann&eacute;es folles et &agrave; l&rsquo;engouement soudain des &eacute;l&eacute;gants pour cette musique. Si la vague hawa&iuml;enne atteint sa force maximale avec des orchestres de dancing, telle la formation de Jacques Deport qui dans son style doit beaucoup &agrave; Franck Ferera, elle atteint en m&ecirc;me temps sa phase critique. En Europe, la mode s&rsquo;essoufle et le reflux ram&egrave;ne les artistes hawa&iuml;ens aux États-Unis. En 1927, Frank Ferera est engag&eacute; par Vernon Dalhart (Jefferson - Texas, 1883 - 1948), pionnier de la Country music et idole du genre. S&rsquo;ouvre pour lui une nouvelle carri&egrave;re. A compter de cette ann&eacute;e le guitariste hawa&iuml;en devient le premier &laquo;steel guitarist&raquo; de la Country music. Alors les ann&eacute;es 30 sont aux États-Unis, pour la guitare hawa&iuml;enne, des ann&eacute;es de fr&eacute;n&eacute;sie2 ! Elle croise tous les genres musicaux. Frank Ferera rencontre encore, soit seul soit en formation, maints studios d&rsquo;enregistrements&nbsp; - &laquo;&eacute;lectriques&raquo; cette fois3 - jusqu&rsquo;&agrave; l&rsquo;aube des ann&eacute;es 1940 et laisse les plus &eacute;poustouflants t&eacute;moignages d&rsquo;un style &agrave; son apog&eacute;e et de la pleine expansion d&rsquo;un genre qu&rsquo;il a v&eacute;ritablement port&eacute; &agrave; la connaissance tant des amateurs que des autres musiciens. Les nostalgiques, de Paris ou d&rsquo;ailleurs, se repasseront de vieilles cires. My Land of Memory : sur des rivi&egrave;res ou des plans d&rsquo;eau, le phonographe portable murmure encore de tendres aveux, sous la lune &eacute;ternellement complice de l&rsquo;Alabama. In my tippy can&oelig;, en avons-nous fait de beaux r&ecirc;ves ? &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><br /></p><span class=Texte><em>Jean-Yves PATTE</em><br />&copy; FRÉMEAUX &amp; ASSOCIÉS SA 1997<br /></span><span class=Source>1 / &laquo;La Valse Mauve&raquo;, voir le disque &laquo;Tziganes, Paris/ Berlin/ Budapest/ 1910 - 1935.Disque Fr&eacute;meaux et Associ&eacute;s, FA 006.<br />2 / Hawaiian Music. Disque Fr&eacute;meaux et Associ&eacute;s, FA 035.<br />3 / Voyez &laquo;Acoustiques&raquo; ci-apr&egrave;s.</span><span class=Texte><br /><em>Mes plus vifs remerciements vont aux conservateurs de la Library of The Bishop Museum d&rsquo;Honolulu, pour l&rsquo;amabilit&eacute; de leur accueil et la clart&eacute; des renseignements transmis. Ils vont encore &agrave; Lionel Risler sans lequel l&rsquo;&eacute;coute des phonogrammes propos&eacute;s ici serait loin d&rsquo;&ecirc;tre aussi agr&eacute;able. </em><br /><u><strong>Les instruments : </strong></u>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br /><strong>la part du Lion&hellip; &nbsp; <br />et les autres convives &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />du festin musical.</strong><br /></span><p align=justify><span class=Texte>La guitare hawa&iuml;enne se taille la plus belle part de nombre de ces enre&shy;gistrements, c&rsquo;est la loi incontestable du Lion! Mais si elle est la reine des plages acoustiques, elle n&rsquo;est pas la seule &agrave; figurer sur les disques. Pourtant les noms des autres musiciens ayant particip&eacute; au enregistrements ne sont pas mentionn&eacute;s et quelque fois m&ecirc;me leurs instruments ne sont pas signal&eacute;s : on les d&eacute;couvre sim&shy;plement &agrave; l&rsquo;audition. Simple subterfuge pour ne pas verser les droits phonographiques naissants ou despotisme d&rsquo;un genre triomphant? On ne saurait trancher, d&rsquo;autant que parfois la simple mention &laquo;guitare hawa&iuml;enne&raquo; plonge des artistes vedettes dans un relatif anonymat, vite perc&eacute; par l&rsquo;amateur&hellip; Cette fois c&rsquo;est sans doute la dure loi de la concurrence et de l&rsquo;exclusivit&eacute; des contrats qui est &agrave; l&rsquo;origine de ces pratiques !Qui sont les autres musiciens ? Seul Nathan Glantz, saxophoniste au jeu un peu d&eacute;mod&eacute; proche du violon est tir&eacute; de l&rsquo;oubli. Mais d&rsquo;autres instruments en revanche apparaissent ici &agrave; titre de pr&eacute;curseur. Le tambour frapp&eacute; &laquo;&agrave; la main&raquo;, les wood blocks, le xylophone qui n&rsquo;attend plus que sa mutation en vibra&shy;phone pour conqu&eacute;rir de nouveaux horizons &laquo;jazziques&raquo;.Mais qui est encore le tr&egrave;s discret pianiste d&rsquo;Hawaiian Dreams et de The Glow-worm, qui se contente de soutenir les basses des guitares de peur qu&rsquo;elle n&rsquo;impriment pas assez les disques vierges et brode quelques harmonies ? Est-ce lui aussi qui fait sonner le glockenspiel ? Qui sont les violonistes de Moana Chimes et d&rsquo;Under the South sea palms ? Qui joue encore la zazofl&ucirc;te toujours d&rsquo;Under the South sea palms et les fl&ucirc;tes d&rsquo;Hawaiian Dreams, et qui siffle comme un oiseau la m&eacute;lodie de Ciri&shy;biribin ? Qui agite enfin les cloches du carillon de Moana Chimes?</span><br /></p><span class=Texte><br /></span><p align=justify><span class=Texte><strong>Le Saxophone de Nathan Glantz.</strong></span><br /><span class=Texte><em>- In my tippy canoe ; Dream kiss ; Hawaian butterfly (Nathan Glantz ?)-</em></span><br /><span class=Texte>Cr&eacute;&eacute; vers 1840 par le belge Adolphe Sax, le Saxophone (litt&eacute;ralement &laquo;Sax&raquo; - du nom de son inventeur - parlant) con&ccedil;u comme un instrument de fanfare militaire ne rencontre gu&egrave;re de succ&egrave;s, malgr&eacute; les critiques &eacute;logieuses d&rsquo;Hector Berlioz. Pas plus qu&rsquo;il ne trouve de place dans la musique militaire, il n&rsquo;est adopt&eacute; par les formations &laquo;classiques&raquo;. En fait c&rsquo;est &agrave; la musique populaire qu&rsquo;il doit sa renomm&eacute;e. Rapidement, il suppl&eacute;e le violon dans les orchestres de danse. Moins fragile, plus maniable avec moins de pr&eacute;cautions, d&rsquo;un apprentissage moins long aussi, le saxophone est l&rsquo;instrument id&eacute;al pour les tourn&eacute;es des musiciens de bals dans l&rsquo;Europe de la fin du XIXe s. Aux États-Unis, sa d&eacute;couverte ne remonte qu&rsquo;&agrave; la guerre de 1914-1918. Rapport&eacute; par les soldats, le saxophone trouve dans le jazz une voie d&rsquo;expression ori&shy;ginale et totalement nouvelle. Toutefois ce n&rsquo;est pas ce dernier courant qu&rsquo;illustre ici Nathan Glantz&hellip; N&rsquo;explorant pas toutes les possibilit&eacute;s expressives du saxophone, tant dans la palette sonore que l&rsquo;attaque brillante des notes, il cherche plut&ocirc;t &agrave; copier le phras&eacute; &laquo;langoureux&raquo; du violon, tel que les orchestres Tziganes l&rsquo;ont mis &agrave; la mode dans les salons depuis le d&eacute;but du si&egrave;cle. </span><br /></p><span class=Texte><br /></span><p align=justify><span class=Texte><strong>Le xylophone et le glockenspiel</strong></span><br /><span class=Texte><em>- Alabama Moon ; My land of Memory ; Dreamy Hawa&iuml; ; Hawaian butterfly : xylophone -</em></span><br /><span class=Texte><em>- Hawa&iuml;an dreams ; The glow-worm : glockenspiel</em></span><br /><span class=Texte>Issu des balafons africains, des gamelans balinais ou des marimbas mexicaines, le xylophone a perdu rapidement tous ses contacts avec ses anc&ecirc;tres rythmiques pour devenir, &agrave; la toute fin du XIXe s. une curiosit&eacute; musicale, aux sons &eacute;tranges et percutants, dont le r&eacute;pertoire plus ou moins copi&eacute; sur celui des grands classiques est plus proche d&rsquo;une d&eacute;monstration virtuose que d&rsquo;une r&eacute;elle sensibilit&eacute; artistique. Qui n&rsquo;a jamais entendu l&rsquo;ouverture du Guillaume Tell de Rossini transpos&eacute; pour un xylophone furieux accompagn&eacute; par une fanfare d&eacute;bonnaire n&rsquo;a jamais rien entendu! Pour un peu, sa r&eacute;putation d&rsquo;instrument de cirque se justifierait. Pourtant timidement les &eacute;diteurs phonographiques l&rsquo;enregistrent. Des cylindres convainquants t&eacute;moignent de ses qualit&eacute;s acoustiques d&eacute;fiant les membranes les plus rev&ecirc;ches&hellip; et les oreilles se laissent convaincre. Bien avant que cet instrument ne regagne l&rsquo;expression rythmique du jazz qui se r&eacute;approprie en la personne du xylophone occidentalis&eacute; ses lointains anc&ecirc;tres, il continue d&rsquo;&eacute;mailler de ses notes un brin exotiques des m&eacute;lodies qui, loin des furies des fanfares, proposent un &laquo;ailleurs&raquo; ensoleill&eacute;.&nbsp; Parfois pour les notes les plus &eacute;lev&eacute;es, quand le son doit &ecirc;tre plus cristallin, presque &eacute;th&eacute;r&eacute;, c&rsquo;est le glockenspiel qui joue. Mais ici les artistes ne sont pas reconnus et leurs r&ocirc;les restent de second plan&hellip;</span><br /></p><span class=Texte><br /></span><p align=justify><span class=Texte><strong>La Zazofl&ucirc;te</strong></span><br /><span class=Texte><em>- Under the south sea palms : zazofl&ucirc;te</em></span><br /><span class=Texte><em>- Hawa&iuml;n Dreams (2 fl&ucirc;tes &agrave; l&rsquo;unisson)</em></span><br /><span class=Texte>Connue encore sous le nom de Jazzofl&ucirc;te, et tr&egrave;s appr&eacute;ci&eacute;e sous cette appellation des Fr&egrave;res P&eacute;guri, rois de l&rsquo;accord&eacute;on, la zazofl&ucirc;te n&rsquo;est rien d&rsquo;autre qu&rsquo;une fl&ucirc;te &agrave; piston. Reine des effets comiques, elle a, malgr&eacute; sa tr&egrave;s faible &eacute;tendue et son spectre sonore tr&egrave;s &eacute;troit, l&rsquo;incomparable possibilit&eacute; d&rsquo;ex&eacute;cuter des glissandos parfaits. Cette particularit&eacute; s&rsquo;accommode bien des harmonies tr&egrave;s ouvertes du jeu de la guitare hawa&iuml;enne, et l&rsquo;&eacute;tranget&eacute; de sa sonorit&eacute; instable ajoute au pittoresque des valses mondaines et des &laquo;morceaux de genre&raquo;. Mais elle ne conna&icirc;t qu&rsquo;un en&shy;gouement passager, li&eacute; &agrave; la mode hawa&iuml;enne et &agrave; quelques fac&eacute;ties des artistes des &laquo;ann&eacute;es folles&raquo; avant de retomber dans le domaine de la curiosit&eacute; d&rsquo;o&ugrave; seul son aspect comique et l&rsquo;&eacute;tranget&eacute; de ses effets lui valent encore quelques apparitions. Comme pour le xylophone, l&rsquo;instrument n&rsquo;est sans doute pas assez &laquo;noble&raquo; : il n&rsquo;est pas mentionn&eacute; sur les &eacute;tiquettes et le nom de celui qui en joue reste inconnu. M&ecirc;me les deux fl&ucirc;tistes tradi&shy;tion&shy;nels qui pren&shy;nent part &agrave; Hawa&iuml;n Dreams restent ignor&eacute;s. </span><br /></p><span class=Texte><br /><strong>Les percussions</strong><br /></span><p align=justify><span class=Texte><em>Yaaka, Hula, Hickey Dula (tambour &amp; wood blocks.);&nbsp; Hawaian Dreams (w.b.)</em></span><br /><span class=Texte>La base rythmique est le plus souvent donn&eacute;e par l&rsquo;accom&shy;pagnement de guitare basse. Parfois la timide adjonction de percussions enrichit cette habitude. Elle fait v&eacute;ritablement figure de pr&eacute;curseur. Dans Yaaka, Hula, Hickey Dula, composition qui s&rsquo;inspire de motifs hawa&iuml;ens, on peut entendre un exceptionnel accom&shy;pagnement m&eacute;lang&eacute;. Au tambour traditionnel, faisant entendre une r&eacute;guli&egrave;re scansion, comme un rappel des traditions, viennent se m&ecirc;ler les wood blocks nasillards annon&ccedil;ant le sautillement du fox-trot ( wood blocks que l&rsquo;on retrouve assagis au rythme de la valse dans Hawa&iuml;an Dreams)&hellip; L&rsquo;emploi de ce tambour frapp&eacute; &laquo;&agrave; mains nues&raquo; pr&eacute;figure le grand mouvement de d&eacute;couverte de la conga (d&rsquo;origine afro-cubaine) qui s&eacute;duira les musiciens de jazz &agrave; la fin des ann&eacute;es trente. Cependant, durant les ann&eacute;es 1910 &agrave; 1920, ces m&ecirc;mes musiciens, noirs pour la plupart, n&rsquo;appr&eacute;&ccedil;iaient gu&egrave;re cette technique de jeu car elle traine apr&egrave;s soi une connotation sauvage, voire primitive, renvoyant la musique vers une acceptation p&eacute;jorative. De plus la r&eacute;putation des Noirs ha&iuml;tiens frappant des tambours de bamboula dans Congo Square &agrave; la Nouvelle-Orl&eacute;ans, n&rsquo;est pas faite pour am&eacute;liorer la r&eacute;putation de ces instruments! Pourtant cette expression reviendra elle aussi au jazz, mais il est vrai qu&rsquo;entre temps la reconnaissance des musiciens aura grandement progress&eacute;. </span><br /></p><span class=Texte><br /></span><span class=Soustitre>ACOUSTIQUES</span><span class=Texte><br /></span><p align=justify><span class=Texte>Tous les enregistrements qui figurent dans cette s&eacute;lection sont acoustiques. A double titre d&rsquo;ailleurs. D&rsquo;abord la technique de l&rsquo;enregistrement phonographique ignore l&rsquo;emploi du microphone. Ce dernier ne sera utilis&eacute; pour la premi&egrave;re fois &agrave; des fins phonographiques qu&rsquo;en 1925, donnant naissance &agrave; l&rsquo;enregistrement &laquo;&eacute;lectrique&raquo; d&rsquo;une plus haute fid&eacute;lit&eacute;. En attendant cette r&eacute;volution, les disques, comme les premiers cylindres, sont grav&eacute;s de mani&egrave;re &laquo;acoustique&raquo; : seule la puissance des sons &eacute;mis par les instruments fait vibrer une membrane sensible, plac&eacute;e &agrave; l&rsquo;extr&eacute;mit&eacute; la plus petite d&rsquo;un cornet. Un burin graveur, solidaire de cette derni&egrave;re, inscrit dans de la cire vierge le trac&eacute; de la vibration. Cet enregistrement fragile, reproduit par galvanoplastie, porte le souvenir de la s&eacute;ance d&rsquo;enregistrement. Il n&rsquo;est pas question de montage, pas question de reprises ou de corrections, tout doit &ecirc;tre parfait si possible du premier coup!Acoustiques encore les instruments. Ni les guitares, ni les violons ne connaissent d&rsquo;amplification &eacute;lectroacoustique. Il faudra attendre les ann&eacute;es trente pour que ces instruments &agrave; la puissance limit&eacute;e connaissent &agrave; leur tour toutes les possibilit&eacute;s de l&rsquo;amplification &eacute;lectrique.</span><br /></p><span class=Texte><em>Jean-Yves Patte</em><br />&copy; FRÉMEAUX &amp; ASSOCIÉS SA, 1997<br /></span><p align=justify><span class=Texte>&ldquo;Voici M. Andr&eacute; de Fouqui&egrave;res qui organise le prochain rallye (...) , Flers qui a organis&eacute; la derni&egrave;re F&ecirc;te des Glycines ou des Poup&eacute;es Fleuries qui enthousiasma les Am&eacute;ricains. Voici les princes de Gr&egrave;ce, assis en rond dans chaque vestibule et qui ob&eacute;issent comme des soldats &agrave; l&rsquo;ex-reine m&egrave;re. Voil&agrave; Mlle Maud Loty qui se moque pas mal de ces aristocrates et r&eacute;p&egrave;te son prochain r&ocirc;le, assise sur une table. Voici le clan des grands joueurs, M. Citro&euml;n, (...) MM. Vaglialo et Zographos, armateurs m&eacute;diterran&eacute;ens (...). Et Mlle Lenglen qui passe en courant, et Carpentier qui passe en se dandinant. Et Sem, qui croque les gens comme des noisettes. Et Van Dongen, en chandail parmi les smokings, ce qui n&rsquo;emp&ecirc;che point telle duchesse de danser avec lui.Ah! le dancing... En vain le soleil &eacute;clat-il dehors (...) des milliers de gens, jeunes et vieux, se pr&eacute;cipitent, accaparent les tables, et serr&eacute;s sur la piste comme sur leurs chaises, demeurant l&agrave; jusqu&rsquo;&agrave; ce qu&rsquo;on les chasse litt&eacute;ralement.&rdquo;</span><br /><span class=Texte><em>Michel Georges-Michel.</em></span><br /></p><span class=Texte>Juillet 1926.<br /></span><p align=justify><span class=Texte><em>Ah! The dance hall.&nbsp; No one cares that the sun is shining outside.&nbsp; People rush in and grab tables, young and old, thousands of them.&nbsp; On the dance-floor or on chairs, they are packed higt as sardines, and they stay there untill the are literaly throw out.&rdquo;</em></span><br /><span class=Texte><em>Michel Georges-Michel, July 1926.</em></span><br /></p><span class=Texte><br /></span><span class=Soustitre>HAWAIIANS IN PARIS</span><span class=Texte><br /><strong>Hawaiian Guitar 1916-1926</strong><br /></span><p align=justify><span class=Texte>The Roaring &rsquo;Twenties provided a period of merciful oblivion from the destruction and bereavement of World War I, and a break from the economic hardship that was to reappear in the 1930s. It was a free-wheeling era of permissiveness that introduced jazz and other new kinds of music, plus wild hip-shaking dances. The painter Van Dongen, very much the arbiter of elegance in the most refined Parisian salons, enthusiastically announced in 1927, &ldquo;A pretty woman can get away with any sort of movement without making a fool of herself. And these dances are such marvellous exercise! I am convinced that they are going to make every woman more beautiful.&rdquo;&nbsp;&nbsp; For ladies it meant a chance to to crop their hair and trade their constricting corsets for leggy, backless dresses. For gentlemen it was the freedom to dress more casually and wear a rakish straw boater like Maurice Chevalier.</span><br /></p><span class=Texte><br /><em><strong>Paradise </strong></em><br /></span><p align=justify><span class=Texte>If Jazz was a wild cry of freedom and lust for life, Hawaiian music was a gentle shore breeze. Jerky jazz rhythms conveyed the heady vitality of the age, while Hawaiian strains evoked the memory of exotic 19th century travel to faraway lands. The lure of the mysterious islands of Hawaii and Tahiti captured the Parisian imagination, fired by Gauguin&rsquo;s tantalising images. Our hazy geography tended to lump all these happy islands together. But for Europeans emerging from the grip of war it was the ultimate fantasy, however illusory.The meeting of different civilizations worked its own magic.&nbsp; The results were sometimes unfortunate, occasionally dazzling. Our taboos were different, so it was only a short step to the idea that these &ldquo;gentle fair-skinned natives&rdquo; were happier than we were. Their easy-going lifestyle, blessed with all the bounties of nature, cast a powerful spell: sun-drenched turquoise lagoons, lazily waving palm fronds, carefree hulagirls gently swaying under blue skies. At long last we had rediscovered the Garden of Eden. In our frenzied imaginations, we dreamt of free love dispensed by insatiable native beauties in an island paradise</span><br /></p><span class=Texte><br /></span><p align=justify><span class=Texte><em><strong>......and Music</strong></em></span><br /><span class=Texte>From then on the image became a travel brochure stereotype: &ldquo;island&rdquo; girls and boys (any island would do!), strumming their ukuleles in an endless evocation of summer. But the dream factory did not see things quite the same way as the ethnologists. So what was actually coming out of the phonograph horn? There were some last glimmers of the traditional hula , that epic ballad form of supple, sliding harmonies and alternating expressions of sadness and joy, as in Hawaiian Hula medley&nbsp; and Echos Hawa&iuml;ens&nbsp; which already contained elements of waltz time and, indeed, reappeared on Path&eacute; records a few years later retitled Halona Waltz . In Europe these melodies recalled the exotic pre-World War I gypsy music, so popular with fashionable depressives at the time. But Hawaiian music was not world-weary or depressed, it simply carried you away.America fell in love with the Hawaiian guitar, which was then seized upon by the record industry. Soon the Hawaiian craze adjusted itself to the dictates of fashion. Old-time gypsy1 or Viennese waltzes were out and the Hawaiian waltz was in, unseating the previously fashionable hula&nbsp; which had thrilled New York with numbers likeYaaka Hula, Hickey Dula . Waltzes borrowed fanciful titles from South-Sea gods, such as Kilima Waltz&nbsp; and Moana Chimes.&nbsp; Yet the supple chords remained, preserving the music&rsquo;s distinct identity.Thanks to the ubiquitous phonograph, romantic couples kissed and cuddled to the mellifluous strains of Dream Kiss and listened dreamily to Hawaiian Butterfly. Parisian tea-dances feverishly foxtrotted to a version of Runnin&rsquo; Wild&nbsp; that featured those soft guitars. French beaches rang to the sounds of island glissandi, and the coastal resorts of Biarritz and Deauville had never been so close to the Pacific shore.</span><br /><span class=Soustitre>Frank Ferera (b. Honolulu,12.6.1885 - d. 26.6.1951) </span><br /><span class=Texte>Ferera was born a subject of Queen Liliuokalani, but left Honolulu in 1902 as an American citizen, since the four-year-old Hawaiian Republic had asked for U.S. statehood in 1898. Young Ferera was a fine player and probably studied guitar at the Honolulu Music School, formerly the Royal School. With Hawaiians taking New York by storm, he was lured to the States by the prospect of fame and fortune, making his first recordings there in 1915. When the style conquered Europe, as one of the pioneering Honolulu artists, Ferera was its ambassador on records. In France the Compagnie Fran&ccedil;aise du Gramophone&nbsp; pressed American Victor matrices. Later the Compagnie Path&eacute;phone&nbsp; took him on. In 1920, thanks to a landmark U.S. court case, Victor and Columbia lost their stranglehold on recording patents, enabling Path&eacute; to finally sell discs in the States. The label embarked on a spate of &ldquo;Louise and Ferera&rdquo; recordings in a careful assault on the new market. The continuing Hawaiian vogue in Europe meant that the same masters could be sold there. With the support of American music publishers, it was a virtually risk-free investment.Ferera developed from a picking style to perfect glissando, which was to find a place in jazz as &ldquo;slide&rdquo; guitar. He was the first to make money from the Hawaiian craze. Until 1921 he was teamed on records with &ldquo;Madame Louise&rdquo; (his wife), then made guitar duets with Anthony Francini. At the height of his popularity Ferera put together a Hawaiian troupe, featuring xylophones and violins and a repertoire that always took account of the vagaries of fashion. The basic book consisted of hulas and waltzes, but soon included jazz-influenced foxtrots and shimmies, plus sedate ballroom dances and popular hit tunes like Ciribiribin ...In Europe the Hawaiian fashion reached its peak with Ferera-influenced dance bands and then fell away,but Ferera&rsquo;s own career outlived the 1920s. In 1927, Frank Ferera was hired by Country star Vernon Dalhart (b. Jefferson, Texas, 1883 - d. 1948) as the first steel guitarist in Country music. In America the 1930s were a period of intense activity for the Hawaiian guitar2, crossing all style barriers. From then on up to the 1940s, Frank Ferera left an impressive legacy of electric3 solo and ensemble recordings in the style that he had originally pioneered. Around the world, in Paris or wherever, nostalgia lovers are still playing the old 78s. And somewhere, on a quiet backwater, there is a wind-up phonograph still murmuring My Land of Memory and In My Tippy Canoe...</span><br /></p><span class=Texte>Abridged and adapted by<em> Tony Baldwin</em> from the French text by <em>Jean-Yves Patte</em><br />&copy; FRÉMEAUX &amp; ASSOCIÉS SA 1997<br /></span><span class=Source>1 cf.&nbsp; CD&nbsp; &ldquo;Tsiganes, Paris/Berlin/Budapest 1910-1935&rdquo; ,&nbsp; Fr&eacute;meaux &amp; Associ&eacute;s FA006.<br />2 &ldquo;Hawaiian Music&rdquo; Fr&eacute;meaux &amp; Associ&eacute;s&nbsp; FA035<br />3 cf.&nbsp; below&nbsp; &ldquo;Acoustics&rdquo; </span><span class=Texte><br /></span><p align=justify><span class=Texte>My thanks to the library of Honolulu&rsquo;s Bishop Museum for their gracious and meticulous handling of my inquiries. Thanks also to Lionel Risler without whom these sides would not be nearly so listenable.</span><br /></p><span class=Texte><br /></span><span class=Soustitre>The Instruments:</span><span class=Texte><br /></span><p align=justify><span class=Texte>While the Hawaiian guitar gets pride of place on these records, it is by no means the only instrument. However, except for saxophonist Nathan Glantz, the other musicians cannot be identified. Backing instruments are rarely credited, although there are early instances of hand drums, wood-blocks and xylophone. The discreet pianist on Hawaiian Dreams and The Glow-worm may also be the anonymous glockenspiel player. On various numbers we can also hear violins, slide-whistles, flutes and chimes. On Ciribiribin someone even whistles like a bird.</span><br /></p><span class=Texte><br /></span><p align=justify><span class=Texte><em><strong>Nathan Glantz and the Saxophone</strong></em></span><br /><span class=Texte><em>In My Tippy Canoe; Dream Kiss; Hawaiian Butterfly</em></span><br /><span class=Texte>When the Belgian Adolphe Sax invented the saxophone around 1840, he conceived it as a military band instrument. Despite endorsements from Hector Berlioz, it was ignored by classical and regimental musicians alike, but found favour in popular music. In touring dance bands it became an ideal substitute for the violin, which was more fragile and harder to learn. Americans only really discovered the saxophone in the 1914-18 war, when it was brought back home by soldiers and found new expression in jazz music. However, in this context Nathan Glantz concentrates on emulating the tender phrasing of the violin. </span><br /><span class=Texte><em><strong>Xylophone and Glockenspiel</strong></em></span><br /><span class=Texte><em>Xylophone: Alabama Moon; My Land Of Memory; Dreamy Hawaii; Hawaiian Butterfly.&nbsp; Glockenspiel: The Glow-worm; Hawaiian Dreams.</em></span><br /><span class=Texte>Deriving from the African &ldquo;piano&rdquo;, Balinese gamelan and Mexican marimba, the xylophone soon lost contact with its rhythmic ancestry to become a vaguely exotic late-19th century curiosity, better suited to circus-style virtuosity than to artistic expression. Yet it recorded well on acoustic machines and gave an added sparkle to South Sea melodies. The glockenspiel would come into play to achieve a crystalline, ethereal effect on high notes . </span><br /><span class=Texte><em><strong>The Slide Whistle</strong></em></span><br /><span class=Texte><em>Under the South Sea Palms</em></span><br /><span class=Texte>Despite its limited range and tone, this king of comic effects could produce a perfect glissando that was ideally suited to the open harmonies of Hawaiian guitar. Its unusual sound added a picturesque touch to fashionable waltz tunes. Its reign was brief, however, and at the end of the 1920s it returned to its former status as a humorous Vaudeville prop.</span><br /><span class=Texte><em><strong>Percussion</strong></em></span><br /><span class=Texte><em>Yaaka, Hula, Hickey Dula (drum, wood blocks); Hawaiian Dreams (wood blocks) </em></span><br /><span class=Texte>The rhythmic foundation was usually provided by a guitar bass-line, occasionally embellished by the modest pioneering use of percussion, as on Yaaka, Hula, Hickey Dula , which blends traditional drumming with the harsher foxtrot rhythm of the wood blocks. This use of hand drums presaged the discovery of the Afro-Cuban conga , which so entranced jazzmen at the end of the 1930s. However, in the 1910-20 period such (mainly black) musicians considered hand drumming to be savage and primitive, a view which the Haitian bamboula drummers of Congo Square in New Orleans did nothing to dispel.</span><br /></p><span class=Texte><br /></span><span class=Soustitre>Acoustics</span><span class=Texte><br /></span><p align=justify><span class=Texte>The tracks on this album are all acoustic, and in two respects.First, recording technology as used here predates the 1925 introduction of microphones and electrical equipment. The process depended entirely upon sound waves travelling down a horn to vibrate a sensitive membrane attached to a cutting stylus, which would then inscribe these vibrations onto a rotating wax blank. The delicate wax master was then electroplated, to produce a copper matrix which would serve as the source of subsequent pressings. No form of editing or correction was possible.Secondly, the musical instruments themselves are entirely acoustic. Electronically amplified instruments only became a practical reality in the 1930s.</span><br /></p><span class=Texte><br /></span><p align=justify><span class=Texte><u>Illustrations</u></span><br /><span class=Source>1 From an advertisement for Path&eacute; Phonographs.</span><br /><span class=Source>2 &ldquo;Isn&rsquo;t that one of those new English or American dances, my dear?&rdquo; she asked, &ldquo;You know, the ones I can never remember the names of?&rdquo;&ldquo;Oh, Hermance! The very idea! I absolutely forbid my girls to do the fox-trot&nbsp; or the shimmy!&rdquo; cried Madame de Grand-Air indignantly.B&eacute;cassine Nourrice, Caumery et Pinchon(Editions Gautier - Languerau 1922)</span><br /><span class=Source>3 Dance cards are definitely out of fashion, so people are using their imagination. They drew lots for the &ldquo;token for one waltz with Mademoiselle&rdquo; Euphrasie, and Martin won it!</span><br /><span class=Source>4 The Bath.Atamian. 1927.</span><br /><span class=Source>5 Advertising illustration for philatelists: the Hawaiian Republic and its stamps (c. 1894-1898)</span><br /><span class=Source>6 1923 Path&eacute; catalogue supplement #2</span><br /><span class=Source>7 A saxophone.</span><br /><span class=Source>8 A slide whistle.</span><br /><span class=Source>9 &ldquo;The latest fashion in sport: canoeing. The canoe lunch is, of course, a French invention. All you need is a table with floats and guests who can do the back-stroke.&rdquo;</span><br /></p><span class=Texte>&copy; FRÉMEAUX &amp; ASSOCIÉS SA 1997<br /></span><p align=justify><span class=Texte>Les quatre premiers titres propos&eacute;s t&eacute;moignent d&rsquo;une tradition musicale hawa&iuml;enne qui puise son origine dans les chants traditionnels, revus par l&rsquo;enseignement des &eacute;coles de musique, ou adapt&eacute;s pour les besoins de &laquo;pittoresque&raquo; r&eacute;clam&eacute;s par un public friand de r&ecirc;ve hawa&iuml;en (n&deg;4 particuli&egrave;rement). Viennent ensuite des titres qui, de m&ecirc;me qu&rsquo;Hawaii a &eacute;t&eacute; annex&eacute; par les États-Unis, annexent une expression hawa&iuml;enne traditionnelle. C&rsquo;est sous cette forme particuli&egrave;rement que cette musique sera connue en Europe, en Grande-Bretagne d&rsquo;abord puis en Allemagne et en France. Ces titres correspondent &agrave; l&rsquo;apog&eacute;e du genre hawa&iuml;en qui conquiert alors d&rsquo;autres formations, tel l&rsquo;orchestre de Jacques Deport.</span><br /></p><br /><em><span class=Texte>The first four tracks point to a Hawaiian musical heritage that drew upon traditional song, as filtered through western music education or tailored to the public&rsquo;s appetite for exotica (notably #4). Then come the tracks that&nbsp; simply borrow from the traditional Hawaiian style. It was this form that was best known in Europe. Those titles represent the Hawaiian style at its peak, when it had an overwhelming influence on European ensembles, like Jacques Deport&rsquo;s orchestra.</span></em><br /><p align=justify><br /><span class=Texte><strong>1/ Madame Louise et Monsieur Ferera.&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;11&rdquo;</strong></span><br /><span class=Texte>(Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne).&nbsp; </span><br /><span class=Texte>Echos Hawa&iuml;ens, trad. Gramophone. Matrice &laquo;Victor&raquo; A 1799. Ce m&ecirc;me morceau est propos&eacute; sous le nom d&rsquo;Halona Waltz, dans les catalogues Path&eacute; d&egrave;s 1922. (Path&eacute;-saphir, N&deg; 8283/ 66011). Enregistr&eacute; avant 1919.</span><br /><span class=Texte><strong>2/ Madame Louise et Monsieur Ferera.&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;21&rdquo;</strong></span><br /><span class=Texte>(Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne).&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>Kilima Waltz, X. d&rsquo;inspiration. Path&eacute;-saphir. Traditionnelle. N&deg; 8279/ 66453. Enregistr&eacute; le 1 juin 1920. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1922.</span><br /><span class=Texte><strong>3/ Madame Louise et Monsieur Ferera.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;05&rdquo;</strong></span><br /><span class=Texte>(Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne).&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>Hawaiian Hula Medley, trad. Path&eacute;-saphir N&deg; 8282/ 65930. Enregistr&eacute; en novembre 1920 ? N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1922.</span><br /><span class=Texte><strong>4/ Madame Louise et Monsieur Ferera.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;04&rdquo;</strong></span><br /><span class=Texte>(Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne - tambour, wood blocks : artistes inconnus).&nbsp;&nbsp;&nbsp;&nbsp; Yaaka, Hula, Hickey Dula. Wendling et Young. Path&eacute;-saphir N&deg; 8282/ 65937. Enregistr&eacute; le 23 novembre 1920. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1922.</span><br /><span class=Soustitre>Les valses mondaines :</span><br /><span class=Texte><strong>5/ Madame Louise et Monsieur Ferera.&nbsp;&nbsp; 2&rsquo;27&rdquo;</strong></span><br /><span class=Texte>(Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne - piano, glockenspiel : artiste inconnu).&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Glow-worm. Paul Lincke. Path&eacute;-saphir N&deg; 8279/ 66263. Enregistr&eacute; le 12 juin 1920. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1922.</span><br /><span class=Texte><strong>6/ Madame Louise et Monsieur Ferera.&nbsp; 2&rsquo;50&rdquo;</strong></span><br /><span class=Texte>(Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne - deux fl&ucirc;tes, piano et glockenspiel, wood blocks : artistes inconnus).&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Hawaiian Dreams. Herbert Marple. Path&eacute;-saphir N&deg; 8280/ 66245. Enregistr&eacute; le 20 juin 1920. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1922.</span><br /><span class=Texte><strong>7/ Trio Hawa&iuml;en. &nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;48&rdquo;</strong></span><br /><span class=Texte>(Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne - xylophone : artiste inconnu). L&rsquo;&eacute;dition fran&ccedil;aise est anonyme tandis que l&rsquo;&eacute;dition am&eacute;ricaine d&eacute;signe les interpr&egrave;tes hawa&iuml;ens). Alabama Moon. Green. Gramophone - Matrice &laquo;Victor&raquo; A 23862. Catalogue &laquo;Victor&raquo; 1921.</span><br /><span class=Texte><strong>8/ Frank Ferera et Anthony Franchini. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;24&rdquo;</strong></span><br /><span class=Texte>(Anthony Franc(h)ini guitare basse, Franck Ferera guitare hawa&iuml;enne).&nbsp;&nbsp;&nbsp; Isle of Paradise. Earl Fiorito Omomari. Gramophone. Matrice &laquo;Victor&raquo; A 25068. Catalogue &laquo;Victor&raquo; 1923.</span><br /><span class=Texte><strong>9/ Ferera et Francini, with Nathan Glantz&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;01&rdquo;</strong></span><br /><span class=Texte>(Anthony Francini guitare basse, Franck Ferera guitare hawa&iuml;enne, Nathan Glantz saxophone).&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; In my Tippy Can&oelig;. Fisher. Path&eacute;-saphir N&deg; 8344/ 69418. Appara&icirc;t au catalogue Path&eacute; France en 1923.</span><br /><span class=Texte><strong>10/ Ferera et Francini, with Nathan Glantz &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;42&rdquo;</strong></span><br /><span class=Texte>(Anthony Francini guitare basse, Franck Ferera guitare hawa&iuml;enne, Nathan Glantz saxophone).&nbsp; Dream Kiss. Rienzo. Path&eacute;-saphir N&deg; 8344/ 69419. Appara&icirc;t au catalogue Path&eacute; France en 1923.</span><br /><span class=Texte><strong>11/ Ferera&rsquo;s hawaiian instruments quartet&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;03&rdquo;</strong></span><br /><span class=Texte>(Anthony Francini guitare basse (?), Franck Ferera guitare hawa&iuml;enne - deux violons, jeu de cloches : artistes inconnus.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Moana Chimes. Costello &amp; Motzan. Path&eacute;-saphir N&deg; 8383/ 105 553. Enregistr&eacute; le 16 mars 1925. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1926.</span><br /><span class=Texte><strong>12/ Ferera&rsquo;s hawaiian instruments quartet&nbsp;&nbsp; 3&rsquo;18&rdquo;</strong></span><br /><span class=Texte>(Anthony Francini guitare basse (?), Franck Ferera guitare hawa&iuml;enne - violon, zazofl&ucirc;te : artistes inconnus). Under th South Sea Palms. Parish &amp; Jonshon. Path&eacute;-saphir N&deg; 8383/ 105554. Enregistr&eacute; le 9 septembre 1925. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1926.</span><br /><span class=Soustitre>Les &laquo;morceaux de genre&raquo; :</span><br /><span class=Texte><strong>13/ Madame Louise et Monsieur Ferera  &amp; hawaiian troupe.&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;13&rdquo;</strong></span><br /><span class=Texte>(Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne - siffleur inconnu).&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Ciribiribin. Pestalozzi. Path&eacute;-saphir N&deg; 8281/ 66369. Enregistr&eacute; le 13 novembre 1920. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1922.</span><br /><span class=Texte><strong>14/ Ferera et Francini&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;35</strong></span><br /><span class=Texte>&rdquo;hawaiian guitars and xylophone&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (Anthony Francini guitare basse, Franck Ferera guitare hawa&iuml;enne - xylophone : artiste inconnu).&nbsp; My Land of Memory. Behr. Path&eacute;-saphir N&deg; 8353/ 68991. Appara&icirc;t au catalogue Path&eacute; France en 1924.</span><br /><span class=Texte><strong>15/ Ferera et Francini, &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;33</strong></span><br /><span class=Texte>&rdquo;hawaiian guitars and xylophone&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (Anthony Francini guitare basse, Franck Ferera guitare hawa&iuml;enne - xylophone : artiste inconnu). Dreamy Hawaii. Vandersloot. Path&eacute;-saphir N&deg; 8353/ 69083. Appara&icirc;t au catalogue Path&eacute; France en 1924.</span><br /><span class=Soustitre>Les pr&eacute;mices du Jazz :</span><br /><span class=Texte><strong>16/ Madame Louise et Monsieur Ferera &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&lsquo;42&rdquo;</strong></span><br /><span class=Texte>&amp; Wa&iuml;kiki orchestra (Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne - saxophone Nathan Glantz (?)). Hawaiian Butterfly. Santly. Path&eacute;-saphir N&deg; 8281/ 66234. Enregistr&eacute; le 8 novembre 1920. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1922.</span><br /><span class=Texte><strong>17/ Orchestre Hawa&iuml;en, direction Jacques Deport&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;11</strong></span><br /><span class=Texte>&rdquo;Runnin&rsquo; Wild. Harrington &amp; Gibbs. Path&eacute;-saphir N&deg; 6775/ 7570. Enregistr&eacute; le 26 juin 1925. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1926.</span><br /></p><span class=Texte><br /></span><p align=justify><span class=Texte><strong>18/ Orchestre Hawa&iuml;en, direction Jacques Deport&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;05</strong></span><br /><span class=Texte>&rdquo;Tea for Two. Cesar &amp; Youmans. Path&eacute;-saphir N&deg; 6775/ 7574. Enregistr&eacute; le 6 ao&ucirc;t 1925. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1926.</span><br /><span class=Source>Hawaiians in Paris 1916-1926 &copy; Fr&eacute;meaux &amp; Associ&eacute;s (fr&eacute;meaux, fr&eacute;maux, fr&eacute;mau, fr&eacute;maud, fr&eacute;mault, fr&eacute;mo, fr&eacute;mont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont,&nbsp;CD audio, 78 tours, disques anciens, CD &agrave; acheter, &eacute;couter des vieux enregistrements, albums, r&eacute;&eacute;ditions, anthologies ou int&eacute;grales sont disponibles sous forme de CD et par t&eacute;l&eacute;chargement.)</span></p>"
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          "value" => "<p>D&rsquo;Honolulu, une d&eacute;ferlante hawa&iuml;enne touche l&rsquo;Europe durant les &ldquo;ann&eacute;es folles&rdquo;. Plus qu&rsquo;une mode c&rsquo;est un peu de r&ecirc;ve qu&rsquo;elle apporte, un souffle apais&eacute; entre deux conflits. L'exotisme fantasm&eacute; de 1916 &agrave; 1926 qui fit r&eacute;ver &agrave; Berlin, Paris et New York.<br /><strong>Patrick Fr&eacute;meaux<br /></strong><br /><em>Droits &eacute;ditorialisation : Groupe Fr&eacute;meaux Colombini SAS - Le patrimoine sonore du vingti&egrave;me si&egrave;cle.</em></p><br><br><p>ECHOS HAWA&Iuml;ENS &bull; KILIMA WALTZ &bull; HAWAIIAN HULA MEDLEY &bull; YAAKA, HULA, HICKEY DULA &bull; THE GLOW-WORM &bull; HAWAIIAN DREAMS &bull; ALABAMA MOON, MME LOUISE ET FRANCK FERERA &bull; ISLE OF PARADISE, FRANCK FERERA ET ANTHONY FRANCINI &bull; IN MY TIPPY CAN&OElig; &bull; DREAM KISS, ANTHONY FRANCINI, FRANCK FERERA ET NATHAN GLANTZ &bull; MOANA CHIMES &bull; UNDER THE SOUTH SEA PALMS, ANTHONY FRANCINI ET FRANCK FERERA &bull; CIRIBIRIBIN, MME LOUISE ET FRANCK FERERA &bull; MY LAND OF MEMORY &bull; DREAMY HAWAII, ANTHONY FRANCINI ET FRANCK FERERA &bull; HAWAIIAN BUTTERFLY, MME LOUISE ET FRANCK FERERA &bull; RUNNIN&rsquo; WILD &bull; TEA FOR TWO, ORCHESTRE HAWAIIEN, DIRECTION JACQUES DEPORT.</p>"
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          "value" => "<h3>HAWAIIANS IN PARIS 1916-1926</h3><p align=justify>  </p><span class=Soustitre2>HAWAIIANS IN PARIS <br />1916-1926&nbsp;&nbsp;&nbsp; </span><span class=Texte><br /></span><span class=Soustitre>Les Ann&eacute;es Folles</span><span class=Texte><br /></span><p align=justify><span class=Texte>Entre deux hurlements d&rsquo;acier, les Ann&eacute;es Folles cherchent l&rsquo;oubli. Oubli de la &laquo;Grande Guerre&raquo; et de son cort&egrave;ge de destructions, de deuils et d&rsquo;amours bris&eacute;es; oubli des difficult&eacute;s &eacute;conomiques qui, d&egrave;s les &laquo;Ann&eacute;es 30&raquo;, sonnent le glas de la folie quand de nouveau perce l&rsquo;angoisse d&rsquo;un conflit. Cet &laquo;entre-deux-guerres&raquo; un peu suspendu est le temps des permissions. Permission du Jazz, malgr&eacute; un &agrave; priori plut&ocirc;t d&eacute;favorable au commencement&hellip;&hellip; et permission de toutes les musiques qui, soudainement lib&eacute;r&eacute;es, chantent d&rsquo;autres &eacute;lans. Permission de danser en se d&eacute;hanchant de mani&egrave;re extravagante :&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &laquo;Une jolie femme peut se permettre n&rsquo;importe quel mouvement sans para&icirc;tre ridicule. Et puis, ces danses l&agrave;, quel merveilleux exercice ! Quelle gymnastique &eacute;patante! Je suis s&ucirc;r que les femmes en seront, un jour prochain, toutes plus belles&raquo;, proclame avec enthousiasme, en 1927, le peintre Van Dongen, v&eacute;ritable arbitre des &eacute;l&eacute;gances dans les salons hupp&eacute;s. Les jambes se montrent, les dos se dessinent dans d&rsquo;audacieuses robes. Alors, per&shy;mission pour les dames de quitter un peu l&rsquo;&eacute;touffant corset, comme le propose le couturier Poiret, et permission pour les messieurs de laisser reposer leurs raideurs compass&eacute;es. Permission aussi pour les jeunes beaut&eacute;s des boulevards de &laquo;se faire couper les cheveux&raquo; comme s&rsquo;exclame la rengaine, permission encore de pencher un peu plus le chapeau ou le canotier &laquo;sur le c&ocirc;t&eacute;&raquo;, Maurice Chevalier s&rsquo;en souviendra longtemps. Mais si le Jazz est un cri, un cri farouche de lib&eacute;ration, la marque imp&eacute;rative d&rsquo;une &laquo;rage de vivre&raquo;, la musique hawa&iuml;enne en est le souffle apais&eacute; : celui des rivages heureux, apr&egrave;s le d&eacute;ferlement de la vague sonore.</span><br /></p><br /><p align=justify><span class=Texte><em><strong>Paradis&hellip;</strong></em></span><br /><span class=Texte>Les hoquets fr&eacute;n&eacute;tiques du Jazz traduisent l&rsquo;&eacute;lan vital, l&rsquo;ivresse qui saisit les Ann&eacute;es folles. La musique hawa&iuml;enne porte en elle un r&ecirc;ve heureux : celui de l&rsquo;Éden. Apr&egrave;s les songes opiac&eacute;s, les &laquo;Paradis artificiels&raquo; et leur spleen &agrave; jamais baudelairiens, l&rsquo;exotisme rena&icirc;t des souvenirs de voyages d&rsquo;un XIXe si&egrave;cle &eacute;vanoui. Mais ce ne sont plus les fastes sauvages d&rsquo;une Afrique romantique qui enchantent, ce ne sont plus les rutilances des civilisations &laquo;orientales&raquo; - mot pratique qui englobe tous les pays d&rsquo;Afrique du Nord jusqu&rsquo;au Moyen-Orient - qui attirent, mais les secrets des peuples lointains. Le go&ucirc;t des voyages conduit sur les &icirc;les myst&eacute;rieuses. Hawaii, Tahiti, d&rsquo;o&ugrave; Gauguin avait rapport&eacute; des visions troublantes, lourdes de voluptueux pressentiments, les &Icirc;les sous le vent&hellip; Heureux pays, qui ne connaissent que la douceur! Dans l&rsquo;imaginaire de maints parisiens, peu soucieux de g&eacute;ographie, toutes ces &icirc;les se m&eacute;langent, cousinent &eacute;troitement. M&ecirc;me si c&rsquo;est un leurre, l&rsquo;Occident, qui sort de l&rsquo;&eacute;tau, ne r&ecirc;ve que de ce r&ecirc;ve. Le heurt des civilisations op&egrave;re son charme. S&rsquo;il est mal&eacute;fique parfois, parfois aussi il est flamboyant. Nos tabous ne sont pas les leurs&hellip; et cette simple constatation suffit &agrave; laisser penser que &laquo;ces doux indig&egrave;nes &agrave; la peau claire&raquo; sont plus heureux que nous ! Quelle fascination en effet que cette langueur &agrave; laquelle une nature g&eacute;n&eacute;reuse semble donner tous les droits. Abondance ! Soleil, mer calme des lagons, bleu des ciels, turquoise des eaux, doux balancement des palmes comme des bras g&eacute;n&eacute;reux qui donnent encore et encore, image aussi des danseuses paraissant si simplement heureuses de n&rsquo;avoir d&rsquo;autre souci que danser les bras tendus, ondulants ainsi que des flots. La magie op&egrave;re : voici l&rsquo;Éden o&ugrave; tout semble &ecirc;tre enfin &laquo;luxe, calme et volupt&eacute;&raquo;&hellip;Volupt&eacute;, &laquo;facilit&eacute; de m&oelig;urs&raquo;! Certes le r&ecirc;ve est moins avouable, mais combien plus br&ucirc;lant. L&rsquo;image d&rsquo;une lascive vahin&eacute; envahit les nuits d&rsquo;&eacute;rotomanes en mal de sensations en bord de mer ; Isle of Paradise!</span><br /></p><span class=Texte><em><strong>&hellip; et musiques</strong></em></span><br /><p align=justify><span class=Texte>Les images doivent rester telles que les d&eacute;pliants des agences de voyage les proposent, telles que les lecteurs des magasines les souhaitent. A jamais jeunes, les filles et les gar&ccedil;ons &laquo;des &icirc;les&raquo;, toutes &icirc;les confondues (!) jouent de l&rsquo;ukulele, instrument proche de la viu&egrave;la portugaise et de la guitare hawa&iuml;enne, s&oelig;ur de la guitare espagnole. Ces instruments &agrave; eux seuls, par leurs sonorit&eacute;s m&eacute;talliques douces, tremblantes et glissantes, &eacute;voquent l&rsquo;&eacute;ternel &eacute;t&eacute;. L&rsquo;imaginaire v&eacute;hicul&eacute; par les brocanteurs de songes ne conna&icirc;t pas les r&eacute;alit&eacute;s que les ethnologues traquent!Mais qu&rsquo;entend-on dans les cornets acoustiques des phonographes ? Les derniers reflets des &laquo;hulas&raquo; traditionnels, ces po&egrave;mes &eacute;piques chant&eacute;s en l&rsquo;honneur des divinit&eacute;s, dont les accents souples et glissants, l&rsquo;harmonisation &laquo;ouverte&raquo; toute de sauts de voix et de ruptures m&eacute;lodiques - &agrave; la mani&egrave;re des tyroliennes des chanteurs des Caf&rsquo;Conc&rsquo; comme la c&eacute;l&egrave;bre Mme Rollini - frappent les esprits par leur caract&egrave;re animiste tant&ocirc;t m&eacute;lancolique, tant&ocirc;t joyeux.&nbsp; Hawaiian Hula - medley -, ce pot-pourri d&rsquo;airs traditionnels est de cette veine, de m&ecirc;me les Échos Hawa&iuml;ens. Mais, ces m&ecirc;mes Échos, d&eacute;j&agrave; frapp&eacute;s du rythme de la valse, sont, &agrave; quelques ann&eacute;es d&rsquo;&eacute;cart, propos&eacute;s sous le titre &eacute;vocateur d&rsquo;Halona Waltz par les Disques Path&eacute; ! A l&rsquo;autre bout du monde, ces m&eacute;lodies rappellent les &eacute;tranges accents tziganes entendus avant guerre, m&eacute;lodies sulfureuses teint&eacute;es de relents &laquo;d&rsquo;&acirc;me slave&raquo;, pour &laquo;neurasth&eacute;niques mondains&raquo;. Mais la musique hawa&iuml;enne ne porte en elle ni &laquo;mal de vivre&raquo;, ni trouble spleen&eacute;tique, elle transporte simplement. V&eacute;ritable ressource nationale au m&ecirc;me titre que les productions agricoles, la guitare hawa&iuml;enne s&rsquo;exporte. Les am&eacute;ricains s&rsquo;en &eacute;prennent, les soci&eacute;t&eacute;s phonographiques s&rsquo;en m&ecirc;lent. La mode &laquo;hawa&iuml;enne&raquo; qui s&eacute;duit doit bient&ocirc;t s&rsquo;adapter pour suivre la mode. Puisque la &laquo;Valse Mauve&raquo;1 ne fait plus recette, que les valses de Vienne sont des amusements pour vieilles dames et messieurs amortis, voici bient&ocirc;t les valses hawa&iuml;ennes. Elles d&eacute;tr&ocirc;nent les hulas dont les accents originaux avaient d&eacute;j&agrave; &eacute;t&eacute; revus au fil de la mode des revues de Boulevards new-yorkais [Yaaka, Hula, Hickey Dula de Wendling et Young] et se parent de noms pr&eacute;cieux, &eacute;voquant des divinit&eacute;s inconnues (Kilima Waltz, Moana chimes - les carillons de Moana -)&nbsp; Mais toujours le charme des accords souples demeure, marque sonore, marque incontestable d&rsquo;identit&eacute;. </span><br /></p><p align=justify><br /></p><p align=justify><span class=Texte><em><strong>Paris - Biarritz - Deauville : &laquo;Under the South Sea Palms&raquo;. </strong></em></span><br /><span class=Texte>Le phonographe, d&eacute;miurge puissant qui donne aux musiques enregistr&eacute;es une ubiquit&eacute; sans pareille, conduit les glissandos si caract&eacute;ristiques des m&eacute;lop&eacute;es hawa&iuml;ennes partout. Les couples amoureux r&ecirc;vent et s&rsquo;embrassent en de douces &eacute;treintes au son d&rsquo;un Dream Kiss chaloup&eacute;, et font des songes splendides environn&eacute;s d&rsquo;Hawaiian Butterfly! Paris et ses Th&eacute;s dansants fox trottent passionn&eacute;ment au son d&rsquo;un Runnin&rsquo; Wild assagi pourtant par la douceur des guitares, puis les couples langoureusement se forment pour un Tea for Two&hellip;Pour les beaux jours et leur cort&egrave;ge d&rsquo;estivants privil&eacute;gi&eacute;s r&ecirc;vant face &agrave; la mer, jamais la c&ocirc;te basque n&rsquo;aura &eacute;t&eacute; si pr&egrave;s du Pacifique! A Biarritz m&ecirc;me l&rsquo;orchestre hawa&iuml;en est l&agrave;, tout pr&egrave;s. A Deauville, seul le crissement du dernier sillon trahit une r&eacute;alit&eacute;, qui s&rsquo;efface vite d&rsquo;un tour de manivelle. </span><br /><span class=Texte><strong>Franck Ferera</strong>, nonce du r&ecirc;ve hawa&iuml;en. (Honolulu 12 juin 1885 - 26 juin 1951)N&eacute; sujet de la reine Liliuokalani, lorsqu&rsquo;il quitte Honolulu en 1902, celui qui se fait appeler Frank Ferera est am&eacute;ricain. Car en 1898 la R&eacute;publique Hawa&iuml;enne, n&eacute;e peu de temps auparavant en 1894, a demand&eacute; son annexion aux États-Unis. Mais avant de partir, - il a tout juste 17 ans - le jeune Ferera, titulaire du 6e grade de l&rsquo;Honolulu Elementary, est tout impr&eacute;gn&eacute; de la tradition musicale hawa&iuml;enne, telle que l&rsquo;&eacute;cole de musique d&rsquo;Honolulu, h&eacute;riti&egrave;re des Écoles Royales de l&rsquo;Ancien R&eacute;gime hawa&iuml;en continue de la faire vivre. Il part pour les États-Unis, attir&eacute; par les d&eacute;bouch&eacute;s fabuleux qu&rsquo;offre la vogue des musiques hawa&iuml;ennes qui fait rage jusque sur les boulevards de New-York. Il part, virtuose au style impeccable, au balancement moelleux et aux glissandos vertigineux. Il part &agrave; la rencontre de la renomm&eacute;e qui d&egrave;s 1915 le conduit dans les studios d&rsquo;enregistrements. V&eacute;ritable pourvoyeur des maisons de disques toujours avides de nouveaut&eacute;, Frank Ferera est l&rsquo;ambassadeur de cette musique qui rapidement conquiert l&rsquo;Europe. Il est parmi les premiers artistes d&rsquo;Honolulu connus, parmi les premiers recherch&eacute;s : il fait figure de pionnier. La Compagnie Fran&ccedil;aise du Gramophone diffuse les matrices &laquo;Victor&raquo; am&eacute;ricaines, puis la Compagnie Path&eacute;phone - Compagnie g&eacute;n&eacute;rale des machines parlantes Path&eacute; Fr&egrave;res - lui ouvre des pages nouvelles d&egrave;s 1922. En 1923 dans le &laquo;suppl&eacute;ment N&deg;2&raquo; du catalogue appara&icirc;t une mention &laquo;Orchestre Hawaiian&raquo;. Il faut dire que cette op&eacute;ration de charme r&eacute;pond &agrave; une nouvelle d&eacute;marche. En 1920, la firme Path&eacute; peut enfin diffuser ses disques &agrave; gravure verticale (les disques &laquo;&agrave; saphir&raquo;) sur le march&eacute; am&eacute;ricain, car les brevets &laquo;Victor&raquo; et &laquo;Columbia&raquo; pour ce proc&eacute;d&eacute; ne sont pas renouvel&eacute;s. Une campagne massive d&rsquo;enregistrements de Louise et Ferera est r&eacute;alis&eacute;e d&egrave;s cette m&ecirc;me ann&eacute;e, avant que les matrices ne soient &eacute;dit&eacute;es avec un retard soigneusement entretenu! Il faut en effet s&eacute;duire une nouvelle client&egrave;le, lui offrir des titres attractifs, profiter de la mode. D&rsquo;autant que cette derni&egrave;re, sensible aussi sur le march&eacute; europ&eacute;en, permet la diffusion des m&ecirc;mes matrices, parfois press&eacute;es avec quelques mois de retard. L&rsquo;investissement &eacute;conomique et la politique artistique de diffusion avec des &eacute;diteurs am&eacute;ricains sont, dans ce domaine, presque sans risque. </span><br /><span class=Texte>Évoluant du &laquo;picking&raquo; au glissando parfait (que la musique de jazz sous influence hawa&iuml;enne ne tardera pas &agrave; adopter dans la technique du &laquo;slide&raquo;) Frank Ferera - que les &eacute;diteurs &eacute;crivent parfois Ferrera - est le premier &agrave; b&eacute;n&eacute;ficier massivement de cet engouement. Avec Helen Louise, Madame Ferera &agrave; la ville, sa complice phono&shy;graphique jusque son d&eacute;c&egrave;s, puis Anthony Francini - ou Franchini - qui assurent les accompagnements rythmiques &agrave; la guitare basse, il constitue des duos.&nbsp; Au comble de la faveur, Frank Ferera r&eacute;unit une &laquo;hawaian troop&raquo;, formation changeante incluant des xylophones, des violons&hellip; qui servent avec maestria un r&eacute;pertoire toujours sur le fil du rasoir de la mode instable. D&rsquo;autres fois il s&rsquo;associe avec des artistes de salon ou de dancing, ouvrant &agrave; la guitare hawa&iuml;enne de nouveaux horizons. Hulas, valses, forment &agrave; cette &eacute;poque le fond principal du r&eacute;pertoire. Les musiques, les chansons &agrave; succ&egrave;s connaissent aussi leurs versions hawa&iuml;ennes, Ciribiribin&hellip; Mais le jazz&nbsp; vient bient&ocirc;t semer ses germes festifs au long des faces grav&eacute;es. Le fox-trot, le schimmy paraissent aux c&ocirc;t&eacute;s de danses de salons bien sages encore. La carri&egrave;re de Frank Ferera, commenc&eacute;e avec l&rsquo;enregistrement acoustique, est loin de se cantonner aux ann&eacute;es folles et &agrave; l&rsquo;engouement soudain des &eacute;l&eacute;gants pour cette musique. Si la vague hawa&iuml;enne atteint sa force maximale avec des orchestres de dancing, telle la formation de Jacques Deport qui dans son style doit beaucoup &agrave; Franck Ferera, elle atteint en m&ecirc;me temps sa phase critique. En Europe, la mode s&rsquo;essoufle et le reflux ram&egrave;ne les artistes hawa&iuml;ens aux États-Unis. En 1927, Frank Ferera est engag&eacute; par Vernon Dalhart (Jefferson - Texas, 1883 - 1948), pionnier de la Country music et idole du genre. S&rsquo;ouvre pour lui une nouvelle carri&egrave;re. A compter de cette ann&eacute;e le guitariste hawa&iuml;en devient le premier &laquo;steel guitarist&raquo; de la Country music. Alors les ann&eacute;es 30 sont aux États-Unis, pour la guitare hawa&iuml;enne, des ann&eacute;es de fr&eacute;n&eacute;sie2 ! Elle croise tous les genres musicaux. Frank Ferera rencontre encore, soit seul soit en formation, maints studios d&rsquo;enregistrements&nbsp; - &laquo;&eacute;lectriques&raquo; cette fois3 - jusqu&rsquo;&agrave; l&rsquo;aube des ann&eacute;es 1940 et laisse les plus &eacute;poustouflants t&eacute;moignages d&rsquo;un style &agrave; son apog&eacute;e et de la pleine expansion d&rsquo;un genre qu&rsquo;il a v&eacute;ritablement port&eacute; &agrave; la connaissance tant des amateurs que des autres musiciens. Les nostalgiques, de Paris ou d&rsquo;ailleurs, se repasseront de vieilles cires. My Land of Memory : sur des rivi&egrave;res ou des plans d&rsquo;eau, le phonographe portable murmure encore de tendres aveux, sous la lune &eacute;ternellement complice de l&rsquo;Alabama. In my tippy can&oelig;, en avons-nous fait de beaux r&ecirc;ves ? &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><br /></p><span class=Texte><em>Jean-Yves PATTE</em><br />&copy; FRÉMEAUX &amp; ASSOCIÉS SA 1997<br /></span><span class=Source>1 / &laquo;La Valse Mauve&raquo;, voir le disque &laquo;Tziganes, Paris/ Berlin/ Budapest/ 1910 - 1935.Disque Fr&eacute;meaux et Associ&eacute;s, FA 006.<br />2 / Hawaiian Music. Disque Fr&eacute;meaux et Associ&eacute;s, FA 035.<br />3 / Voyez &laquo;Acoustiques&raquo; ci-apr&egrave;s.</span><span class=Texte><br /><em>Mes plus vifs remerciements vont aux conservateurs de la Library of The Bishop Museum d&rsquo;Honolulu, pour l&rsquo;amabilit&eacute; de leur accueil et la clart&eacute; des renseignements transmis. Ils vont encore &agrave; Lionel Risler sans lequel l&rsquo;&eacute;coute des phonogrammes propos&eacute;s ici serait loin d&rsquo;&ecirc;tre aussi agr&eacute;able. </em><br /><u><strong>Les instruments : </strong></u>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br /><strong>la part du Lion&hellip; &nbsp; <br />et les autres convives &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />du festin musical.</strong><br /></span><p align=justify><span class=Texte>La guitare hawa&iuml;enne se taille la plus belle part de nombre de ces enre&shy;gistrements, c&rsquo;est la loi incontestable du Lion! Mais si elle est la reine des plages acoustiques, elle n&rsquo;est pas la seule &agrave; figurer sur les disques. Pourtant les noms des autres musiciens ayant particip&eacute; au enregistrements ne sont pas mentionn&eacute;s et quelque fois m&ecirc;me leurs instruments ne sont pas signal&eacute;s : on les d&eacute;couvre sim&shy;plement &agrave; l&rsquo;audition. Simple subterfuge pour ne pas verser les droits phonographiques naissants ou despotisme d&rsquo;un genre triomphant? On ne saurait trancher, d&rsquo;autant que parfois la simple mention &laquo;guitare hawa&iuml;enne&raquo; plonge des artistes vedettes dans un relatif anonymat, vite perc&eacute; par l&rsquo;amateur&hellip; Cette fois c&rsquo;est sans doute la dure loi de la concurrence et de l&rsquo;exclusivit&eacute; des contrats qui est &agrave; l&rsquo;origine de ces pratiques !Qui sont les autres musiciens ? Seul Nathan Glantz, saxophoniste au jeu un peu d&eacute;mod&eacute; proche du violon est tir&eacute; de l&rsquo;oubli. Mais d&rsquo;autres instruments en revanche apparaissent ici &agrave; titre de pr&eacute;curseur. Le tambour frapp&eacute; &laquo;&agrave; la main&raquo;, les wood blocks, le xylophone qui n&rsquo;attend plus que sa mutation en vibra&shy;phone pour conqu&eacute;rir de nouveaux horizons &laquo;jazziques&raquo;.Mais qui est encore le tr&egrave;s discret pianiste d&rsquo;Hawaiian Dreams et de The Glow-worm, qui se contente de soutenir les basses des guitares de peur qu&rsquo;elle n&rsquo;impriment pas assez les disques vierges et brode quelques harmonies ? Est-ce lui aussi qui fait sonner le glockenspiel ? Qui sont les violonistes de Moana Chimes et d&rsquo;Under the South sea palms ? Qui joue encore la zazofl&ucirc;te toujours d&rsquo;Under the South sea palms et les fl&ucirc;tes d&rsquo;Hawaiian Dreams, et qui siffle comme un oiseau la m&eacute;lodie de Ciri&shy;biribin ? Qui agite enfin les cloches du carillon de Moana Chimes?</span><br /></p><span class=Texte><br /></span><p align=justify><span class=Texte><strong>Le Saxophone de Nathan Glantz.</strong></span><br /><span class=Texte><em>- In my tippy canoe ; Dream kiss ; Hawaian butterfly (Nathan Glantz ?)-</em></span><br /><span class=Texte>Cr&eacute;&eacute; vers 1840 par le belge Adolphe Sax, le Saxophone (litt&eacute;ralement &laquo;Sax&raquo; - du nom de son inventeur - parlant) con&ccedil;u comme un instrument de fanfare militaire ne rencontre gu&egrave;re de succ&egrave;s, malgr&eacute; les critiques &eacute;logieuses d&rsquo;Hector Berlioz. Pas plus qu&rsquo;il ne trouve de place dans la musique militaire, il n&rsquo;est adopt&eacute; par les formations &laquo;classiques&raquo;. En fait c&rsquo;est &agrave; la musique populaire qu&rsquo;il doit sa renomm&eacute;e. Rapidement, il suppl&eacute;e le violon dans les orchestres de danse. Moins fragile, plus maniable avec moins de pr&eacute;cautions, d&rsquo;un apprentissage moins long aussi, le saxophone est l&rsquo;instrument id&eacute;al pour les tourn&eacute;es des musiciens de bals dans l&rsquo;Europe de la fin du XIXe s. Aux États-Unis, sa d&eacute;couverte ne remonte qu&rsquo;&agrave; la guerre de 1914-1918. Rapport&eacute; par les soldats, le saxophone trouve dans le jazz une voie d&rsquo;expression ori&shy;ginale et totalement nouvelle. Toutefois ce n&rsquo;est pas ce dernier courant qu&rsquo;illustre ici Nathan Glantz&hellip; N&rsquo;explorant pas toutes les possibilit&eacute;s expressives du saxophone, tant dans la palette sonore que l&rsquo;attaque brillante des notes, il cherche plut&ocirc;t &agrave; copier le phras&eacute; &laquo;langoureux&raquo; du violon, tel que les orchestres Tziganes l&rsquo;ont mis &agrave; la mode dans les salons depuis le d&eacute;but du si&egrave;cle. </span><br /></p><span class=Texte><br /></span><p align=justify><span class=Texte><strong>Le xylophone et le glockenspiel</strong></span><br /><span class=Texte><em>- Alabama Moon ; My land of Memory ; Dreamy Hawa&iuml; ; Hawaian butterfly : xylophone -</em></span><br /><span class=Texte><em>- Hawa&iuml;an dreams ; The glow-worm : glockenspiel</em></span><br /><span class=Texte>Issu des balafons africains, des gamelans balinais ou des marimbas mexicaines, le xylophone a perdu rapidement tous ses contacts avec ses anc&ecirc;tres rythmiques pour devenir, &agrave; la toute fin du XIXe s. une curiosit&eacute; musicale, aux sons &eacute;tranges et percutants, dont le r&eacute;pertoire plus ou moins copi&eacute; sur celui des grands classiques est plus proche d&rsquo;une d&eacute;monstration virtuose que d&rsquo;une r&eacute;elle sensibilit&eacute; artistique. Qui n&rsquo;a jamais entendu l&rsquo;ouverture du Guillaume Tell de Rossini transpos&eacute; pour un xylophone furieux accompagn&eacute; par une fanfare d&eacute;bonnaire n&rsquo;a jamais rien entendu! Pour un peu, sa r&eacute;putation d&rsquo;instrument de cirque se justifierait. Pourtant timidement les &eacute;diteurs phonographiques l&rsquo;enregistrent. Des cylindres convainquants t&eacute;moignent de ses qualit&eacute;s acoustiques d&eacute;fiant les membranes les plus rev&ecirc;ches&hellip; et les oreilles se laissent convaincre. Bien avant que cet instrument ne regagne l&rsquo;expression rythmique du jazz qui se r&eacute;approprie en la personne du xylophone occidentalis&eacute; ses lointains anc&ecirc;tres, il continue d&rsquo;&eacute;mailler de ses notes un brin exotiques des m&eacute;lodies qui, loin des furies des fanfares, proposent un &laquo;ailleurs&raquo; ensoleill&eacute;.&nbsp; Parfois pour les notes les plus &eacute;lev&eacute;es, quand le son doit &ecirc;tre plus cristallin, presque &eacute;th&eacute;r&eacute;, c&rsquo;est le glockenspiel qui joue. Mais ici les artistes ne sont pas reconnus et leurs r&ocirc;les restent de second plan&hellip;</span><br /></p><span class=Texte><br /></span><p align=justify><span class=Texte><strong>La Zazofl&ucirc;te</strong></span><br /><span class=Texte><em>- Under the south sea palms : zazofl&ucirc;te</em></span><br /><span class=Texte><em>- Hawa&iuml;n Dreams (2 fl&ucirc;tes &agrave; l&rsquo;unisson)</em></span><br /><span class=Texte>Connue encore sous le nom de Jazzofl&ucirc;te, et tr&egrave;s appr&eacute;ci&eacute;e sous cette appellation des Fr&egrave;res P&eacute;guri, rois de l&rsquo;accord&eacute;on, la zazofl&ucirc;te n&rsquo;est rien d&rsquo;autre qu&rsquo;une fl&ucirc;te &agrave; piston. Reine des effets comiques, elle a, malgr&eacute; sa tr&egrave;s faible &eacute;tendue et son spectre sonore tr&egrave;s &eacute;troit, l&rsquo;incomparable possibilit&eacute; d&rsquo;ex&eacute;cuter des glissandos parfaits. Cette particularit&eacute; s&rsquo;accommode bien des harmonies tr&egrave;s ouvertes du jeu de la guitare hawa&iuml;enne, et l&rsquo;&eacute;tranget&eacute; de sa sonorit&eacute; instable ajoute au pittoresque des valses mondaines et des &laquo;morceaux de genre&raquo;. Mais elle ne conna&icirc;t qu&rsquo;un en&shy;gouement passager, li&eacute; &agrave; la mode hawa&iuml;enne et &agrave; quelques fac&eacute;ties des artistes des &laquo;ann&eacute;es folles&raquo; avant de retomber dans le domaine de la curiosit&eacute; d&rsquo;o&ugrave; seul son aspect comique et l&rsquo;&eacute;tranget&eacute; de ses effets lui valent encore quelques apparitions. Comme pour le xylophone, l&rsquo;instrument n&rsquo;est sans doute pas assez &laquo;noble&raquo; : il n&rsquo;est pas mentionn&eacute; sur les &eacute;tiquettes et le nom de celui qui en joue reste inconnu. M&ecirc;me les deux fl&ucirc;tistes tradi&shy;tion&shy;nels qui pren&shy;nent part &agrave; Hawa&iuml;n Dreams restent ignor&eacute;s. </span><br /></p><span class=Texte><br /><strong>Les percussions</strong><br /></span><p align=justify><span class=Texte><em>Yaaka, Hula, Hickey Dula (tambour &amp; wood blocks.);&nbsp; Hawaian Dreams (w.b.)</em></span><br /><span class=Texte>La base rythmique est le plus souvent donn&eacute;e par l&rsquo;accom&shy;pagnement de guitare basse. Parfois la timide adjonction de percussions enrichit cette habitude. Elle fait v&eacute;ritablement figure de pr&eacute;curseur. Dans Yaaka, Hula, Hickey Dula, composition qui s&rsquo;inspire de motifs hawa&iuml;ens, on peut entendre un exceptionnel accom&shy;pagnement m&eacute;lang&eacute;. Au tambour traditionnel, faisant entendre une r&eacute;guli&egrave;re scansion, comme un rappel des traditions, viennent se m&ecirc;ler les wood blocks nasillards annon&ccedil;ant le sautillement du fox-trot ( wood blocks que l&rsquo;on retrouve assagis au rythme de la valse dans Hawa&iuml;an Dreams)&hellip; L&rsquo;emploi de ce tambour frapp&eacute; &laquo;&agrave; mains nues&raquo; pr&eacute;figure le grand mouvement de d&eacute;couverte de la conga (d&rsquo;origine afro-cubaine) qui s&eacute;duira les musiciens de jazz &agrave; la fin des ann&eacute;es trente. Cependant, durant les ann&eacute;es 1910 &agrave; 1920, ces m&ecirc;mes musiciens, noirs pour la plupart, n&rsquo;appr&eacute;&ccedil;iaient gu&egrave;re cette technique de jeu car elle traine apr&egrave;s soi une connotation sauvage, voire primitive, renvoyant la musique vers une acceptation p&eacute;jorative. De plus la r&eacute;putation des Noirs ha&iuml;tiens frappant des tambours de bamboula dans Congo Square &agrave; la Nouvelle-Orl&eacute;ans, n&rsquo;est pas faite pour am&eacute;liorer la r&eacute;putation de ces instruments! Pourtant cette expression reviendra elle aussi au jazz, mais il est vrai qu&rsquo;entre temps la reconnaissance des musiciens aura grandement progress&eacute;. </span><br /></p><span class=Texte><br /></span><span class=Soustitre>ACOUSTIQUES</span><span class=Texte><br /></span><p align=justify><span class=Texte>Tous les enregistrements qui figurent dans cette s&eacute;lection sont acoustiques. A double titre d&rsquo;ailleurs. D&rsquo;abord la technique de l&rsquo;enregistrement phonographique ignore l&rsquo;emploi du microphone. Ce dernier ne sera utilis&eacute; pour la premi&egrave;re fois &agrave; des fins phonographiques qu&rsquo;en 1925, donnant naissance &agrave; l&rsquo;enregistrement &laquo;&eacute;lectrique&raquo; d&rsquo;une plus haute fid&eacute;lit&eacute;. En attendant cette r&eacute;volution, les disques, comme les premiers cylindres, sont grav&eacute;s de mani&egrave;re &laquo;acoustique&raquo; : seule la puissance des sons &eacute;mis par les instruments fait vibrer une membrane sensible, plac&eacute;e &agrave; l&rsquo;extr&eacute;mit&eacute; la plus petite d&rsquo;un cornet. Un burin graveur, solidaire de cette derni&egrave;re, inscrit dans de la cire vierge le trac&eacute; de la vibration. Cet enregistrement fragile, reproduit par galvanoplastie, porte le souvenir de la s&eacute;ance d&rsquo;enregistrement. Il n&rsquo;est pas question de montage, pas question de reprises ou de corrections, tout doit &ecirc;tre parfait si possible du premier coup!Acoustiques encore les instruments. Ni les guitares, ni les violons ne connaissent d&rsquo;amplification &eacute;lectroacoustique. Il faudra attendre les ann&eacute;es trente pour que ces instruments &agrave; la puissance limit&eacute;e connaissent &agrave; leur tour toutes les possibilit&eacute;s de l&rsquo;amplification &eacute;lectrique.</span><br /></p><span class=Texte><em>Jean-Yves Patte</em><br />&copy; FRÉMEAUX &amp; ASSOCIÉS SA, 1997<br /></span><p align=justify><span class=Texte>&ldquo;Voici M. Andr&eacute; de Fouqui&egrave;res qui organise le prochain rallye (...) , Flers qui a organis&eacute; la derni&egrave;re F&ecirc;te des Glycines ou des Poup&eacute;es Fleuries qui enthousiasma les Am&eacute;ricains. Voici les princes de Gr&egrave;ce, assis en rond dans chaque vestibule et qui ob&eacute;issent comme des soldats &agrave; l&rsquo;ex-reine m&egrave;re. Voil&agrave; Mlle Maud Loty qui se moque pas mal de ces aristocrates et r&eacute;p&egrave;te son prochain r&ocirc;le, assise sur une table. Voici le clan des grands joueurs, M. Citro&euml;n, (...) MM. Vaglialo et Zographos, armateurs m&eacute;diterran&eacute;ens (...). Et Mlle Lenglen qui passe en courant, et Carpentier qui passe en se dandinant. Et Sem, qui croque les gens comme des noisettes. Et Van Dongen, en chandail parmi les smokings, ce qui n&rsquo;emp&ecirc;che point telle duchesse de danser avec lui.Ah! le dancing... En vain le soleil &eacute;clat-il dehors (...) des milliers de gens, jeunes et vieux, se pr&eacute;cipitent, accaparent les tables, et serr&eacute;s sur la piste comme sur leurs chaises, demeurant l&agrave; jusqu&rsquo;&agrave; ce qu&rsquo;on les chasse litt&eacute;ralement.&rdquo;</span><br /><span class=Texte><em>Michel Georges-Michel.</em></span><br /></p><span class=Texte>Juillet 1926.<br /></span><p align=justify><span class=Texte><em>Ah! The dance hall.&nbsp; No one cares that the sun is shining outside.&nbsp; People rush in and grab tables, young and old, thousands of them.&nbsp; On the dance-floor or on chairs, they are packed higt as sardines, and they stay there untill the are literaly throw out.&rdquo;</em></span><br /><span class=Texte><em>Michel Georges-Michel, July 1926.</em></span><br /></p><span class=Texte><br /></span><span class=Soustitre>HAWAIIANS IN PARIS</span><span class=Texte><br /><strong>Hawaiian Guitar 1916-1926</strong><br /></span><p align=justify><span class=Texte>The Roaring &rsquo;Twenties provided a period of merciful oblivion from the destruction and bereavement of World War I, and a break from the economic hardship that was to reappear in the 1930s. It was a free-wheeling era of permissiveness that introduced jazz and other new kinds of music, plus wild hip-shaking dances. The painter Van Dongen, very much the arbiter of elegance in the most refined Parisian salons, enthusiastically announced in 1927, &ldquo;A pretty woman can get away with any sort of movement without making a fool of herself. And these dances are such marvellous exercise! I am convinced that they are going to make every woman more beautiful.&rdquo;&nbsp;&nbsp; For ladies it meant a chance to to crop their hair and trade their constricting corsets for leggy, backless dresses. For gentlemen it was the freedom to dress more casually and wear a rakish straw boater like Maurice Chevalier.</span><br /></p><span class=Texte><br /><em><strong>Paradise </strong></em><br /></span><p align=justify><span class=Texte>If Jazz was a wild cry of freedom and lust for life, Hawaiian music was a gentle shore breeze. Jerky jazz rhythms conveyed the heady vitality of the age, while Hawaiian strains evoked the memory of exotic 19th century travel to faraway lands. The lure of the mysterious islands of Hawaii and Tahiti captured the Parisian imagination, fired by Gauguin&rsquo;s tantalising images. Our hazy geography tended to lump all these happy islands together. But for Europeans emerging from the grip of war it was the ultimate fantasy, however illusory.The meeting of different civilizations worked its own magic.&nbsp; The results were sometimes unfortunate, occasionally dazzling. Our taboos were different, so it was only a short step to the idea that these &ldquo;gentle fair-skinned natives&rdquo; were happier than we were. Their easy-going lifestyle, blessed with all the bounties of nature, cast a powerful spell: sun-drenched turquoise lagoons, lazily waving palm fronds, carefree hulagirls gently swaying under blue skies. At long last we had rediscovered the Garden of Eden. In our frenzied imaginations, we dreamt of free love dispensed by insatiable native beauties in an island paradise</span><br /></p><span class=Texte><br /></span><p align=justify><span class=Texte><em><strong>......and Music</strong></em></span><br /><span class=Texte>From then on the image became a travel brochure stereotype: &ldquo;island&rdquo; girls and boys (any island would do!), strumming their ukuleles in an endless evocation of summer. But the dream factory did not see things quite the same way as the ethnologists. So what was actually coming out of the phonograph horn? There were some last glimmers of the traditional hula , that epic ballad form of supple, sliding harmonies and alternating expressions of sadness and joy, as in Hawaiian Hula medley&nbsp; and Echos Hawa&iuml;ens&nbsp; which already contained elements of waltz time and, indeed, reappeared on Path&eacute; records a few years later retitled Halona Waltz . In Europe these melodies recalled the exotic pre-World War I gypsy music, so popular with fashionable depressives at the time. But Hawaiian music was not world-weary or depressed, it simply carried you away.America fell in love with the Hawaiian guitar, which was then seized upon by the record industry. Soon the Hawaiian craze adjusted itself to the dictates of fashion. Old-time gypsy1 or Viennese waltzes were out and the Hawaiian waltz was in, unseating the previously fashionable hula&nbsp; which had thrilled New York with numbers likeYaaka Hula, Hickey Dula . Waltzes borrowed fanciful titles from South-Sea gods, such as Kilima Waltz&nbsp; and Moana Chimes.&nbsp; Yet the supple chords remained, preserving the music&rsquo;s distinct identity.Thanks to the ubiquitous phonograph, romantic couples kissed and cuddled to the mellifluous strains of Dream Kiss and listened dreamily to Hawaiian Butterfly. Parisian tea-dances feverishly foxtrotted to a version of Runnin&rsquo; Wild&nbsp; that featured those soft guitars. French beaches rang to the sounds of island glissandi, and the coastal resorts of Biarritz and Deauville had never been so close to the Pacific shore.</span><br /><span class=Soustitre>Frank Ferera (b. Honolulu,12.6.1885 - d. 26.6.1951) </span><br /><span class=Texte>Ferera was born a subject of Queen Liliuokalani, but left Honolulu in 1902 as an American citizen, since the four-year-old Hawaiian Republic had asked for U.S. statehood in 1898. Young Ferera was a fine player and probably studied guitar at the Honolulu Music School, formerly the Royal School. With Hawaiians taking New York by storm, he was lured to the States by the prospect of fame and fortune, making his first recordings there in 1915. When the style conquered Europe, as one of the pioneering Honolulu artists, Ferera was its ambassador on records. In France the Compagnie Fran&ccedil;aise du Gramophone&nbsp; pressed American Victor matrices. Later the Compagnie Path&eacute;phone&nbsp; took him on. In 1920, thanks to a landmark U.S. court case, Victor and Columbia lost their stranglehold on recording patents, enabling Path&eacute; to finally sell discs in the States. The label embarked on a spate of &ldquo;Louise and Ferera&rdquo; recordings in a careful assault on the new market. The continuing Hawaiian vogue in Europe meant that the same masters could be sold there. With the support of American music publishers, it was a virtually risk-free investment.Ferera developed from a picking style to perfect glissando, which was to find a place in jazz as &ldquo;slide&rdquo; guitar. He was the first to make money from the Hawaiian craze. Until 1921 he was teamed on records with &ldquo;Madame Louise&rdquo; (his wife), then made guitar duets with Anthony Francini. At the height of his popularity Ferera put together a Hawaiian troupe, featuring xylophones and violins and a repertoire that always took account of the vagaries of fashion. The basic book consisted of hulas and waltzes, but soon included jazz-influenced foxtrots and shimmies, plus sedate ballroom dances and popular hit tunes like Ciribiribin ...In Europe the Hawaiian fashion reached its peak with Ferera-influenced dance bands and then fell away,but Ferera&rsquo;s own career outlived the 1920s. In 1927, Frank Ferera was hired by Country star Vernon Dalhart (b. Jefferson, Texas, 1883 - d. 1948) as the first steel guitarist in Country music. In America the 1930s were a period of intense activity for the Hawaiian guitar2, crossing all style barriers. From then on up to the 1940s, Frank Ferera left an impressive legacy of electric3 solo and ensemble recordings in the style that he had originally pioneered. Around the world, in Paris or wherever, nostalgia lovers are still playing the old 78s. And somewhere, on a quiet backwater, there is a wind-up phonograph still murmuring My Land of Memory and In My Tippy Canoe...</span><br /></p><span class=Texte>Abridged and adapted by<em> Tony Baldwin</em> from the French text by <em>Jean-Yves Patte</em><br />&copy; FRÉMEAUX &amp; ASSOCIÉS SA 1997<br /></span><span class=Source>1 cf.&nbsp; CD&nbsp; &ldquo;Tsiganes, Paris/Berlin/Budapest 1910-1935&rdquo; ,&nbsp; Fr&eacute;meaux &amp; Associ&eacute;s FA006.<br />2 &ldquo;Hawaiian Music&rdquo; Fr&eacute;meaux &amp; Associ&eacute;s&nbsp; FA035<br />3 cf.&nbsp; below&nbsp; &ldquo;Acoustics&rdquo; </span><span class=Texte><br /></span><p align=justify><span class=Texte>My thanks to the library of Honolulu&rsquo;s Bishop Museum for their gracious and meticulous handling of my inquiries. Thanks also to Lionel Risler without whom these sides would not be nearly so listenable.</span><br /></p><span class=Texte><br /></span><span class=Soustitre>The Instruments:</span><span class=Texte><br /></span><p align=justify><span class=Texte>While the Hawaiian guitar gets pride of place on these records, it is by no means the only instrument. However, except for saxophonist Nathan Glantz, the other musicians cannot be identified. Backing instruments are rarely credited, although there are early instances of hand drums, wood-blocks and xylophone. The discreet pianist on Hawaiian Dreams and The Glow-worm may also be the anonymous glockenspiel player. On various numbers we can also hear violins, slide-whistles, flutes and chimes. On Ciribiribin someone even whistles like a bird.</span><br /></p><span class=Texte><br /></span><p align=justify><span class=Texte><em><strong>Nathan Glantz and the Saxophone</strong></em></span><br /><span class=Texte><em>In My Tippy Canoe; Dream Kiss; Hawaiian Butterfly</em></span><br /><span class=Texte>When the Belgian Adolphe Sax invented the saxophone around 1840, he conceived it as a military band instrument. Despite endorsements from Hector Berlioz, it was ignored by classical and regimental musicians alike, but found favour in popular music. In touring dance bands it became an ideal substitute for the violin, which was more fragile and harder to learn. Americans only really discovered the saxophone in the 1914-18 war, when it was brought back home by soldiers and found new expression in jazz music. However, in this context Nathan Glantz concentrates on emulating the tender phrasing of the violin. </span><br /><span class=Texte><em><strong>Xylophone and Glockenspiel</strong></em></span><br /><span class=Texte><em>Xylophone: Alabama Moon; My Land Of Memory; Dreamy Hawaii; Hawaiian Butterfly.&nbsp; Glockenspiel: The Glow-worm; Hawaiian Dreams.</em></span><br /><span class=Texte>Deriving from the African &ldquo;piano&rdquo;, Balinese gamelan and Mexican marimba, the xylophone soon lost contact with its rhythmic ancestry to become a vaguely exotic late-19th century curiosity, better suited to circus-style virtuosity than to artistic expression. Yet it recorded well on acoustic machines and gave an added sparkle to South Sea melodies. The glockenspiel would come into play to achieve a crystalline, ethereal effect on high notes . </span><br /><span class=Texte><em><strong>The Slide Whistle</strong></em></span><br /><span class=Texte><em>Under the South Sea Palms</em></span><br /><span class=Texte>Despite its limited range and tone, this king of comic effects could produce a perfect glissando that was ideally suited to the open harmonies of Hawaiian guitar. Its unusual sound added a picturesque touch to fashionable waltz tunes. Its reign was brief, however, and at the end of the 1920s it returned to its former status as a humorous Vaudeville prop.</span><br /><span class=Texte><em><strong>Percussion</strong></em></span><br /><span class=Texte><em>Yaaka, Hula, Hickey Dula (drum, wood blocks); Hawaiian Dreams (wood blocks) </em></span><br /><span class=Texte>The rhythmic foundation was usually provided by a guitar bass-line, occasionally embellished by the modest pioneering use of percussion, as on Yaaka, Hula, Hickey Dula , which blends traditional drumming with the harsher foxtrot rhythm of the wood blocks. This use of hand drums presaged the discovery of the Afro-Cuban conga , which so entranced jazzmen at the end of the 1930s. However, in the 1910-20 period such (mainly black) musicians considered hand drumming to be savage and primitive, a view which the Haitian bamboula drummers of Congo Square in New Orleans did nothing to dispel.</span><br /></p><span class=Texte><br /></span><span class=Soustitre>Acoustics</span><span class=Texte><br /></span><p align=justify><span class=Texte>The tracks on this album are all acoustic, and in two respects.First, recording technology as used here predates the 1925 introduction of microphones and electrical equipment. The process depended entirely upon sound waves travelling down a horn to vibrate a sensitive membrane attached to a cutting stylus, which would then inscribe these vibrations onto a rotating wax blank. The delicate wax master was then electroplated, to produce a copper matrix which would serve as the source of subsequent pressings. No form of editing or correction was possible.Secondly, the musical instruments themselves are entirely acoustic. Electronically amplified instruments only became a practical reality in the 1930s.</span><br /></p><span class=Texte><br /></span><p align=justify><span class=Texte><u>Illustrations</u></span><br /><span class=Source>1 From an advertisement for Path&eacute; Phonographs.</span><br /><span class=Source>2 &ldquo;Isn&rsquo;t that one of those new English or American dances, my dear?&rdquo; she asked, &ldquo;You know, the ones I can never remember the names of?&rdquo;&ldquo;Oh, Hermance! The very idea! I absolutely forbid my girls to do the fox-trot&nbsp; or the shimmy!&rdquo; cried Madame de Grand-Air indignantly.B&eacute;cassine Nourrice, Caumery et Pinchon(Editions Gautier - Languerau 1922)</span><br /><span class=Source>3 Dance cards are definitely out of fashion, so people are using their imagination. They drew lots for the &ldquo;token for one waltz with Mademoiselle&rdquo; Euphrasie, and Martin won it!</span><br /><span class=Source>4 The Bath.Atamian. 1927.</span><br /><span class=Source>5 Advertising illustration for philatelists: the Hawaiian Republic and its stamps (c. 1894-1898)</span><br /><span class=Source>6 1923 Path&eacute; catalogue supplement #2</span><br /><span class=Source>7 A saxophone.</span><br /><span class=Source>8 A slide whistle.</span><br /><span class=Source>9 &ldquo;The latest fashion in sport: canoeing. The canoe lunch is, of course, a French invention. All you need is a table with floats and guests who can do the back-stroke.&rdquo;</span><br /></p><span class=Texte>&copy; FRÉMEAUX &amp; ASSOCIÉS SA 1997<br /></span><p align=justify><span class=Texte>Les quatre premiers titres propos&eacute;s t&eacute;moignent d&rsquo;une tradition musicale hawa&iuml;enne qui puise son origine dans les chants traditionnels, revus par l&rsquo;enseignement des &eacute;coles de musique, ou adapt&eacute;s pour les besoins de &laquo;pittoresque&raquo; r&eacute;clam&eacute;s par un public friand de r&ecirc;ve hawa&iuml;en (n&deg;4 particuli&egrave;rement). Viennent ensuite des titres qui, de m&ecirc;me qu&rsquo;Hawaii a &eacute;t&eacute; annex&eacute; par les États-Unis, annexent une expression hawa&iuml;enne traditionnelle. C&rsquo;est sous cette forme particuli&egrave;rement que cette musique sera connue en Europe, en Grande-Bretagne d&rsquo;abord puis en Allemagne et en France. Ces titres correspondent &agrave; l&rsquo;apog&eacute;e du genre hawa&iuml;en qui conquiert alors d&rsquo;autres formations, tel l&rsquo;orchestre de Jacques Deport.</span><br /></p><br /><em><span class=Texte>The first four tracks point to a Hawaiian musical heritage that drew upon traditional song, as filtered through western music education or tailored to the public&rsquo;s appetite for exotica (notably #4). Then come the tracks that&nbsp; simply borrow from the traditional Hawaiian style. It was this form that was best known in Europe. Those titles represent the Hawaiian style at its peak, when it had an overwhelming influence on European ensembles, like Jacques Deport&rsquo;s orchestra.</span></em><br /><p align=justify><br /><span class=Texte><strong>1/ Madame Louise et Monsieur Ferera.&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;11&rdquo;</strong></span><br /><span class=Texte>(Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne).&nbsp; </span><br /><span class=Texte>Echos Hawa&iuml;ens, trad. Gramophone. Matrice &laquo;Victor&raquo; A 1799. Ce m&ecirc;me morceau est propos&eacute; sous le nom d&rsquo;Halona Waltz, dans les catalogues Path&eacute; d&egrave;s 1922. (Path&eacute;-saphir, N&deg; 8283/ 66011). Enregistr&eacute; avant 1919.</span><br /><span class=Texte><strong>2/ Madame Louise et Monsieur Ferera.&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;21&rdquo;</strong></span><br /><span class=Texte>(Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne).&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>Kilima Waltz, X. d&rsquo;inspiration. Path&eacute;-saphir. Traditionnelle. N&deg; 8279/ 66453. Enregistr&eacute; le 1 juin 1920. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1922.</span><br /><span class=Texte><strong>3/ Madame Louise et Monsieur Ferera.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;05&rdquo;</strong></span><br /><span class=Texte>(Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne).&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span><br /><span class=Texte>Hawaiian Hula Medley, trad. Path&eacute;-saphir N&deg; 8282/ 65930. Enregistr&eacute; en novembre 1920 ? N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1922.</span><br /><span class=Texte><strong>4/ Madame Louise et Monsieur Ferera.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;04&rdquo;</strong></span><br /><span class=Texte>(Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne - tambour, wood blocks : artistes inconnus).&nbsp;&nbsp;&nbsp;&nbsp; Yaaka, Hula, Hickey Dula. Wendling et Young. Path&eacute;-saphir N&deg; 8282/ 65937. Enregistr&eacute; le 23 novembre 1920. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1922.</span><br /><span class=Soustitre>Les valses mondaines :</span><br /><span class=Texte><strong>5/ Madame Louise et Monsieur Ferera.&nbsp;&nbsp; 2&rsquo;27&rdquo;</strong></span><br /><span class=Texte>(Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne - piano, glockenspiel : artiste inconnu).&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Glow-worm. Paul Lincke. Path&eacute;-saphir N&deg; 8279/ 66263. Enregistr&eacute; le 12 juin 1920. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1922.</span><br /><span class=Texte><strong>6/ Madame Louise et Monsieur Ferera.&nbsp; 2&rsquo;50&rdquo;</strong></span><br /><span class=Texte>(Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne - deux fl&ucirc;tes, piano et glockenspiel, wood blocks : artistes inconnus).&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Hawaiian Dreams. Herbert Marple. Path&eacute;-saphir N&deg; 8280/ 66245. Enregistr&eacute; le 20 juin 1920. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1922.</span><br /><span class=Texte><strong>7/ Trio Hawa&iuml;en. &nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;48&rdquo;</strong></span><br /><span class=Texte>(Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne - xylophone : artiste inconnu). L&rsquo;&eacute;dition fran&ccedil;aise est anonyme tandis que l&rsquo;&eacute;dition am&eacute;ricaine d&eacute;signe les interpr&egrave;tes hawa&iuml;ens). Alabama Moon. Green. Gramophone - Matrice &laquo;Victor&raquo; A 23862. Catalogue &laquo;Victor&raquo; 1921.</span><br /><span class=Texte><strong>8/ Frank Ferera et Anthony Franchini. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;24&rdquo;</strong></span><br /><span class=Texte>(Anthony Franc(h)ini guitare basse, Franck Ferera guitare hawa&iuml;enne).&nbsp;&nbsp;&nbsp; Isle of Paradise. Earl Fiorito Omomari. Gramophone. Matrice &laquo;Victor&raquo; A 25068. Catalogue &laquo;Victor&raquo; 1923.</span><br /><span class=Texte><strong>9/ Ferera et Francini, with Nathan Glantz&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;01&rdquo;</strong></span><br /><span class=Texte>(Anthony Francini guitare basse, Franck Ferera guitare hawa&iuml;enne, Nathan Glantz saxophone).&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; In my Tippy Can&oelig;. Fisher. Path&eacute;-saphir N&deg; 8344/ 69418. Appara&icirc;t au catalogue Path&eacute; France en 1923.</span><br /><span class=Texte><strong>10/ Ferera et Francini, with Nathan Glantz &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;42&rdquo;</strong></span><br /><span class=Texte>(Anthony Francini guitare basse, Franck Ferera guitare hawa&iuml;enne, Nathan Glantz saxophone).&nbsp; Dream Kiss. Rienzo. Path&eacute;-saphir N&deg; 8344/ 69419. Appara&icirc;t au catalogue Path&eacute; France en 1923.</span><br /><span class=Texte><strong>11/ Ferera&rsquo;s hawaiian instruments quartet&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;03&rdquo;</strong></span><br /><span class=Texte>(Anthony Francini guitare basse (?), Franck Ferera guitare hawa&iuml;enne - deux violons, jeu de cloches : artistes inconnus.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Moana Chimes. Costello &amp; Motzan. Path&eacute;-saphir N&deg; 8383/ 105 553. Enregistr&eacute; le 16 mars 1925. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1926.</span><br /><span class=Texte><strong>12/ Ferera&rsquo;s hawaiian instruments quartet&nbsp;&nbsp; 3&rsquo;18&rdquo;</strong></span><br /><span class=Texte>(Anthony Francini guitare basse (?), Franck Ferera guitare hawa&iuml;enne - violon, zazofl&ucirc;te : artistes inconnus). Under th South Sea Palms. Parish &amp; Jonshon. Path&eacute;-saphir N&deg; 8383/ 105554. Enregistr&eacute; le 9 septembre 1925. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1926.</span><br /><span class=Soustitre>Les &laquo;morceaux de genre&raquo; :</span><br /><span class=Texte><strong>13/ Madame Louise et Monsieur Ferera  &amp; hawaiian troupe.&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;13&rdquo;</strong></span><br /><span class=Texte>(Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne - siffleur inconnu).&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Ciribiribin. Pestalozzi. Path&eacute;-saphir N&deg; 8281/ 66369. Enregistr&eacute; le 13 novembre 1920. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1922.</span><br /><span class=Texte><strong>14/ Ferera et Francini&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;35</strong></span><br /><span class=Texte>&rdquo;hawaiian guitars and xylophone&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (Anthony Francini guitare basse, Franck Ferera guitare hawa&iuml;enne - xylophone : artiste inconnu).&nbsp; My Land of Memory. Behr. Path&eacute;-saphir N&deg; 8353/ 68991. Appara&icirc;t au catalogue Path&eacute; France en 1924.</span><br /><span class=Texte><strong>15/ Ferera et Francini, &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;33</strong></span><br /><span class=Texte>&rdquo;hawaiian guitars and xylophone&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (Anthony Francini guitare basse, Franck Ferera guitare hawa&iuml;enne - xylophone : artiste inconnu). Dreamy Hawaii. Vandersloot. Path&eacute;-saphir N&deg; 8353/ 69083. Appara&icirc;t au catalogue Path&eacute; France en 1924.</span><br /><span class=Soustitre>Les pr&eacute;mices du Jazz :</span><br /><span class=Texte><strong>16/ Madame Louise et Monsieur Ferera &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&lsquo;42&rdquo;</strong></span><br /><span class=Texte>&amp; Wa&iuml;kiki orchestra (Mme Louise guitare basse, Franck Ferera guitare hawa&iuml;enne - saxophone Nathan Glantz (?)). Hawaiian Butterfly. Santly. Path&eacute;-saphir N&deg; 8281/ 66234. Enregistr&eacute; le 8 novembre 1920. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1922.</span><br /><span class=Texte><strong>17/ Orchestre Hawa&iuml;en, direction Jacques Deport&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;11</strong></span><br /><span class=Texte>&rdquo;Runnin&rsquo; Wild. Harrington &amp; Gibbs. Path&eacute;-saphir N&deg; 6775/ 7570. Enregistr&eacute; le 26 juin 1925. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1926.</span><br /></p><span class=Texte><br /></span><p align=justify><span class=Texte><strong>18/ Orchestre Hawa&iuml;en, direction Jacques Deport&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;05</strong></span><br /><span class=Texte>&rdquo;Tea for Two. Cesar &amp; Youmans. Path&eacute;-saphir N&deg; 6775/ 7574. Enregistr&eacute; le 6 ao&ucirc;t 1925. N&rsquo;appara&icirc;t au catalogue Path&eacute; France qu&rsquo;en 1926.</span><br /><span class=Source>Hawaiians in Paris 1916-1926 &copy; Fr&eacute;meaux &amp; Associ&eacute;s (fr&eacute;meaux, fr&eacute;maux, fr&eacute;mau, fr&eacute;maud, fr&eacute;mault, fr&eacute;mo, fr&eacute;mont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont,&nbsp;CD audio, 78 tours, disques anciens, CD &agrave; acheter, &eacute;couter des vieux enregistrements, albums, r&eacute;&eacute;ditions, anthologies ou int&eacute;grales sont disponibles sous forme de CD et par t&eacute;l&eacute;chargement.)</span></p>"
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Hawaiian Music

HONOLULU - HOLLYWOOD - NASHVILLE

Version CD

29,99 €

Version Numérique

19,95 €

Hawaiians In Paris

ANTHOLOGIE 1916 - 1926

Version CD

19,99 €

Version Numérique

9,95 €