array:12 [
  0 => ProductListingLazyArray {#665
    -imageRetriever: ImageRetriever {#673
      -link: Link {#165
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        +protocol_link: "https://"
        +protocol_content: "https://"
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        #urlShopId: null
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    }
    -link: Link {#165}
    -priceFormatter: PriceFormatter {#654}
    -productColorsRetriever: ProductColorsRetriever {#672}
    -translator: TranslatorComponent {#45
      #catalogues: array:1 [
        "en-US" => MessageCatalogue {#50 …6}
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      -fallbackLocales: []
      -loaders: array:2 [
        "xlf" => XliffFileLoader {#52}
        "db" => SqlTranslationLoader {#67 …1}
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      -resources: []
      -formatter: MessageFormatter {#46
        -selector: MessageSelector {#47}
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      -cacheDir: "/space/apache/vhosts/preprod.fremeaux.com/public/var/cache/dev/translations"
      -debug: false
      -configCacheFactory: ConfigCacheFactory {#48
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    #settings: ProductPresentationSettings {#666
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      +include_taxes: true
      +allow_add_variant_to_cart_from_listing: 1
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      +showPrices: true
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      "description" => "<p><h3>JACQUES BOLOGNESI, MARC FOSSET TRIO</h3></p><br><br><p>Since the accordion revival initiated by the three Paris Musette discs, published by Patrick Tandin for the label La Lichère, Frémeaux & Associés has upheld creators of modernity who advocate the streamlining of this instrument, giving it an original and contemporary aspect.  Jacques Bolognesi’s project will act as a new yardstick in the history of the accordion, announcing its importance in the years to come. The original creations of the two alternating trios appeal to those initially sceptic!  Marc Fosset, who has been at the helm of French guitar jazz for so many years, contributes with the explosive maturity of his agile and rapid playing, sided by two seasoned bassists from France’s top bands:  Jean-Luc Ponthieux and Pierre-Yves Sorin.  A captivating trio which sounds like a quintet – we almost forget we’re listening to an instrumental jazz disc. Benjamin Goldenstein & Patrick Frémeaux</p><br><br><p></p>"
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    -language: Language {#40
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      ]
      #id_lang: null
      #id_shop: 1
      +id_shop_list: []
      #get_shop_from_context: true
      #table: "lang"
      #identifier: "id_lang"
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      #fieldsValidate: array:8 [
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        "language_code" => "isLanguageCode"
        "active" => "isBool"
        "is_rtl" => "isBool"
        "date_format_lite" => "isPhpDateFormat"
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      #fieldsRequiredLang: []
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      #fieldsValidateLang: []
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        "table" => "lang"
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        "classname" => "Language"
      ]
      #update_fields: null
      +force_id: false
    }
    -arrayAccessList: ArrayObject {#663
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      flag::ARRAY_AS_PROPS: false
      iteratorClass: "ArrayIterator"
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    -arrayAccessIterator: ArrayIterator {#525
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      "dwf_livret" => "<h3>Miles Davis Live in Paris FA5451</h3><p align=justify><span class=Soustitre>Live in Paris<br />La collection des grands concerts parisiens<br />Dirigée par Michel Brillié et Gilles Pétard</span><br /><span class=Soustitre2>MILES DAVIS<br /></span><span class=Soustitre2>21 MARS / 11 OCT. 1960</span><br /><span class=Soustitre2>Miles Davis & John Coltrane 21 Mars 1960<br />Miles Davis & Sonny Stitt 11 Octobre 1960</span><br /><span class=Soustitre>LIVE IN PARIS</span><br /><span class=Texte>Miles à Paris, Paris à Miles… La ville où le musicien se retrouve en ce lundi 21 mars 1960 occupe une place particulière dans sa vie et dans son coeur. Trois décennies après, c’est aussi à Paris, à la Grande Halle de la Villette, qu’il donnera l’un de ses derniers concerts, le mercredi 10 juillet 1991, quelques semaines avant sa mort.</span><br /><span class=Texte>Miles Davis a découvert la capitale française en mai 1949, lors de son premier voyage à l’étranger, à l’occasion du Festival International de Jazz à la salle Pleyel, où il se produit à la tête d’un quintet en compagnie du pianiste Tadd Dameron. Dans la coulisse, Michelle Vian, l’épouse de Boris et sa copine Juliette Gréco regardent, fascinées, le jeune et beau trompettiste de 23 ans. Miles tombe sous le charme de la chanteuse à la longue chevelure brune, et rencontre ainsi l’élite intellectuelle et artistique parisienne de l’époque. « C’était mon premier voyage à l’étranger, et il a changé à jamais ma vision des choses, écrit-il dans son autobiographie. J’adorais être à Paris, j’adorais la façon dont on me traitait. C’est là que j’ai rencontré Jean-Paul Sartre, Pablo Picasso et Juliette Gréco. Je ne m’étais jamais senti aussi bien de ma vie. » Paris est alors ville de tolérance et d’ouverture : Miles Davis a la sensation d’être « traité comme un être humain ». </span><br /><span class=Texte>Sept ans plus tard, en 1956, Miles revient à Paris pour une tournée européenne, avec en sidemen le trio d’un jeune pianiste de 22 ans – de Paris - René Urtreger. L’histoire raconte qu’encore une fois le jazzman se lie avec une jeune parisienne, en l’occurrence la sœur du pianiste, Jeannette. C’est elle qui aurait convaincu Miles d’assister un an plus tard à la projection d’un film en gestation réalisé par un jeune loup du cinéma d’auteur, Louis Malle : « Ascenseur pour l’échafaud ». En tout cas c’est bien en décembre 1957 que Miles Davis, à Paris pour un engagement de plusieurs semaines au Club Saint Germain avec Urtreger et le batteur expat’ Kenny Clarke, improvise en 3 heures la musique du film sous le regard de Jeanne Moreau.</span><br /><span class=Texte>Pendant 40 ans, la relation Paris-Davis restera constante : en Octobre 2009, la Cité de la Musique l’honorera avec « We Want Miles », une exposition entièrement dédiée au grand musicien.« Miles me parlait souvent de Paris », se souvient le réalisateur australien Rolf de Heer « Il y appréciait cette forme de respect qu’il n’avait pas dans son pays natal. » Comme le remarque aussi le pianiste René Urtreger, « Miles était fier et touché qu’en France, le jazz était considéré comme un genre musical essentiel. »</span><br /><span class=Texte>Retour sur ce 21 mars 1960, quelques jours après la décision du président américain Eisenhower d’envoyer pour la 1ère fois 3500 GIs au Vietnam - et trois mois après l’enregistrement du mythique album «Kind of Blue» de Miles Davis. Comme à l’accoutumée, le promoteur Norman Granz a embarqué sa tournée « Jazz At The Philharmonic » à travers l’Europe. Le programme est prestigieux : le Oscar Peterson Trio, le Stan Getz Quartet et le Miles Davis Quintet. Le périple débute à Paris ce lundi 21 mars, puis va se poursuivre dans toutes les grandes villes du continent, Stockholm, Copenhague, Berlin, Hambourg, Vienne, , Zurich, Amsterdam… jusqu’au 10 avril. Au sein du quintet du génial jazzman, l’atmosphère est plutôt tendue : depuis février, le saxophoniste ténor John Coltrane a déclaré à Miles qu’il souhaite quitter le groupe. Mais le trompettiste a convaincu Coltrane d’attendre la fin de la tournée européenne. Ambiance, ambiance… De plus, des divergences artistiques fondamentales les séparent : dans l’exploration du nouveau terrain du jazz modal, Miles veut que ses sidemen « fassent plus simple », pour poursuivre un style minimaliste. Coltrane, à l’opposé, triture l’harmonie de ses «sheets of sound», ses nappes de sons éclaboussantes. Ce lundi soir, le ténor est conspué par une bonne partie du public parisien, dérouté par ses explorations audacieuses. La presse du lendemain se lâche pour décrire l’éblouissant ténor : </span><br /><span class=Texte>« L’écho d’une brousse, une Afrique aveugle » selon France-Observateur… « Le 21 mars, c’était comme la première du « Sacre du printemps » du jazz moderne » (Charles Estienne)</span><br /><span class=Texte>« Coltrane joue d’une façon tellement insensée, éclatante que nous restons paralysés dans nos fauteuils » (Pierre Fallan, Arts)</span><br /><span class=Texte>Dans Jazz Magazine de mai 1960, quelques spectateurs avertis livrent un avis mitigé : « Des gargarismes, des étalages de virtuosité dont la longueur était un peu essoufflante et crispante » commente le violoniste Stéphane Grappelli. « Un véritable choc…Coltrane jette à l’assistance des poignées d’harmonie, déverse des pluie de notes sur la rythmique… » Le batteur Daniel Humair est clairement fan. Pour Daniel Filipacchi, l’un des producteurs du concert, Coltrane crée dans ses prestations en live «une tension  et un climat obsessionnel étonnants, mais à mon avis lassants » Ce concert mythique, où Coltrane vole clairement la vedette à Miles, voit l’éclatement du style libre et lyrique du saxophoniste, qui dira après le concert : « Si les gens ont hué, c’est que je ne suis pas allé assez loin. »</span><br /><span class=Texte>Frank Ténot et Daniel Filipacchi font revenir Miles Davis à l’Olympia à l’automne 1960, le 11 octobre, en compagnie du saxophoniste Sonny Stitt. Le ténor très parkerien a remplacé Coltrane, qui a quitté le quintet en avril à Baltimore, après son retour aux USA. Cette fois-ci, Miles reprend les choses en main et se situe sur le devant de la scène. Pas de bronca pour le public ce mardi soir : si le trompettiste avait eu une attitude jugée méprisante lors de sa prestation avec Coltrane, en tournant le dos à la salle voire en se réfugiant en coulisses, Miles Davis est en grande forme pour cette soirée avec Stitt: non seulement il condescend à rester sur scène, mais encore il sera surpris à plusieurs reprises avec un gentil sourire aux lèvres… Nice Smile, Nice Miles.</span><br /><span class=Texte>Dédié à Claude Boquet, Bill Dubois, Jean Claude, Philippe Moch et toute la bande.</span><br /><strong><span class=Texte>Michel BRILLIÉ</span></strong><br /><span class=Source>© FRÉMEAUX & ASSOCIÉS 2014</span><br /><span class=Soustitre2><br />Miles Davis & John Coltrane March 21st,1960</span><br /><span class=Soustitre2>Miles Davis & Sonny Stitt October 11th 1960</span><br /><span class=Soustitre><br />LIVE IN PARIS</span><br /><span class=Texte>Miles in Paris, Paris in Miles.. For more than 40 years, the city of lights holds a special place with the jazz trumpeter. On this Monday March 21, 1960 as much as on Wednesday July 10, 1991, when Davis will play one of his final concerts in The Grande Halle de la Villette, just a few weeks before his death.</span><br /><span class=Texte>Miles Davis has discovered le French capital as early as May 1949. On his first trip abroad, he performs at the Festival International du Jazz at the Salle Pleyel, with a quintet that includes pianist Tadd Dameron. In the wings stand 2 pretty parisiennes, Michelle Vian, wife of famous Saint Germain des Prés figure Boris Vian, and a friend, singer Juliette Gréco. Both are fascinated by the young and good looking 23 year-old trumpeter. Miles falls for the charming brunette and is therefore introduced to the intellectual and artistic elite of the period. “This was my first trip out of the country,” recalled Davis in his autobiography. “It changed the way I looked at things forever... This is where I met Jean Paul Sartre, Pablo Picasso and Juliette Gréco… I loved being in Paris and loved the way I was treated. Paris was where I understood that all white people were not the same; that some weren’t prejudiced.”</span><br /><span class=Texte>Even years later, in 1956, Miles is back in Paris for another European tour, backed by a trio of young French sidemen, such as René Urtreger. The story goes that once again he has an affair with a Paris lady, Jeannette, who happens to be Urtreger’s sister. A year later, Jeanne is credited with taking Miles Davis to private screening of the almost completed film of an innovative newcomer in cinema, Louis Malle. It’s “Ascenseur pour l’Echafaud” (Lift to the Scaffold). What is certain is that Davis, back in Paris in December 1957 for a lengthy gig at the Club Saint Germain with Urtregrer and expatriate drummer Kenny Clarke, records the film’s soundtrack in one night with actress Jeanne Moreau as an onlooker.</span><br /><span class=Texte>And for four decades, the bond Paris-Davis has remained constant. In October 2009, the Cité de la Musique Museum in Paris honored the musician in “We Want Miles”, an exhibit entirely dedicated to Davis. “Miles often talked about Paris,” says the Australian film director Rolf de Heer, who worked with Davis in Paris in 1990. “He liked that because it was a form of respect he didn’t get in his own country.” Sideman René Urtreger comments: “Miles was proud and touched by the fact that in France, jazz was considered to be very important music.”</span><br /><span class=Texte>Back to March 21, 1960. It is a few days after General Eisenhower’s decision to send for the first time 3.500 US soldiers to Vietnam, and 3 months after the recordings sessions of the mythical album “Kind of Blue”. As usual, Norman Granz has embarked his now illustrious “Jazz At The Philharmonic” tour throughout Europe. The line-up is impressive: the Oscar Peterson Trio, the Stan Getz Quartet and the Miles Davis Quintet. The tour starts in Paris on this Monday night and is afterwards booked up to April 10 in various European cities, Stockholm, Copenhagen, Berlin, Hamburg, Vienna, Zurich, and Amsterdam. Inside the quintet, the mood is tense. Since February, </span><br /><span class=Texte>Coltrane has expressed his desire to leave the group. But Miles has convinced Coltrane to wait until the end of this European tour. In addition, the two men are separated by fundamental artistic differences: in this new ground of modal jazz Davis wants his partners to be simpler, almost minimalist. In contrast, Coltrane develops his “Sheets of sound” brilliant improvisations.</span><br /><span class=Texte>On this Monday night, the tenor is booed by half of the Parisian audience, probably put off by his daring innovations. The next day, the French newspapers give the concert a thundering write-up:</span><br /><span class=Texte>“It is the echo of the bush, of a blind Africa… This first day of spring, March 21, was the opening night of the “Rite of Spring” of modern jazz” raves Charles Estienne in France-Observateur.</span><br /><span class=Texte>“Coltrane plays in such a demented, brilliant way that we stay paralyzed in our seats” writes Pierre Fallan of Arts.</span><br /><span class=Texte>In the May 1960 issue of Jazz Magazine, some of the personalities in the public express mixed feelings. Violin jazzman Stéphane Grappelli declares “all these gargles, all this display of virtuo­sity are in the long run tiring and unnerving.” On the contrary, drummer Daniel Humair is a definite fan: “What a jolt! Coltrane throws fistfuls of harmonies to the audience, he pours a heavy rain of notes on the rhythm section…” For Daniel Filipacchi, one of the concert’s promoters, Coltrane generates during his live appearances “an astonishing and obsessional climate of tension – and tiresome, in my opinion.”</span><br /><span class=Texte>This mythical concert, during which Coltrane clearly steals the show from Davis, acknowledges the emergence of the lyrical freeform style of the saxophonist. Following his performance, John Coltrane comments the Paris crowd’s reaction: “If they booed, it’s because I didn’t go far enough.”</span><br /><span class=Texte>In the fall of 1960, Frank Ténot and Daniel Filipacchi bring Miles Davis back to the Olympia Hall in Paris, this time with Sonny Stitt. The Parkerian tenor has replaced Coltrane who left the group in Baltimore when the quintet returned to the States in April. This time, Miles takes care of business and stands up front. No more booing from the audience on this Tuesday night: the jazz trumpeter doesn’t turn his back to the audience any more, nor does he retreat in the wings. Davis is in great shape for this gig with Stitt. He remains on stage throughout the evening, and on several occasions, puts a gentle smile on his lips… Nice Smile, Nice Miles.</span><br /><strong><span class=Texte>Michel BRILLIÉ </span></strong><br /><span class=Texte>Dedicated to Claude Boquet, Bill Dubois, Jean Claude, Philippe Moch and the gang</span><br /><span class=Source>© FRÉMEAUX & ASSOCIÉS 2014</span><br /><span class=Soustitre2>Miles Davis & John Coltrane 21 mars 1960</span><br /><span class=Soustitre2>CD 1 </span><br /><span class=Texte><strong>1. All of You</strong> (Cole Porter/Cole Porter)     17’08</span><br /><span class=Texte><strong>2. So What </strong>(Miles Davis)    13’28</span><br /><span class=Texte><strong>3. On Gree</strong>n Dolphin Street (Ned Washington / Bronislau Kaper)    14’42</span><br /><span class=Texte>Total time 45’18</span><br /><span class=Soustitre2><br />CD 2</span><br /><span class=Texte><strong>1. Walking</strong> (Richard Carpenter)    15’55</span><br /><span class=Texte><strong>2. Bye Bye Blackbir</strong>d (Mort Dixon / Ray Henderson)    14’00</span><br /><strong><span class=Texte>3. </span><span class=Texte>Round About Midnight   </span></strong><span class=Texte>(Bernie Hanighen / Thelonious Monk / Cootie Williams)    5’39</span><br /><span class=Texte><strong>4. Oleo</strong> (Sonny Rollins)    4’25</span><br /><span class=Texte><strong>5. The Theme </strong>(Miles Davis)    0’50</span><br /><span class=Texte>Total time 40’49</span><br /><span class=Soustitre2>Miles Davis & Sonny Stitt 11 Oct 1960</span><br /><span class=Soustitre2>CD 3</span><br /><span class=Texte><strong>1. Walkin’ </strong>(Richard Carpenter)    11’45</span><br /><span class=Texte><strong>2. Autumn</strong> Leaves (Jacques Prévert / Joseph Kosma)    13’12</span><br /><span class=Texte><strong>3. Four</strong> (Miles Davis)    8’46</span><br /><span class=Texte><strong>4. Unidentified</strong> (Sonny Stitt)    5’05</span><br /><span class=Texte><strong>5. Round Midnight </strong>(Bernie Hanighen / Thelonious Monk / Cootie Williams)    5’41</span><br /><span class=Texte><strong>6. No Blues</strong> (Miles Davis)    14’32</span><br /><span class=Texte><strong>7. The Theme</strong> (Miles Davis)    0’47</span><br /><span class=Texte>Total time 59’48</span><br /><span class=Soustitre2><br />CD 4 </span><br /><span class=Texte>1. Walkin’ (Richard Carpenter)    9’37</span><br /><span class=Texte>2. If I Were a Bell (Frank Loesser)     11’59</span><br /><span class=Texte>3. Fran Dance (Miles Davis)    7’24</span><br /><span class=Texte>4. Two Bass Hit (John Lewis / Dizzy Gillespie)     5’50</span><br /><span class=Texte>5. All of You (Cole Porter / Cole Porter)    13’04</span><br /><span class=Texte>6. So What (Miles Davis)    9’27</span><br /><span class=Texte>7. The Theme (Miles Davis)     1’01</span><br /><span class=Texte>Total time 58’22</span><br /><span class=Texte>Recorded by: Europe N°1 Technical Staff</span><br /><span class=Texte>Recording date</span><br /><span class=Texte>March 21, 1960</span><br /><span class=Texte>Recording place</span><br /><span class=Texte>Olympia Theater, Paris France</span><br /><span class=Texte>Produced by:<strong> Frank Ténot & Daniel Filipacchi</strong></span><strong><br /></strong><br /><span class=Texte>Personnel</span><br /><span class=Texte><strong>Miles Davis: </strong>Trumpet</span><br /><span class=Texte><strong>John Coltrane</strong>: Sax</span><br /><span class=Texte><strong>Wynton Kelly</strong>: Piano</span><br /><span class=Texte><strong>Paul Chambers</strong>: Bass</span><br /><span class=Texte><strong>Jimmy Cobb: </strong>Drums</span><br /><span class=Texte>Vénéré par le tout-Paris artistique, des caves de jazz de Saint-Germain aux films de la Nouvelle Vague, Miles Davis, dont chaque passage à Paris est un événement, est une véritable icône en France. Quelques mois après la sortie de « Kind of Blue », il entame, en mars 1960, une tournée européenne avec Wynton Kelly, Paul Chambers, Jimmy Cobb et John Coltrane. Les Européens découvrent alors pour la première fois le saxophoniste avant-gardiste, étoile filante de l’histoire du jazz, dont il allait définir tout un pan de la charpente moderne. Un enregistrement qui marque une époque charnière pour le jazz et annonce d’une certaine manière la révolution free à venir, mais également historique, car on peut y entendre un public divisé, sifflant ou ovationnant les explorations musicales du saxophoniste new-yorkais. La deuxième partie de ce coffret, enregistrée l’hiver suivant et dans laquelle John Coltrane est remplacé par Sonny Stitt, présente un Miles Davis libéré, au sommet de son art.    <br /><strong>Patrick FRÉMEAUX</strong></span><br /><span class=Texte>Revered by the artistic elite — from Saint-Germain’s jazz-cellars to the films of the Nouvelle Vague —, Miles Davis was an event every time he appeared in Paris and is still an authentic icon in France. A few months after the release of “Kind of Blue” in March 1960, Miles undertook a European tour with Wynton Kelly, Paul Chambers, Jimmy Cobb and John Coltrane. Europeans discovered Miles’ avant-garde saxophonist for the first time, a shooting-star in jazz history who defined a whole section of the music’s modern structure. The album marked a turning-point in jazz, in some way announcing the free revolution still to come, and it was also historic because you can hear both catcalls and applause in the divided audience as they followed Trane’s explorations of the music. The second part of this set was recorded the following winter; Sonny Stitt has stepped in for Coltrane, and the group’s work shows a liberated trumpeter: Miles Davis at the peak of his art. </span><br /><strong><span class=Texte>Patrick FRÉMEAUX</span></strong><br /><span class=Texte>La collection Live in Paris, dirigée par Michel Brillié, permet de retrouver des enregistrements inédits (concerts, sessions privées ou radiophoniques), des grandes vedettes du jazz, du rock & roll et de la chanson du XXe siècle. Ces prises de son live, et la relation avec le public, apportent un supplément d’âme et une sensibilité en contrepoint de la rigueur appliquée lors des enregistrements studios. Une importance singulière a été apportée à la restauration sonore des bandes, pour convenir aux standards CD tout en conservant la couleur d’époque. <strong><br />Patrick FRÉMEAUX & Gilles PÉTARD </strong></span><br /><span class=Texte>The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock & roll and song. These “live” takes, and the artists’ rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet CD standards while preserving the original colours of the period.     <br /><strong>Patrick FRÉMEAUX & Gilles PÉTARD</strong></span><br /><span class=Source>CD Miles Davis - Live in Paris 21 mars-11 octobre 1960, Miles Davis © Frémeaux & Associés 2014</span>.<br /><span class=Soustitre2>NEW YORK CITY JAZZ RECORD REVIEW<br /></span><span class=Soustitre>By ANDERS GRIFFEN</span><span class=Soustitre2><br /></span><br /><span class=Texte>“The Miles Davis European tours of 1960 have been widely discussed and debated by musicians and fans alike. John Coltrane is the primary subject for most of it as he bursts forth with revolutionary music. Writing for the France-Observateur, Charles Estienne likened the performances to the reception of Stravinsky’s “Le Sacre du Printemps”. Recorded for radio or bootlegged, recordings from these tours have been issued over the years by several imprints, including Miles Davis in Stockholm 1960 Complete (Dragon) and All of You: The Last Tour (Acrobat). The music on this new release was professionally recorded and has been previously issued on Miles Davis En Concert Avec Europe1 (Trema) and, in part, on Miles Davis featuring John Coltrane: Olympia-Mar 20, 1960 (Delta), on which the date is incorrect; the first night of the tour took place on Monday, Mar. 21st, 1960.<br />Miles was outspoken about continuous development and change and is a great example of an artist realizing this mission. In this moment, captured on these recordings, he met his match. One year after Kind of Blue was recorded and ten months after the recording of Coltrane’s Giant Steps, Coltrane had tendered his resignation, as reported by the Philadelphia Tribune on Mar. 15th and DownBeat on the 17th and was already moving on. Somehow Miles compelled the reluctant saxophonist to make the tour. “He decided to go with us,” Miles states in his autobiography, “but he grumped and complained and sat by himself all the time we were over there.” It was his first trip to Europe and Coltrane’s performance is legendary on these dates. He was undergoing a rapid process of discovery, characterized by an obsession with harmony. While the jazz world was still beginning to deal with Giant Steps, it was already behind him. Trane was now free to explore harmonic relationships on any tune in the band’s set. This new vocabulary, including multiphonics, rapid-fire arpeggios and diminished sequences, is heard throughout. He embarks on his solos with simple enough themes and develops them until torrential “sheets of sound” fly with conviction. The open form of “So What” is the best vehicle for his flights, but he has his way with the blues on “Walkin’” and, around the 2:10 mark on “Oleo”, one can hear the opening theme of “A Love Supreme”. Many concertgoers did not like what they heard and boos are mixed with cheers during his solos, particularly on “Walkin’” and “Bye Bye Blackbird”. It was shocking then and listeners today can still hear it given the stark contrast between his solos and the rhythm section of Wynton Kelly (piano), Paul Chambers (bass) and Jimmy Cobb (drums).<br />The latter trio sounds fantastic throughout and the audience cheers loudly for them, but they may be slightly more in their element when the band returned to Europe in October and Sonny Stitt took the saxophone chair. They reach back and play in a bop mode that pre-dates Kind of Blue and add tunes like “Autumn Leaves”, “If I Were A Bell” and “Two Bass Hit”. An “unidentified” tune credited to Stitt is a 12-bar blues in the odd key of Db; perhaps that’s why the saxophonist is the only soloist. This is a great performance in well-known territory and the crowd goes wild.<br />Miles Davis Live in Paris makes these legendary concerts available again and is enjoyable to a crowd of fans. It’s exciting to witness how challenging the Coltrane performances were for the audience in attendance. Folks that prefer pre-Impulse Coltrane can best appreciate his break from the familiar vocabulary while hearing him backed by this straightahead rhythm section. Meanwhile, for the listeners who insist on a soloist with more of a straightahead rapport with the rhythm section, the sets with Stitt are burning! Miles sounds every bit as genuine in these very different settings, pushing the envelope behind Trane and swinging hard alongside Stitt.”<br />By Anders GRIFFEN – THE NEW YORK CITY JAZZ RECORD<br /></span></p>"
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      "dwf_livret" => "<h3>Quincy Jones FA5460</h3><span class=Soustitre>Live in Paris<br />La collection des grands concerts parisiens<br />Dirigée par Michel Brillié et Gilles Pétard</span><span class=Texte><br /></span><span class=Soustitre2>QUINCY JONES</span><span class=Texte><br /></span><span class=Soustitre>5-7-9 MARS / 19 AVRIL 1960</span><span class=Texte><br /></span><span class=Soustitre2>Quincy Jones - LIVE IN PARIS</span><span class=Texte><br /></span><p align=justify><span class=Texte>« Ooh là là ! » pétille Quincy Jones en face de Johnny Davis, le journaliste du Guardian, le quotidien de Londres qui l’interviewe ce jour de Septembre 2010 sur sa vie et sa carrière. Le musicien-compositeur-chef d’orchestre-arrangeur-producteur fait référence à son premier séjour à Paris, en 1957. Le jeune trompettiste s’est installé à Neuilly en avril de cette année pour étudier la musique avec la grande Nadia Boulanger. Il y restera jusqu’en novembre 1958, fréquentant le tout Paris, de Picasso à Brigitte Bardot. « C’était la fête tous les soirs avec Jeanne Moreau, Brigitte, Catherine Deneuve, » révèle le musicien à Paris Match en Octobre 2010. « Mais c’était Juliette Gréco qui me faisait craquer. J’ai eu une histoire avec elle en même temps que Miles Davis. Mais lui ne le savait pas. Je ne suis pas sûr qu’il l’aurait pris avec humour ! ». Mais Quincy à Paris est surtout le producteur à la mode, dirigeant les enregistrements d’Henri Salvador (« Blouse du dentiste » chez Barclay, où « Q » est directeur artistique, sur un texte de Boris Vian) au groupe vocal Les Double Six, qui consacrent un album entier à ses compositions.</span><br /></p><p align=justify><br /><span class=Texte>Quincy Jones devient aussi ami avec les deux jazz fans les plus connus du moment, Frank Ténot et Daniel Filipacchi. Ils font un peu la pluie et le beau temps dans ce domaine musical, avec leur émission quotidienne sur Europe N°1, « Pour ceux qui aiment le jazz » et « Jazz Magazine », la revue qu’ils viennent de racheter à Barclay. Daniel, toujours photographe, réalise la photo de couverture du numéro de Juillet-Aout 1957, celle où Quincy barbote sur un bord de plage avec sa petite fille sur le dos. Dans son autobiographie iconoclaste « Ceci n’est pas une autobiographie », en clin d’œil au tableau de Magritte « Ceci n’est pas une pipe » qui montre justement…une pipe, Daniel raconte :</span><br /><span class=Texte>« Quincy Jones, tout jeune homme, faisait un complexe car il était troisième trompettiste aux côtés du génial Clifford Brown dans le Big Band de Lionel Hampton. Je plaisantai :</span><br /><span class=Texte>- Forme ton propre orchestre. » 1</span><br /><span class=Texte>Quincy Jones revient en France deux ans plus tard. Avec un grand orchestre. C’est une opportunité magique : fin 1959, Harold Arlen et Johnny Mercer l’ont engagé pour diriger le Big Band de leur nouvelle comédie musicale, « Free and Easy ». Arlen est un vétéran de Broadway, il a déjà écrit les musiques de « Stormy Weather » et du « Magicien d’Oz ». Mercer est l’auteur de « Blues in the Night » ou « Come Rain or Come Shine ». Des pros… Avec une idée saugrenue : celle de rôder leur musical en Europe, avant de le monter à Broadway. Le spectacle est original, l’orchestre de dix-huit musiciens est partie intégrante du décor, la pièce se déroulant dans un saloon, le Rocking Horse, à Saint Louis, au début du siècle. Les musiciens sont costumés et font partie de la figuration. Les deux rôles principaux sont tenus par Irene Williams et le fabuleux Harold Nicholas.</span><br /><span class=Texte>La première mondiale de ce « blues drama » a lieu le 15 janvier 1960, au théâtre de l’Alhambra, à Paris. Mais l’époque n’est pas à la frivolité. La France est en plein dans le conflit algérien. Un encart dans le quotidien américain de Paris le « New York Herald Tribune » avertit ses lecteurs que « toute personne au teint basané doit éviter de se trouver sur la voie publique après 18h. » Quincy se souvient dans son autobiographie que plusieurs de ses musiciens se sont faits arrêtés et contrôlés par des CRS armés de mitraillettes.</span><br /><span class=Texte>Le show devait tenir deux mois à Paris. Il s’arrête au bout de six semaines. Quincy et son Big Band sont sur le sable, il doit absolument trouver 4800 dollars par semaine pour nourrir et héberger pas loin de 30 personnes – plusieurs membres de l’orchestre sont venus avec famille ou avec leur girlfriend. « Q » se trouve vers son ami Daniel :</span><br /><span class=Texte>- Eh bien maintenant, il faut que tu nous trouves du boulot. 1</span><br /><span class=Texte>Daniel loue avec Frank le grand Studio Barclay, 9 avenue Hoche, dans le quartier de la place de l’Etoile, à Paris. C’est presque une petite salle de spectacle, vue la taille, où viennent enregistrer en direct les grands noms de la chanson française, Aznavour, Brel - Les Chaussettes Noires d’Eddy Mitchell… Et Quincy Jones : du 27 au 29 Février 1960, il y a déjà enregistré son album «I Dig Dancers », un recueil de mélodies plutôt commerciales, sans doute pour tenter de renflouer les finances du Big Band. En Mars, pendant une semaine, Quincy se produit tous les jours au studio Hoche transformé au club de jazz « devant trois pelés et un tondu » 1, écrit Daniel. Car malgré un intense lobbying de la communauté des expat’ américains de la capitale, le public, certes enthousiaste et connaisseur, reste maigre… Mais Quincy en profite pour parfaire le son de son orchestre, et donner des versions améliorées des compositions de ses précédents albums, « Birth of a Band » et « The Great Wide World of Quincy Jones ».</span><br /><span class=Texte>« Autour d’un jeune chef, l’union des styles » écrit Frank Ténot dans un grand article de Jazz Magazine (N°56, Février 1960) « Quincy Jones face à son destin ». Ce « jeune homme charmant, qui présente bien, fort joli garçon » réunit jeunes loups et vétérans : le trombone Quentin Jackson a alors 50 ans, Clark Terry (trompette) 40, l’alto sax Phil Woods 29… Les sets enregistrés à Hoche démontrent la liberté que Jones donne à ses solistes, notamment dans ce « Doodlin’ » d’Horace Silver où Clark Terry se lance dans une improvisation blues débridée. Et l’entente avec l’audience est remarquable : on est quasiment dans un club de New-York, « Birdland sur Seine » avec tintements de verre et rires féminins…</span><br /><span class=Texte>Même si Daniel Filipacchi et Frank Ténot « piochent profondément dans leurs poches pour que Quincy puisse payer son équipe et continuer à faire sa bonne musique » 1, Quincy doit s’improviser impresario et trouver des « gigs », des engagements, pour survivre. Il s’associe avec un jeune tourneur français qui empoche des avances sur seize concerts dans l’hexagone puis disparaît avec le cash. S’ensuit alors une errance de plusieurs mois du Big Band à travers l’Europe : Hollande, Belgique, Italie, Autriche, Yougoslavie, Allemagne, Finlande, Suède… « Nous allions de ville en ville, comme des bohémiens, » raconte Quincy. « En train, en voiture, en car...et même à pied, une fois, en Yougoslavie. Le bus est arrivé à un pont qui ne supportait pas un tel poids, alors le chauffeur nous a fait descendre, hommes femmes, enfants, chiens, et on a traversé à pied en portant bagages et instruments. » 2</span><br /><span class=Texte>Au hasard de tous ces zigzags continentaux, Quincy Jones et sa troupe se retrouve en avril à Paris pour un concert à l’Olympia. Cette fois-ci le public est venu : la couverture « Un grand orchestre est né » et l’article de dix pages de « JazzMag » consacré à Quincy ont dû faire leur effet. </span><br /><span class=Texte>En se retournant sur ces années parfois mouvementées en France dans « Quincy », son autobiographie, Quincy Jones évalue ainsi sa relation particulière avec le pays :</span><br /><span class=Texte>« En France, j’ai enfin pu embrasser mon passé, mon présent et mon avenir en tant qu’artiste et homme de couleur, et j’ai étendu ma perception de la condition humaine, tant dans le domaine artistique que dans la vie, ce qui m’a aidé par la suite à comprendre le marché mondial dans le domaine des affaires. Je me suis senti à ma place en tant que citoyen du monde. La France m’a traité en artiste. Des années plus tard, en 1991, j’ai été intronisé dans l’Ordre de la Légion d’Honneur, créé en 1802 par Napoléon. Grâce à la France, je me suis enfin senti libre et heureux d’être moi-même. » 2</span><br /><strong><span class=Texte>Michel BRILLIE</span></strong><br /><span class=Texte>1. « Ceci n’est pas une autobiographie » Daniel Filipacchi, Bernard Fixot Editions, 2012</span><br /><span class=Texte>2. « Quincy », par Quincy Jones, Traduction Mimi et Isabelle Perrin, Robert Laffont, 2003</span><br /><strong><br /><span class=Texte>Dédié à Claude Boquet, Bill Dubois, Jean Claude, Philippe Moch et toute la bande.</span></strong><br /><span class=Source>© FRÉMEAUX & ASSOCIÉS 2014<br /></span><br /><span class=Soustitre2>Quincy Jones - LIVE IN PARIS</span><br /><span class=Texte>“Ooh là là!” twinkles Quincy Jones on this September 2010 day. Interviewed by Johnny Davis, a journalist for the British daily newspaper The Guardian, the musician-composer- bandleader - arranger – producer reminisces his early days in Paris, in 1957. The young 25 year-old trumpet player had settled in Neuilly, in the western suburbs of the city, to be able to study music with the famous Nadia Boulanger. He is to remain in France until November 1958, becoming a true jet-setter in the “Tout Paris” circuit, mingling with Picasso or Brigitte Bardot. “I partied every night with Jeanne Moreau, Brigitte, Catherine Deneuve”, the musician tells Paris Match magazine in October 2010. “But I had a real crush on Juliette Gréco. I even had an affair with her at the same time she was Miles Davis’s big french love... But he never found out about it. I’m not so sure he would have taken it with a smile!”. In Paris, Quincy is most of all the hip producer of the time : for Barclay Records, he directs sessions with various French artists, among which Henri Salvador (“Blouse du Dentiste” with lyrics by French writer Boris Vian), and Les Double Six, a vocal group influenced by Lambert, Hendricks and Ross, who record an entire album of his compositions.</span><br /><span class=Texte>Quincy Jones also quickly becomes a friend of the top jazz fans of the period, Frank Ténot and Daniel Filipacchi. They dominate the Parisian jazz scene, with their daily radio show on Europe N°1 station, “Pour ceux qui aiment le Jazz.” (For You Jazz Diggers) and their monthly jazz review, Jazz Magazine, recently bought from Eddie and Nicole Barclay. Daniel, a photographer, shoots the cover of the July-August 1957 issue, which shows Quincy on a French beach with his young daughter on his back. In his provocative autobiography “This is not an autobiography” (in reference to Magritte’s painting “This is not a pipe”, that shows… a pipe) Daniel recalls his early encounter with Quincy:</span><br /><span class=Texte>“Quincy, then a young musician, felt under-estimated as a third rank trumpeter in Lionel Hampton’s band, overshadowed by the great Clifford Brown. I kidded him: </span><br /><span class=Texte>- Get your own band together.” 1</span><br /><span class=Texte>Two years later, Quincy is back in France, with his all new Big Band. It’s a magic opportunity: at the end of 1959, Harold Arlen and Johnny Mercer booked him to become the leader of the orchestra for their newest musical, “Free and Easy”. Arlen is a Broadway celebrity, having already composed “Stormy Weather” and the music of “The Wizard of Oz”. Mercer has penned songs such as “Blues in the Night” or “Come Rain or Come Shine”. A couple of real pros, with a strange idea: the plan was to get the show in shape in Europe, and then take it to London and finally Broadway. The musical was lots of fun, the full 18 piece orchestra being in costume, and part of the show. The play is set in a turn-of-the-century saloon in Saint Louis, the “Rocking Horse”. The leading parts are played by Irene Williams and Harold Nicholas, the amazing American tap-dancer.</span><br /><span class=Texte>The world premiere of the “blues drama” takes place on January 15, 1960 at the Alhambra Theater in Paris. But times are hard in France, deep in the midst of the Algerian crisis. The American newspaper in Paris “The New-York Herald Tribune” runs a notice on page 1 that says “Any swarthy-complexioned person is advised to stay off the street after six o’clock in the evening.” Quincy remembers that several members of the band, going to and from the theater, were stopped by policemen armed with machine-guns. </span><br /><span class=Texte>Right away, the show loses money, and folds six weeks after, just short of the two months crucial period. Quincy and his band are without resources: he needs to find 4.800 dollars per week to support some thirty persons, some of the members in the band travelling with wives, children, or girlfriends. Quincy then turns to his friend Daniel:</span><br /><span class=Texte>- Well now, you’ve got to find us some work…1</span><br /><span class=Texte>Daniel and Frank rent the Studio Barclay , located at 9 Avenue Hoche in the Place de l’Etoile area in Paris. It’s a very large hall where the top singers in the French chanson come to record their works, Jacques Brel, Charles Aznavour – some French rock groups also. And Quincy Jones: there, from February 27 to 29, 1960 he has already recorded his newest album “I Dig Dancers”, a collection of commercial tunes, perhaps to help the finances of the Big Band. At the beginning of the month of March, Quincy and the band performs at Studio Hoche on a daily basis, “in front of one man and his dog”1 as Daniel Filipacchi recalls. In spite of an intense lobbying from the expatriate American community, the audience, though enthusiastic jazz experts, remains scarce. But Quincy has an opportunity to break his band in and develop its sound, and to refine improved versions of his compositions featured on the albums “Birth of a Band” and “The Great Wide World of Quincy Jones”.</span><br /><span class=Texte>“Around this young leader, there is an unity of styles” writes Frank Ténot in “Quincy Jones faces his destiny”, a eight-page article in the February 1960 issue of Jazz Magazine. “This charming, personable and handsome young man” has gathered ambitious youngsters and veterans: trombone player Quentin Jackson is fifty, trumpeter Clark Terry forty , altosaxman Phil Woods twenty-nine…The sets recorded at Hoche Studio show the freedom that Jones gives to his men, as in this version of Horace Silver’s “Doodlin’” with an unrestrained blues improvi­sation by Clark Terry. The audience is fully attuned with the band, like in a Paris version of the New-York “Birdland” club, clicking of glasses and female laughter included.</span><br /><span class=Texte>But, even if Frank and Daniel “dig deep in their pockets to support Quincy and enable him to continue performing his great music”1, Jones realizes that he has to act as road manager and agent to find gigs to survive. He meets a young French promoter, who lines up sixteen dates for the band in France, gets advance money for them, and vanishes with the cash.</span><br /><span class=Texte>Thereafter follows a period of intense traveling throughout Europe for the band: “We did Holland, Belgium, Italy, Yugoslavia, Finland, Austria, Germany, Sweden, back to Germany, back to France, Switzerland, over to Portugal again, jamming, doing the best we could. We went from town to town like gypsies, traveling by bus, train, car – we even traveled on foot at one point in Yugoslavia. The bus came to a bridge that couldn’t support the weight of those people. The bus driver made us get off, and men, women, children, and dogs walked over the bridge carrying their luggage and instruments.”2</span><br /><span class=Texte>Amidst this crisscrossing of the European continent, “Q” and his gang return to the French capital in April for a date at the Olympia Theater. This time the audience is here: The cover of the issue of Jazz Magazine with “A great band is born” and the eight page piece on Quincy did the job.</span><br /><span class=Texte>Looking back on all those turbulent years in France, Jones evaluates thus his particular relationship with the country in his book: “In France I was able to envision my past, present and future as an artist and as a black man; I took a wider view of the human condition that extended to both art and life., and later helped me to take stock of global markets in business dealings. …/… I became comfortable as a citizen of the world. France treated me like an artist. Years later, in 1991, France inducted me into the Legion of Honor, an award that began in 1802 with Napoleon. France made me feel free, and glad to be who I was.” 2</span><br /><strong><span class=Texte>Michel BRILLIE</span></strong><br /><span class=Texte>1. “Ceci n’est pas une autobiographie” Daniel Filipacchi, Bernard Fixot Editions, 2012</span><br /><span class=Texte>2. “Q: The Autobiography of Quincy Jones” by Quincy Jones, Random House, 2001 </span><br /><strong><br /><span class=Texte>Dedicated to Claude Boquet, Bill Dubois, Jean Claude, Philippe Moch and the gang.</span></strong><br /><span class=Source>© FRÉMEAUX & ASSOCIÉS 2014</span><br /><span class=Soustitre2><br />CD 1</span><br /><span class=Texte>The Quincy Jones Big Band Live in Paris</span><br /><span class=Texte>Live March 5-7-9, 1960</span><br /><span class=Texte>Recording Place : Barclay Hoche Studio, Paris France</span><br /><span class=Texte>Produced by<strong>: Frank Ténot & Daniel Filipacchi</strong></span><br /><span class=Texte><strong>1. Chinese Checkers </strong>(David Carr Glover)    2’50 </span><br /><span class=Texte><strong>2. Sunday Kind of Love </strong>(Barbara Belle / Anita Leonard / Stan Rhodes /Louis Prima / Barbara Belle / Anita Leonard / Stan Rhodes /Louis Prima)     3’15 </span><br /><span class=Texte><strong>3. Air Mail Special</strong> (Charlie Christian / Benny Goodman / James Mundy)    2’55 </span><br /><strong><br /></strong><span class=Texte><strong>4. Parisian Thoroughfare</strong> (Bud Powell)    4’36 </span><br /><strong><br /></strong><span class=Texte><strong>5. The Phantom’s Blues</strong> (Ernie Wilkins)    8’48 </span><br /><span class=Texte><strong>6. Lester Leaps in</strong> (Lester Young)     7’17 </span><br /><strong><br /></strong><span class=Texte><strong>7. I Remember Clifford</strong> (Benny Golson)     3’11 </span><br /><strong><br /></strong><span class=Texte><strong>8. Moanin’</strong> (Bobby Timmons)    3’21 </span><br /><span class=Texte><strong>9. Doodlin’ </strong>(Horace Silver)    10’07 </span><br /><span class=Texte><strong>10. The Gypsy (</strong>Billy Reid/Billy Reid)     4’15 </span><br /><span class=Texte><strong>11. Big Red</strong> (Ernie Wilkins)     4’41 </span><br /><span class=Texte><strong>12. Birth of a Band</strong> (Quincy Jones)     4’21 </span><br /><span class=Texte><strong>13. Walkin’</strong> (Richard Carpenter)     10’53 </span><br /><span class=Texte><strong>14. Air Mail Specia</strong>l [Alternate Bonus Concert Track] (Charlie Christian / Benny Goodman / James Mundy)     2’59</span><br /><span class=Texte><strong>15. I Remember Clifford</strong> [Alternate Bonus Concert Track] (Benny Golson)     3’54 </span><br /><span class=Soustitre2>CD 2</span><br /><span class=Texte>The Quincy Jones Big Band Live in Paris</span><br /><span class=Texte>Tracks 1 to 4: April 19, 1960</span><br /><span class=Texte>Tracks 5 to 15: March 5-7-9, 1960</span><br /><span class=Texte>Produced by: <strong>Frank Ténot & Daniel Filipacchi</strong></span><br /><span class=Texte>Recording Places</span><br /><span class=Texte>Tracks 1 to 4: Olympia Theater, Paris, France</span><br /><span class=Texte>Tracks 5 to 15: Barclay Hoche Studio, Paris France</span><br /><span class=Texte><strong>1. The Preache</strong>r (Horace Silver)    3’25 </span><br /><span class=Texte><strong>2. Birth of a Band</strong> (Quincy Jones)    4’59 </span><br /><span class=Texte>3. My Reverie (Larry Clinton / Claude Debussy)    4’12 </span><br /><span class=Texte><strong>4. Ghana </strong>(Ernie Wilkins)    4’56 </span><br /><span class=Texte><strong>5. Cherokee </strong>(Ray Noble / Ray Noble)    3’31 </span><br /><span class=Texte><strong>6. Pleasingly Plump</strong> (Neal Hefti)    3’13</span><br /><span class=Texte><strong>7. Stockholm Sweetening </strong>(Quincy Jones)    6’19 </span><br /><strong><br /></strong><span class=Texte><strong>8. Tickle Toe </strong>(Jon Hendricks / Lester Young)    2’51 </span><br /><span class=Texte><strong>9. Blues in the Night</strong> (Johnny Mercer / Harold Arlen)    5’16 </span><br /><span class=Texte><strong>10. Our Love is Here to Stay</strong> (Ira Gershwin / George Gershwin)    3’24 </span><br /><strong><br /></strong><span class=Texte><strong>11. Doodlin’ feat. Clark Terry </strong>(Horace Silver)    14’48</span><br /><span class=Texte><strong>12. Ghana</strong> (Ernie Wilkins) [Alternate Bonus Concert Track]    4’50</span><br /><span class=Texte><strong>13. Whisper Not</strong> (Benny Golson) [Alternate Bonus Concert Track]    4’01</span><br /><span class=Texte><strong>14. Birth of a Band </strong>(Quincy Jones) [Alternate Bonus Concert Track]    4’25</span><br /><span class=Texte><strong>15. Lester Leaps in </strong>(Lester Young) [Alternate Bonus Concert Track]    7’13 </span><br /><span class=Soustitre><br />Personnel </span><br /><p align=justify><span class=Texte><strong>Benny Bailey: </strong>Trumpet •<strong> Patti Bown:</strong> Piano •<strong> Buddy Catlett:</strong> Bass, Bass (Acoustic)</span><br /><span class=Texte><strong>Jimmy Cleveland</strong>: Trombone •<strong> Joe Harris</strong>: Drums, Guest Artist •<strong> Quentin Jackson: </strong>Trombone</span><br /><span class=Texte><strong>Budd Johnson:</strong> Sax (Tenor), Saxophone •<strong> Leonard Johnson:</strong> Trumpet</span><br /><span class=Texte><strong>Quincy Jones:</strong> Arranger, Bandleader • <strong>Porter Kilbert:</strong> Saxophone <strong>• Melba Liston: </strong>Trombone</span><br /><span class=Texte><strong>Ake Persson:</strong> Trombone • <strong>Jerome Richardson: </strong>Sax (Tenor), Saxophone</span><br /><span class=Texte><strong>Sahib Shihab:</strong> Saxophone • <strong>Les Spann: </strong>Flute, Guitar • <strong>Floyd Standifer:</strong> Trumpet</span><br /><span class=Texte><strong>Clark Terry:</strong> Flugelhorn, Trumpet, Vocals • <strong>Julius Watkins:</strong> French Horn</span><br /><span class=Texte><strong>Phil Woods:</strong> Sax (Alto), Saxophone</span><br /></p><br /><span class=Texte>Quincy Jones, formidable conducteur d’orchestre, arrangeur et trompettiste, décide à même pas 26 ans de venir s’installer à Paris, qui voue alors un véritable culte pour le jazz. Élève de Nadia Boulanger, il fréquente le tout Saint-Germain-des-Près, travaille pour Eddie Barclay et dirige des enregistrements d’Henri Salvador et des Double Six, qui consacrent un album entier à ses compositions. Avec l’aide de Frank Ténot et Daniel Filipacchi, il monte en 1960 son propre Big Band avec 17 musiciens américains, l’aventure sera courte malgré la grande qualité artistique de l’ensemble. Un live qui témoi­gne de toute la vitalité et du génie du jeune orchestrateur, qui deviendra en quelques années une figure incontournable de la musique populaire du XXe siècle et le plus grand producteur de la pop music, avec son légendaire interprète, Michael Jackson.     </span><br /><strong><span class=Texte>Patrick FRÉMEAUX</span></strong><br /><span class=Texte>Quincy Jones, the great bandleader, arranger and trumpeter, was merely 25 years old when he decided to settle in a city with a taste for jazz that was close to cult-worship: Paris. Quincy studied under Nadia Boulanger and became a regular figure in Saint-Germain-des-Près; he worked for Eddie Barclay, and also led sessions for Henri Salvador and The Double Six, who devoted a whole album to Quincy’s compositions. With the aid of Frank Ténot and Daniel Filipacchi, in 1960 he set up his own Big Band with 17 American musicians in a venture that was short-lived despite the immense artistic quality of the formation. The live album they recorded shows all the vitality and genius of the young arranger who, in only a few years, went on to become an essential figure in 20th century music, and its greatest pop producer thanks to his association with the legendary Michael Jackson.     <br /><strong>Patrick FRÉMEAUX</strong></span><br /><span class=Texte>La collection Live in Paris, dirigée par Michel Brillié, permet de retrouver des enregistrements inédits (concerts, sessions privées ou radiophoniques), des grandes vedettes du jazz, du rock & roll et de la chanson du XXe siècle. Ces prises de son live, et la relation avec le public, apportent un supplément d’âme et une sensibilité en contrepoint de la rigueur appliquée lors des enregistrements studios. Une importance singulière a été apportée à la restauration sonore des bandes, pour convenir aux standards CD tout en conservant la couleur d’époque.  <br /><strong>Patrick FRÉMEAUX & Gilles PÉTARD </strong></span><br /><span class=Texte>The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock & roll and song. These “live” takes, and the artists’ rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet CD standards while preserving the original colours of the period.    <strong> Patrick FRÉMEAUX & Gilles PÉTARD</strong></span><br /><span class=Source>CD Quincy Jones Live in Paris 5-7-9 mars/19 avril 1960, Quincy Jones © Frémeaux & Associés 2014</span><br /></p>"
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        <p>Frank Sinatra was no doubt the most famous crooner of the 20th century. Recorded at the Lido and the Olympia in Paris in June 1962, this was the first visit to the French capital by the man they called “The Voice”, and his impeccable shows and rare professionalism recall the best in American entertainment… A great Sinatra, “live”! Patrick FRÉMEAUX<br /><br />The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock &amp; roll and song. These “live” takes, and the artists’ rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet CD standards while preserving the original colours of the period. Patrick FRÉMEAUX &amp; Gilles PÉTARD</p>\n
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        <h3>Frank Sinatra Live in Paris FA5470</h3>\r\n
        <p align="justify"><span class="Soustitre2">Live in Paris</span></p>\r\n
        <p><span class="Soustitre">La collection des grands concerts parisiens</span><span class="Texte"><br /></span><span class="Soustitre">Dirigée par Michel Brillié et Gilles Pétard</span><span class="Texte"><br /></span><span class="Soustitre2">FRANK SINATRA 5/7 JUIN 1962</span><span class="Texte"><br /></span><span class="Soustitre2">Frank Sinatra Live in Paris<br />5/7 Juin 1962</span><span class="Texte"><br /></span><span class="Soustitre">Par Michel Brillié</span><span class="Texte"><br />« Tu le vois ? <br />- Toujours pas. »<br /></span></p>\r\n
        <p align="justify"><span class="Texte">Napo Boscrédon est fébrile en ce début Juin 1962. Il fait l’aller-retour entre la rue Caumartin et les coulisses de l’Olympia où Jean-Michel Boris, autre collaborateur fidèle du music-hall parisien, ronge son frein. Ce n’est pas une mince affaire : ils attendent la star des stars, le crooner des crooners, la Voix, The Voice…Frank Sinatra. C’est la première fois que le chanteur passe à Paris.</span><br /><span class="Texte">« On l’attendait et on savait que ce n’était pas un « client » facile. Je crois que son avion avait du retard. …/… Et puis soudain s’encastre dans la rue Caumartin une immense limousine, six portes, noire, rutilante. Trois ou quatre gardes du corps en descendent. Costard, lunettes noires, look des Blues Brothers. Ils jettent un coup d’œil à droite, à gauche, puis ouvrent la porte. On était là, le petit doigt sur la couture du pantalon.</span><br /><span class="Texte">Un homme de taille moyenne sort, avec un petit chapeau et un regard bleu acier. Il nous salue de loin et file directement sur scène. Inutile de dire que l’orchestre se tenait à carreau. Tout le monde était là, prêt à partir, après avoir bossé les partitions comme des malades. Sinatra se plante devant le micro et fait un signe de la tête : « My name is Frank Sinatra. One, two, three… » Et le voilà qui « file » l’intégrale de son répertoire, dans l’ordre, sans regarder qui que ce soit, sans une hésitation, sans un arrêt, sans un mot. On n’en revenait pas. A la fin, il tourne les talons : « A ce soir ». Professionnel à ce point, c’est presque inhumain. » 1</span><br /><span class="Texte">En ce début des années soixante, Frank Sinatra est au sommet de son art. Après son « trou noir » pendant les années cinquante, il a renoué avec le succès. Il vient de créer son propre label, « Reprise » ; au cinéma, il a fait un carton dans « Ocean’s Eleven » (L’inconnu de Las Vegas) en compagnie de sa garde rapprochée, The Rat Pack - Dean Martin, Sammy Davis Jr., Peter Lawford. Il a ardemment soutenu le candidat démocrate John Fitzgerald Kennedy pendant la campagne présidentielle de 1960, allant jusqu’à détourner et réenregistrer l’un de ses succès « High Hopes » afin d’en faire l’hymne de la campagne. JFK lui a ensuite confié l’organisation de son gala d’investiture où les plus grands artistes américains ont été présents : Ella Fitzgerald, Mahalia Jackson, Sidney Poitier, Nat King Cole, Leonard Bernstein…</span><br /><span class="Texte">Il y a cependant un point noir en ce printemps 62. Sinatra démarre l’année avec des états d’âme. La relation avec le président Kennedy s’est nettement détériorée. En mars 1962, JFK devait passer une nuit dans la maison du chanteur à Palm Springs, à l’occasion d’une visite officielle en Californie. Sinatra s’était mis en quatre pour redécorer dignement sa demeure. Il avait même fait poser par anticipation une plaque de bronze au-dessus du lit ou Kennedy devait dormir sur laquelle était inscrit : « John Kennedy a dormi ici ». Mais Robert Kennedy, ministre de la Justice et frère du président, y mit son veto. Les liens de Frank avec la mafia, notamment avec le « capo » Sam Giancana, qui était un hôte régulier de Sinatra à Palm Springs, faisaient tache pour l’intègre Bobby. Et c’est finalement chez le républicain Bing Crosby que Kennedy séjournera ; Sinatra en sera durablement ulcéré, passant progressivement dans le camp républicain.</span><br /><span class="Texte">Après cette gifle de Kennedy le mettant à l’écart, Sinatra décide pour redorer son blason de faire une tournée internationale caritative, afin de montrer un aspect plus humain de sa personnalité. L’itinéraire comprend trente étapes autour du monde, s’étalant du 30 Avril au 17 Juin 1962, et partant de Mexico pour finir à Monte-Carlo. Pendant ce laps de temps, Frank Sinatra va récolter plus d’un million de dollars pour diverses organisations venant en aide à l’enfance déshéritée, hôpitaux, orphelinats, écoles spécialisées etc. </span><br /><span class="Texte">Quand « Ol’ Blue Eyes » (« le crooner aux yeux bleus » surnom du chanteur) arrive à Paris pour cette tournée dont il assume tous les frais, Frank Sinatra est déjà passé par le Japon, Hong-Kong, Israël, la Grèce, l’Italie… Il se produit tout d’abord le 5 Juin au célèbre cabaret parisien Le Lido sous le parrainage de la radio Europe Numéro Un. C’est d’ailleurs Louis Merlin, Directeur Général et fondateur de la station, qui le présente le premier au public parisien venu applaudir cette immense légende du show business américain. Aux premières tables se presse le Tout Paris des grands jours, Tino Rossi, Henri Salvador, Fernand Reynaud, Juliette Gréco, présents pour écouter « The Voice » - et accomplir une bonne action. En effet, les bénéfices de cette soirée de gala vont être reversés à deux associations françaises, l’Ordre Hospitalier Saint-Jean de Dieu, et Cœurs d’Enfants, dans laquelle Louis Merlin est très impliqué. </span><br /><span class="Texte">La prestation de Sinatra ce soir là, comme 2 soirs plus tard à l’Olympia, est d’une précision millimétrée. Accompagné par le sextet de Bill Miller, qui comporte Emil Richards au vibraphone, Al Viola à la guitare, Irv Cottler à la batterie, Ralph Pena à la contrebasse et Harry Klee à la flûte, à la clarinette et au saxophone, Frank rentre sur scène, smoking noir, nœud papillon noir, pochette rouge ; il a une rose à la main qu’il lance sur les genoux d’une spectatrice. Il va pendant une heure et demie interpréter ses plus grands succès sur des arrangements de Neal Hefti. Il a à l’époque 46 ans, dont plus de 20 de carrière. </span><br /><span class="Texte">Et même si le chanteur se laisse aller à quelques « jokes » caustiques lors de son monologue de mi- concert, l’improvisation n’est pas de mise. Une anecdote du show qu’il donnera à Londres, quelques jours plus tard, en est révélatrice.</span><br /><span class="Texte">David Jacobs, personnalité de radio britannique devait présenter l’un de shows londoniens du chanteur. Il raconte ce moment dans le livre «Sinatra », de Richard Havers :</span><br /><span class="Texte">« Je vais le rencontrer dans sa loge. Je le trouve encore en chemise et en caleçon, en train de se préparer avec son valet de chambre. Sous mes yeux, ce dernier prend une chaise et fait monter Frank Sinatra sur la table pour l’aider à enfiler un pantalon incroyablement empesé…et une veste raide comme un plastron. Quand il en est redescendu, c’est tout juste s’il pouvait marcher, il avait l’air d’un pingouin, alors je lui ai demandé pourquoi il faisait ça. Il s’est penché vers moi et il a répondu : « Sur scène, je n’ai pas envie de ressembler à n’importe qui, comme vous, avec votre costume… » 2</span><br /><span class="Texte">Le Lido de Paris était – et est toujours – célèbre pour sa troupe de danseuses déshabillées, Les Bluebell Girls, qui incarnent la Parisienne élégante et sexy dans le monde entier. Sinatra le séducteur, qui a eu dans son lit les plus belles femmes de la terre, d’Ava Gardner à Marilyn Monroe, ne pouvait laisser passer l’occasion dans la ville la plus volage du globe. George Jacobs, son fidèle valet du moment, a conservé un souvenir vif de ce passage à Paris.</span><br /><span class="Texte">C’est à Paris que nous nous sommes le plus amusés. Des hordes de groupies françaises nous accueillaient alors que nous arpentions tranquillement la Ville Lumière avec une cohorte de Chrysler décapotables. Les plus belles étaient les Bluebell Girls du Lido, où se produisait Mr. S. Après le spectacle, beaucoup d’entre elles assistèrent à une fiesta organisée dans nos suites de l’hôtel George V. Mike Romanoff, le célèbre restaurateur, nous emmena dans toutes les tables célèbres. Il connaissait Claude Terrail de la Tour d’Argent. Le restaurant avec vue sur Notre Dame était réputé pour sa cave et son canard au sang. Mais Mr. S. était mal à l’aise en présence du maitre des lieux, séducteur impénitent qui avait eu des aventures avec tout le monde, y compris Ava et Marilyn. Mr. S. y but du thé, commanda un steak et ne s’attarda pas. Je lui avais déniché une boite de saucisses et de haricots Campbell chez Fauchon. Je n’oublierai jamais la scène : Mr. S. ouvrant la boite à 5 heures du matin et donnant la becquée, cuillerée après cuillerée, à deux Bluebell Girls… » 3</span><br /><span class="Texte">Sinatra, une boîte de conserve à la main, dans la capitale mondiale de la gastronomie, voilà qui en dit long sur le peu d’intérêt que le chanteur accordait à Paris, même s’il y retournera à quatre autres reprises, de 75 à 91, année où il se produit au Palais des Congrès. La réalité, c’est que « Ol’ Blue Eyes » déteste les voyages : l’avion l’angoisse, et il préfère Little Italy, le quartier italien de New-York, à Naples, Las Vegas à Monte-Carlo, Palm Springs à Marrakech… Un vrai touriste américain, en quelque sorte.</span><br /><span class="Texte">Vifs remerciements à Michel Macaire, ancien président des Amis de Frank Sinatra, pour son aide précieuse dans la réalisation de ce CD.</span><br /><span class="Texte">Dédié à Claude Boquet, Bill Dubois, Jean Claude, Philippe Moch et toute la bande.</span><br /><span class="Texte"><strong>Michel BRILLIÉ</strong></span><br /><span class="Source">© FRÉMEAUX & ASSOCIÉS 2014</span><br /><span class="Texte">1. « Olympia, 50 ans de music hall » par Jean-Michel Boris, Jean-François Brieu, Éric Didi (Éditions Hors Collection, 2003)</span>.<br /><span class="Texte">2. « Sinatra », par Richard Havers, traduction Michel Beauvais, Nicolas Blot, Sébastien Dachin, (Pearson Pratique, 2005)</span>.<br /><span class="Texte">3. « Mr S., Ma Vie avec Frank Sinatra » par George Jacobs, traduction Laurence Nectoux et Véronique Dreyfus (Éditions Michel Lafon, 2004)</span>.<br /><span class="Soustitre2">FRANK SINATRA Live in Paris<br />5/7 June 1962</span><br /><span class="Soustitre">By Michel Brillié</span><br /><span class="Texte">“You see him ? </span><br /><span class="Texte">- Still nothing.” 1</span><br /><span class="Texte">Napo Boscrédon is edgy on this day in early June 1962 in Paris. He goes back and forth from Caumartin Street to the backstage of the Olympia Theater. There, Jean Michel Boris, one of the faithful staff members of the famous Parisian hall, is anxiously waiting. It is not a small matter: they are expecting the star of stars, the ultimate crooner, The Voice…Frank Sinatra. The singer is to perform in the French capital for the first time.</span><br /><span class="Texte">“We were waiting and waiting, and we knew he wasn’t an easy person to deal with. I think his plane was delayed. And then, all of a sudden, a huge shiny black six-door limo darts into Rue Caumartin. Three or four bodyguards step out. Black suits and dark glasses, like the Blues Brothers, they look left and right, and then open the door of the limo. We were all there, standing to attention.</span><br /><span class="Texte">A mid-sized man gets out, a small hat on his head and steel blue eyes. He nods at us from afar and heads straight to the stage. No need to say that the band was on its best behavior. Everybody was here, rearing to go, knowing the music scores to perfection. Sinatra steps up to the mike and tips his hat: “My name is Frank Sinatra. One, two, three…” And he runs through the entire show, without looking at anyone, without hesitating, or stopping, without uttering a word. We were completely floored. Finally, he turns around and says “See you tonight”. Such a pro, it was almost inhuman.”  1</span><br /><span class="Texte">At the beginning of the sixties, Frank Sinatra was back at the top. After the “black hole” of the fifties, he was once again in demand. He had just created his own record label, “Reprise”; he had just had a huge movie hit with “Ocean’s Eleven” along with the Rat Pack Gang - Dean Martin, Sammy Davis Jr., Peter Lawford. </span><br /><span class="Texte">Sinatra strongly supported John F. Kennedy, the democrat candidate in the presidential campaign of 1960. He even adapted and re-recorded one of his hits, “High Hopes” and made it the official hymn for the young senator’s march to presidency. JFK in turn gave Sinatra the task of arranging the inauguration gala, with the top American artists of the period, Ella Fitzgerald, Mahalia Jackson, Sidney Poitier, Nat King Cole, and Leonard Bernstein.</span><br /><span class="Texte">There was however a dark shadow cast on this spring of ’62. His relationship with President Kennedy had greatly deteriorated. In March, during an official visit to California, JFK was to spend the night at the singer’s home in Palm Springs. Sinatra went to a great deal of trouble to redecorate his summer home to suit the occasion. He even had a bronze plaque set above the bed where Kennedy was to rest that read “Kennedy slept here”. But Robert Kennedy, the US General Attorney and the President’s brother, vetoed the project. The links binding Frank with members of the Mafia, such as Sam Giancana, a regular guest of Sinatra in Palm Springs, did not fit the ethics of Brother Bobby. In the end, Kennedy stayed at republican supporter Bing Crosby’s place; Sinatra was deeply hurt and gradually moved to the Republican side. </span><br /><span class="Texte">After this humiliation banning him from the Kennedy clan, Sinatra decided to rehabilitate his tarnished image by doing a three month world tour to benefit underprivileged children, in order to show a more humane aspect of his personality. The itinerary included thirty shows taking place from April 30 to June 17, 1962, starting in Mexico City and ending in Monte Carlo. During this time, Frank Sinatra collected over one million dollars to help charity organizations, hospitals, orphan homes, special schools etc.</span><br /><span class="Texte">When « Ol’ Blue Eyes » set foot in Paris for this tour which he entirely paid himself, Frank Sinatra had already been through Japan, Hong-Kong, Israel, Greece, and Italy. The first show was scheduled on June 5th at the famous Parisian cabaret, “Le Lido de Paris” sponsored by Europe One Radio Station. Louis Merlin, general manager and founder of the station, was the first Frenchman to introduce Sinatra to the Parisian audience that had come to acclaim this legend of American show-business. In the first row of dimly lit tables sat the “Tout Paris”, the elite of the city’s jetsetters: Tino Rossi, Henri Salvador, Fernand Reynaud, Juliette Gréco…They all had come to enjoy “The Voice” – and to do a good deed. For all the benefits of this gala night would be given to two French charity organizations, “Ordre Hospitalier Saint-Jean de Dieu” and “Cœurs d’Enfants”, in which Louis Merlin was deeply involved.</span><br /><span class="Texte">That night, as it will be two nights later at the Olympia Theater, Sinatra’s show is a marvel of precision. The singer is backed by Bill Miller’s sextet, with Emil Richards (vibraphone), Al Viola (guitar), Irv Cottler (drums), Ralph Pena (bass) and Harry Klee (flute, clarinet and saxophone). Frank enters the stage in a black tuxedo, a bow-tie and a red rose in hand. He elegantly throws the flower on the lap of a young parisienne. And, for an hour or more, he goes through a selection of his songs arranged by Neal Hefti. At that moment, Sinatra is 46 years old, and has a twenty years career.</span><br /><span class="Texte">Even if the artist dares some risqué jokes in his mid-show monologue, improvisation is not his thing. A revealing anecdote of this attitude takes place a few days later in his London performances.</span><br /><span class="Texte">A famous British radio personality, David Jacobs, is the emcee for one of the singer’s London shows. This is how he tells the story in “Sinatra”, a book by Richard Havers (DK Publishing, 2004) :</span><br /><span class="Texte">“Before the show, I was ready in my suit and I went to meet him in his dressing room and he was not yet ready, sitting there in his shirtsleeves and underpants with his valet. While I was there, the valet helped him up on to a chair and then onto a table. Then he helped him into his trousers with really stiff legs, and a stiff jacket. Once back down he could only walk around like a penguin! It seemed really difficult for him to move well, so I asked him why he did it when he walked like that. He bent over and quietly said to me “I know my voice is in good order, but when I go onto that stage I don’t want to look like you do in your suit!”</span><br /><span class="Texte">The Lido de Paris was, and still is, known for its chorus line of skimpily clad dancers, The Bluebell Girls. They are the symbol of the elegant and sexy parisienne throughout the world. Sinatra the seducer, the man who had been with the most beautiful women on earth, from Ava Gardner to Marilyn Monroe, could not bypass the opportunity. George Jacobs, his one-time faithful valet, remembers the episode vividly.</span><br /><span class="Texte">“We had our most fun in Paris. There were hordes of waiving Frenchwomen as we toured around the City of Lights in a caravan of Chrysler convertibles. The most beautiful of these were the Bluebells, the chorus girls of the Lido on the Champs Elysées, where Mr. S performed. A lot of them came for a big after-party in our suites at the George V, which was Hollywood headquarters in Paris. Mike Romanoff took us to all the famous restaurants. He knew Claude Terrail of the Tour d’Argent. The restaurant, maybe the most elegant in the world, overlooking Notre Dame, was renowned for its wine cellar and its pressed duck. However, Mr. S was uncomfortable around Terrail, a dashing world-class polo player and playboy, who had had affairs with everyone, including Ava and Marilyn. Mr. S drank tea, ate a steak, and left early. I had found him some Campbell’s Franks and Beans at Fauchon, a luxury grocery store that stocked American treats. I’ll never forget his opening a can at five A.M. and feeding it, forkful by forkful, to two visiting Bluebelles.” 2</span><br /><span class="Texte">Frank Sinatra, a can of beans in hand, in the world capital of gastronomy, here’s a picture that tells a lot on his lack of interest for Paris. Even if he will return there on four other opportunities, from ‘75 to ‘91, when he appears at the Palais des Congrès. Truth be told “Ol’ Blue Eyes” hated to travel. Flying made him anxious, and he felt much better in ‘Little Italy’ in Manhattan than in Naples, much better in Las Vegas than in Monte Carlo, in Palms Springs than in Marrakesh… He was a true American tourist.</span><br /><span class="Texte">Sincere thanks to Michel Macaire, former president of “Les Amis de Frank Sinatra”, for his precious help in the production of this CD</span><br /><span class="Texte">Dedicated to Claude Boquet, Bill Dubois , Jean Claude, Philippe Moch and the gang</span><br /><span class="Texte"><strong>Michel BRILLIÉ</strong></span><br /><span class="Source">© FRÉMEAUX & ASSOCIÉS 2014</span><br /><span class="Texte">1. “Olympia, 50 ans de music hall” by Jean-Michel Boris, Jean-François Brieu, Éric Didi, Éditions Hors Collection, 2003</span>.<br /><span class="Texte">2 “Mr. S: My Life with Frank Sinatra”, George Jacobs, William Stadiem, John Wiley & Sons, 2003</span>.<br /><span class="Texte"><strong>1. Introduction by Louis Merlin </strong>   0’21</span><br /><span class="Texte"><strong>2. Goody, Goody</strong> (Johnny Mercer / Matty Malneck)    1’19</span><br /><span class="Texte"><strong>3. Imagination</strong> (Johnny Burke / Jimmy Van Heusen)    2’32</span><br /><span class="Texte"><strong>4. At Long Last Love</strong> (Cole Porter)    2’30</span><br /><span class="Texte"><strong>5. Moonlight in Vermon</strong>t (John Blackburn / Karl Suessdorf)    3’26</span><br /><strong><br /></strong><span class="Texte"><strong>6. Without a Song</strong> (Billy Rose - Edward Eliscu / Vincent Youmans)    2’54</span><br /><span class="Texte"><strong>7. Day In-Day Out </strong>(Johnny Mercer / Rube Bloom)    2’35</span><br /><span class="Texte"><strong>8. I’ve Got You Under My Skin</strong> (Cole Porter)    3’01</span><br /><span class="Texte"><strong>9. I Get a Kick Out of You</strong> (Cole Porter)    3’12 </span><br /><span class="Texte"><strong>10. The Second Time Aroun</strong>d (Sammy Cahn / Jimmy Van Heusen)    2’47</span><br /><span class="Texte"><strong>11. Too Marvelous for Words</strong> (Johnny Mercer / Richard Whiting)    1’48</span><br /><span class="Texte"><strong>12. My Funny Valentine</strong> (Lorenz Hart / Richard Rodgers)    2’56</span><br /><span class="Texte"><strong>13. In the Still of the Night </strong>(Jo Trent / Hoagy Carmichael)    3’40 </span><br /><span class="Texte"><strong>14. April in Paris</strong> (Edgar Yipsel Harburg / Vernon Duke)    2’33</span><br /><span class="Texte"><strong>15. You’re Nobody Till Somebody Loves You </strong>(James Cavanaugh / Russ Morgan - Larry Stock)    4’19</span><br /><strong><br /></strong><span class="Texte"><strong>16. Monologue / They Can’t Take That Away From Me</strong> (Ira Gershwin / George Gershwin)    3’21 </span><br /><span class="Texte"><strong>17. All the Way </strong>(Sammy Cahn / Jimmy Van Heusen)    2’20</span><br /><span class="Texte"><strong>18. Chicago </strong>(That Toddling Town) (Fred Fisher)    2’30</span><br /><span class="Texte"><strong>19. Night and Day</strong> (Cole Porter)    4’11</span><br /><span class="Texte"><strong>20. One for My Baby</strong> (Johnny Mercer / Harold Arlen)    5’56</span><br /><span class="Texte"><strong>21. I Could Have Danced All Night</strong> (Alan Jay Lerner / Frederick Loewe)    2’48</span><br /><span class="Texte"><strong>22. A Foggy Day</strong> (Ira Gershwin / George Gershwin)    2’43</span><br /><span class="Texte"><strong>23. Ol’ Man River</strong> (Oscar Hammerstein II / Jerome Kern)    3’58</span><br /><span class="Texte"><strong>24. The Lady Is a Tramp </strong>(Lorenz Hart / Richard Rodgers)    4’02</span><br /><span class="Texte"><strong>25. I Love Paris</strong> (Cole Porter)    3’05</span><br /><strong><br /></strong><span class="Texte"><strong>26. Come Fly With Me</strong> (Sammy Cahn / Jimmy Van Heusen)    3’51</span><br /><span class="Texte">Recorded by: Europe N°1 Technical Staff</span><br /><span class="Texte">Recording dates</span><br /><span class="Texte">Tracks 1 to 24: June 5, 1962</span><br /><span class="Texte">Tracks 25 & 26: June 7, 1962</span><br /><span class="Texte">Recording places</span><br /><span class="Texte">Tracks 1 to 24: Lido de Paris Cabaret, Paris, France</span><br /><span class="Texte">Tracks 24 & 25: Olympia Theater, Paris, France</span><br /><span class="Texte">Personnel</span><br /><span class="Texte"><strong>Frank Sinatra</strong> – Vocals </span><br /><span class="Texte"><strong>Bill Miller</strong> – Piano</span><br /><span class="Texte"><strong>Al Viola</strong> – Guitar</span><br /><span class="Texte"><strong>Ralph Peña </strong>– Bass</span><br /><span class="Texte"><strong>Irv Cottler</strong> – Drums</span><br /><span class="Texte"><strong>Emil Richards </strong>– Vibraphone</span><br /><span class="Texte"><strong>Harry Klee</strong> – Alto Saxophone, Flute</span><br /><span class="Texte">La collection Live in Paris :</span><br /><span class="Texte">Collection créée par</span><br /><strong><span class="Texte">Gilles Pétard pour Body & Soul</span><br /><span class="Texte">et licenciée à Frémeaux & Associés.</span></strong><br /><span class="Texte">Direction artistique et discographie :</span><br /><strong><span class="Texte">Gilles Pétard et Michel Brillié.</span></strong><br /><span class="Texte">Fabrication et distribution :</span><br /><span class="Texte">Frémeaux & Associés.</span><br /><span class="Texte">Frank Sinatra est sans doute le plus célèbre crooner du XXe siècle. Enregistré au Lido et à l’Olympia en juin 1962, il s’agit du premier concert à Paris de « The Voice », un show à la mécanique impeccable d’un rare professionnalisme, qui rappelle les fastes de l’entertainment américain. Un grand Sinatra live !</span><br /><strong><span class="Texte">Patrick FRÉMEAUX</span></strong><br /><span class="Texte">Frank Sinatra was no doubt the most famous crooner of the 20th century. Recorded at the Lido and the Olympia in Paris in June 1962, this was the first visit to the French capital by the man they called “The Voice”, and his impeccable shows and rare professionalism recall the best in American entertainment… A great Sinatra, “live”!      </span><br /><strong><span class="Texte">Patrick FRÉMEAUX</span><br /></strong><br /><span class="Texte">La collection Live in Paris, dirigée par Michel Brillié, permet de retrouver des enregistrements inédits (concerts, sessions privées ou radiophoniques), des grandes vedettes du jazz, du rock & roll et de la chanson du XXe siècle. Ces prises de son live, et la relation avec le public, apportent un supplément d’âme et une sensibilité en contrepoint de la rigueur appliquée lors des enregistrements studios. Une importance singulière a été apportée à la restauration sonore des bandes, pour convenir aux standards CD tout en conservant la couleur d’époque.     <br /><strong>Patrick FRÉMEAUX & Gilles PÉTARD </strong></span><br /><span class="Texte">The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock & roll and song. These “live” takes, and the artists’ rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet CD standards while preserving the original colours of the period.     <br /><strong>Patrick FRÉMEAUX & Gilles PÉTARD</strong></span><br /><span class="Source">CD Frank Sinatra 5-7 juin 1962, collection "Live in Paris", Frank Sinatra © Frémeaux & Associés 2014.</span></p>
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        <p><em>This triple album set contains a series of concerts recorded at the Paris Olympia between 1957 and 1962 by one of the greatest voices of the 20th century. Under the wing of distin guis hed manager/producer Norman Granz, Ella Fitzgerald was then at the peak of her artistic career after recording the Songbook series of titles by George Gershwin (with Louis Armstrong), Cole Porter and Harold Arlen. </em><br /><em>It was also her outstanding concert-period, and her version of “Mack the Knife” in 1960 in Berlin was one of her biggest hits. In a state of grace, Ella sings jazz for an audience literally transported by the First Lady of Song. </em><br /><strong>Patrick FRÉMEAUX</strong></p>\n
        <p><br /><em>The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock &amp; roll and song. </em><br /><em>These “live” takes, and the artists’ rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet CD standards while preserving the original colours of the period. </em><br /><strong>Patrick FRÉMEAUX &amp; Gilles PÉTARD</strong></p>\n
        <p><strong></strong></p>\n
        <p align="justify"><strong>DIRECTION ARTISTIQUE : GILLES PÉTARD ET MICHEL BRILLIÉ</strong></p>\n
        <p align="justify"><strong>LICENCE : FREMEAUX &amp; ASSOCIES EN ACCORD AVEC BODY &amp; SOUL.<br /></strong></p>\n
        <p align="justify"><strong>CD1 - 1957-1960</strong> : SINGIN THE BLUES • ANGELS EYES • AIRMAIL SPECIAL • APRIL IN PARIS • IT DON’T MEAN A THING • A FOGGY DAY • CARAVAN • SAINT LOUIS BLUES • I GOT IT BAD (AND THAT AIN’T GOOD) • SATIN DOLL • MACK THE KNIFE • ROLL’EM PETE • I’VE GOT A CRUSH ON YOU • HOW HIGH THE MOON • LADY BE GOOD • S’ WONDERFUL • OUR LOVE IS HERE TO STAY • GONE WITH THE WIND • MISTY • JUST IN TIME.<br /><strong>CD 2 - 1960-1961</strong> : THE LADY IS A TRAMP • THE MAN I LOVE • TENDERLY • IT’S TOO DARN HOT • TOO CLOSE FOR COMFORT • ON A SLOW BOAT TO CHINA • HEART AND SOUL • ROUND MIDNIGHT • YOU’RE DRIVING ME CRAZY • CHEEK TO CHEEK • ANYTHING GOES • LIL’ DARLIN’ • I FOUND A NEW BABY • I WAS DOING ALRIGHT • THIS TIME THE DREAM’S ON ME • EVERYTIME YOU SAY GOODBYE • THIS COULD BE THE START OF SOMETHING BIG • YOU’LL HAVE TO SWING IT (MR PAGANINI) • BUT NOT FOR ME • LOVE IS SWEEPIN’ THE COUNTRY • AM I BLUE / BABY WON’T YOU PLEASE COME HOME • AIRMAIL SPECIAL.<br /><strong>CD3 - 1961-1962 </strong>: ON THE SUNNY SIDE OF THE STREET • STRAIGHTEN UP AND FLY RIGHT • THEY CAN’T TAKE THAT AWAY FROM ME • ON A SLOW BOAT TO CHINA • HAPPINESS IS A THING CALLED JOE • ROUND MIDNIGHT • SAINT LOUIS BLUES • ELLA’S COMMENTS • C’EST MAGNIFIQUE • MISTY • MY FUNNY VALENTINE • HALLELUJAH I LOVE HIM SO • TAKE THE A TRAIN • MACK THE KNIFE • WON’T YOU COME HOME BILL BALEY • JUST A SITTIN’ AND A ROCKIN’ (ALTERNATE CONCERT) • SPRING IS HERE (ALTERNATE CONCERT) • IT’S ALL RIGHT WITH ME (ALTERNATE CONCERT) • YOU’RE DRIVING ME CRAZY (ALTERNATE CONCERT) • MORE THAN YOU KNOW (ALTERNATE CONCERT) • MACK THE KNIFE (ALTERNATE CONCERT) • TAKE THE A TRAIN (ALTERNATE CONCERT).</p>
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        <h3>Ella Fitzgerald FA5476</h3>\r\n
        <p><span class="Soustitre2">Ella Fitzgerald <br />1957 - 1962<br />Live in Paris</span><span class="Texte"><br /></span><span class="Soustitre">La collection des grands concerts parisiens<br />Dirigée par Michel Brillié et Gilles Pétard</span><span class="Texte"><br /></span><span class="Soustitre2"><br />Ella Fitzgerald - LIVE IN PARIS <br />1957/1962</span><span class="Texte"><br /></span><span class="Soustitre">Par Michel Brillié</span><span class="Texte"><br /></span></p>\r\n
        <p align="justify"><span class="Texte">Ella loves Paris et Paris loves Ella... Du 6 avril 1952 à la salle Pleyel, au 30 mai 1990 au Palais des Congrès, « The First Lady of Song » a chanté pratiquement dans toutes les salles de la capitale française, comme l’Olympia, le Moulin Rouge , l’Espace Cardin ou le Théâtre des Champs Elysées. Elle a été accompagnée par les plus grands musiciens de jazz, les orchestres de Duke Ellington et Count Basie, elle y a chanté en duo avec Ray Charles… Ella a fréquenté les plus grandes tables de la capitale – où elle commandait du Coca-Cola, et si le sommelier lui indiquait que cette boisson était indisponible, elle répondait avec une candeur désarmante « Alors, donnez moi un Pepsi… » C’est à Paris, en 1990, que Jack Lang l’a intronisée Comman­deur des Arts et des lettres, la veille de son ultime concert dans la capitale. Autant dire que la chanteuse était chez elle au bord de la Seine.</span><br /><span class="Texte">Retour sur cette fin des fifties et ce début des sixties. Depuis que le célèbre producteur –manager Norman Granz l’a prise sous son aile, la chanteuse se déplace huit mois par an avec la tournée « Jazz at the Philarmonic », créée après la Deuxième Guerre Mondiale par l’impresario. Granz est un ardent défenseur de la cause noire et des musiciens de jazz - noirs ou blancs. Dans ses tournées du « JATP », il permet aux meilleurs jazzmen du moment de se confronter le temps d’un concert, en quelque sorte une super jam session. En France, la demande est telle que souvent Granz et sa troupe reviennent quelques semaines après une première prestation. En 1957, après s’être produite le 2 mai à Pleyel, Ella chante le 8 à l’Olympia, en compagnie d’Herb Ellis à la guitare et de Stuff Smith au violon. En 1960, le concert du 23 février est doublé par un autre quelques jours plus tard, le 3 mars. Le 23, dix jours après son concert de Berlin, Ella fait sensation en interprétant magnifiquement pour le public parisien « Mack the Knife », le standard de « L’Opéra de Quat’ Sous » de Kurt Weill et Ber­thold Brecht. C’est sans doute Norman Granz qui a conseillé à Ella de reprendre cette chanson déjà popularisée quelques années auparavant par Louis Armstrong et Bobby Darin. Granz est un point d’ancrage essentiel dans la vie de la chanteuse : pendant plus de 40 ans, Norman et Ella seront inséparables, artistiquement d’abord, mais aussi sur un plan plus personnel. C’est Granz qui fait rencontrer le bassiste Ray Brown qui deviendra le seul homme qu’Ella épousera. C’est toujours lui qui achète en son nom une maison dans Bervely Hills, le quartier ultra chic de Los Angeles, pour ensuite la transmettre à Ella et contourner ainsi le racisme latent du quartier. </span><br /><span class="Texte">Autre année faste de ce début de décennie pour Ella : 1961. Mi-janvier, Ella a enregistré à Hollywood un nouvel album de la série « Songbooks » ; après Cole Porter, Duke Ellington, George Gershwin, c’est le compositeur Harold Arlen qui est à l’honneur, avec une pochette d’Henri Matisse. Toujours en janvier, Ella elle est l’une des stars du gala inaugural pour le nouveau président américain John F. Kennedy ; quelques jours plus tard, elle participe au Carnegie Hall de New York à un concert de soutien à Martin Luther King. Ensuite elle reprend la route, chante à Berlin, Amsterdam, Munich, puis à Paris, en revenant à son habitude à deux intervalles rapprochés, en février et en avril. Le concert d’Ella du 28 février 1961 à l’Olympia de Paris est illustré par une anecdote savoureuse révélant une fois de plus le lien privilégié de la chanteuse avec son manager Norman Granz. En ce début d’année, Bruno Coquatrix, propriétaire de l’Olympia, connait de graves difficultés financières avec son théâtre, et Il a appelé Edith Piaf à l’aide pour renflouer ses caisses. La « môme » a accepté d’y chanter les trois premiers mois de 1961, et s’est installée confortablement dans les loges, avec petit salon et coin pour dormir. Et c’est donc un mardi, jour de relâche de Piaf, qu’Ella Fitzgerald va se produire devant le public de la capitale. Il n’y a plus de loge pour l’accueillir, et Coquatrix lui attribue à la va-vite un coin de coulisses à peine caché par un paravent. Granz, de tous temps et dans tous lieux, y compris dans le sud ségrégationniste des USA, veille jalousement au confort de ses artistes, blancs ou noirs. Il est fou furieux. « Si vous n’offrez pas à Ella la suite d’Edith Piaf, j’annule le concert et je préviens mes avocats ! » Frank Ténot, l’ami et l’associé français de Granz avec Daniel Filipacchi, raconte la suite avec un malin plaisir. « Le régisseur du théâtre eut alors une idée de génie. Il décolla de la loge de Piaf le carton portant le nom de la vedette pour le punaiser sur une porte d’un cagibi voisin. On le remplit de fleurs et de parfums, on jeta à la hâte quelques paires de chaussures et un pull de la môme Piaf dans le placard. Granz fut dupe de la supercherie, et le concert fut magnifique. » (Frankly Speaking, Frank Ténot, éditions du Layeur, 2004).</span><br /><span class="Texte">Ella revient donc à Paris un mois et demi après. L’Olympia est plein à craquer ce 11 avril 1961 lorsqu’ elle apparait sur la scène sobrement vêtue d’un fourreau en lamé noir, mouchoir en mousseline dans la main droite, pour un concert constitué de ballades et de classiques comme « Airmail Special », et de standards issus de son dernier « songbook » sur Harold Arlen, « This Time the Dream’s On Me » et « Happiness Is a Thing Called Joe ». Jean Robert Masson, le journaliste de Jazz Magazine qui assiste alors au concert regrette qu’Ella ne se produise pas accompagnée d’un grand orchestre. Granz suivra son conseil quelques années plus tard, en 1966, en associant Ella à la grande formation de Duke Ellington au festival de jazz de Juan les Pins.</span><br /><span class="Texte">Voici mars 62. Entre Londres et Amsterdam, entre le Gaumont Theatre d’Hammersmith et le Concertgebouw, Ella est à l’Olympia à Paris. Parmi tous ses grands succès, elle reprend le tube de Ray Charles « Hallelujah I Love Him So » qu’elle vient d’enregistrer sur son dernier album « Rhythm Is My Business ». Cette fois ci, c’est le pianiste Paul Smith qui l’accompagne. Paul va passer 46 semaines avec Ella en 62, et il raconte son souvenir de la chanteuse, plein de tendresse, dans « Norman Granz: The Man Who Used Jazz for Justice » (Tad Hershorn, University of California Press, 2011) : « Il y avait une forme de naïveté chez elle. Elle était comme une petite fille. Quand elle était triste, elle pouvait bouder comme si elle avait huit ans, ce qui était un peu le cas, d’une certaine manière. Je l’ai toujours considérée come une dame qui n’avait jamais grandi. Il y a toujours eu cette caractéristique de petite fille en elle. Elle pouvait être très facilement blessée. C’était une femme très tendre. Elle adorait les enfants. Elle aussi était restée enfant. Elle n’a jamais eu de vie sentimentale. Ella était très seule, de temps en temps un type rentrait dans sa vie et ils vivaient ensemble pour une courte période. La naïveté d’Ella se sentait dans sa relation avec les hommes. » </span><br /><span class="Texte">Ce soir là, soucieuse de chanter un répertoire au gout du jour, la subtile Ella chante avec son charme habituel ballades ou succès garantis. Elle se livre même à une démonstration de twist, la dance à la mode ! Le public de l’Olympia ne contient plus sa joie... </span><br /><span class="Texte">Si sa relation avec la capitale a toujours été harmonieuse, en 2012, seize ans après sa disparition, la gentille Ella a été curieusement l’enjeu d’une rude bataille parisienne. Pour la nouvelle ligne de tramway T3 qui entoure Paris, les équipes techniques souhaitent donner un nom emblématique à l’arrêt de Pantin, vieille cité ouvrière des faubourgs de la capitale, et rendre hommage ainsi à une artiste intimement liée à la France : Ella Fitzgerald. Le maire de la ville quant à lui veut à tout prix faire référence à un bâtiment historique de la ville, les Grands Moulins. Au final, un compromis bien français met tout le monde d’accord : la station de tramway porte aujourd’hui le nom original de « Ella Fitzgerald – Grands Moulins de Pantin ». il parait qu’on a surpris certains jazz fans, voyageurs de la ligne, en train de chantonner en son hommage « Take the T3 Train »… </span><br /><span class="Texte">Michel BRILLIÉ</span><br /><span class="Texte">Dédié à Claude Boquet, Bill Dubois, Jean Claude, Philippe Moch et toute la bande.</span><br /><span class="Texte">Sincères remerciements à Michel Macaire</span><br /><span class="Source">© FRÉMEAUX & ASSOCIÉS 2014</span><br /><span class="Soustitre2">Ella Fitzgerald - LIVE IN PARIS <br />1957/1962</span><br /><span class="Soustitre">By Michel Brillié</span><br /><span class="Texte">Ella loves Paris and Paris loves Ella... From April 6, 1952 at the Salle Pleyel, to May 30,1990 at the Palais des Congrès, “The First Lady of Song” sang on almost each and every stage in Paris, including the Olympia Theater, the Moulin Rouge Cabaret , the Espace Cardin or the Théâtre des Champs Elysées. She was backed by the top jazz musicians, the big bands of Duke Ellington and Count Basie; she sang a duet with Ray Charles… Ella also dined at the best tables in town. Once asked for her choice of drink at a great but very traditional French three-star restaurant, she answered “I’ll have a Coke”, and as the wine steward replied that they did not carry such beverage, she then said with a disarming candor: “That’s OK; I’ll have a Pepsi.” In 1990 in Paris, Jack Lang then minister of Arts and Culture decorated her with the medal of Commandeur des Arts et des Lettres the day before her last concert in the capital. This tells us how comfortable the artist felt right at home on the banks of the river Seine.</span><br /><span class="Texte">Let’s now go back to the end of the fifties and the beginning of the sixties. Ever since the famous producer-manager Norman Granz took Ella under his wing, she is on the road eight months a year with the Jazz at the Philarmonic organization. This series of tours was created after World War II by the agent. Granz is an ardent partisan of the black cause and especially of jazz musicians. In these “JATP” tours, he allows the top jazzmen of the moment to vie with each other in concert, a kind of super jam session. In France, the demand is such that Granz often brings back his musicians just a few weeks after the first show. In 1957, after performing on May 2 at the Salle Pleyel, Ella sings once more on May 8, this time at the Olympia Hall, backed by Herb Ellis on guitar and Stuff Smith on violin. In 1960, the February 23 show is followed by another one a few days later, on March 3. At the former concert, Ella causes a sensation when she sings “Mack the Knife”, the “Three Penny Opera” standard by Kurt Weill and Berthold Brecht. It is certainly on Norman Granz’s advice that Ella gives her own rendition of a song already made famous by Louis Armstrong and Bobby Darin. To Ella, Granz is a pillar of strength in her life: for more than forty years, Norman and Ella were inseparable, first from an artistic standpoint, but also on a more personal basis. It is through Granz that Ella met bass player Ray Brown, who became the only man she married. It is again Norman who bought a house in his name in the ultra-posh district of Beverly Hills, California, and then transferred it to Ella in order to bypass the latent racism in the area.</span><br /><span class="Texte">1961 is another good year of the decade for Ella. In mid-January, she has recorded in Hollywood a new album of the “Songbooks” series. After those devoted to Cole Porter, Duke Ellington or George Gershwin, composer Harold Arlen is in the spotlight, with an album cover by Henri Matisse. In January, Ella is one of the stars appearing at the Inauguration Gala for new American president John F. Kennedy; a few days later she is part of a benefit concert for Martin Luther King. Later she is back on the road, singing in Berlin, Amsterdam, Munich and Paris, where she performs as usual twice in February and April. </span><br /><span class="Texte">A funny story happened at the time of the February 28 concert given by Ella at the Olympia Theater and it shows the close ties between the singer and manager Norman Granz. At the beginning of the year, Bruno Coquatrix, owner of the Olympia, was in dire financial straits. He called in for help French star and friend Edith Piaf. The chanteuse agreed to perform during three whole months. Naturally, she makes herself comfortable in several dressing rooms used as bedroom and boudoir. Then on February 28, a Tuesday which was Edith Piaf’s day off, Ella was going to perform for the Parisian crowd. But there were no more dressing rooms, so Coquatrix whisked her hastily to a remote corner backstage, barely separated by a folding screen. Then Granz, who always looked jealously after the comfort of his artists, at all times and everywhere in the world, including the segregated South of the U.S, got absolutely furious. “If Ella is not given Edith Piaf’s suite, I cancel the concert and send in my lawyers!” Frank Ténot, who was Norman Granz’s partner and friend together with Daniel Filipacchi, related what follows with a malicious smile. “The theater manager then came up with a brilliant idea. He took the card with Piaf’s name off her dressing room door and tacked it onto the door of a nearby storeroom. He then filled the makeshift dressing room with flowers and perfume. He even threw in a few pairs of shoes and an old sweater belonging to La Môme Piaf. Granz was totally fooled, and the concert was splendid.” (Frankly Speaking, Frank Ténot, éditions du Layeur, 2004).</span><br /><span class="Texte">And so Ella returns to Paris a month and a half later. The Olympia is packed with fans on this April 11, 1961, as she enters stage in a sober black lamé sheath dress with her usual chiffon handkerchief in hand. The concert is made of ballads and classics such as “Airmail Special”, and standards from her latest Harold Arlen Songbook album, “This Time the Dream’s On Me” and “Happiness Is a Thing Called Joe”. Attending the concert is Jazz Magazine writer Jean Robert Masson. He deeply regrets that Ella is not backed by a larger band. Granz probably followed his advice a few years later, when in 1966 Ella appeared at the Festival de Jazz de Juan-les-Pins with Duke Ellington and his orchestra.</span><br /><span class="Texte">And now on to March 1962. After London and before Amsterdam, between the Hammersmith Gaumont Theatre and the Concertgebouw, Ella is back in Paris at the Olympia. Among all her famous songs, she introduces Ray Charles’ hit “Hallelujah I Love Him So” that she has recently recorded for her newest album, “Rhythm Is My Business”. This time she is backed by pianist Paul Smith. In 1962, Paul spent forty-six weeks on the road with Ella; he reminisced fondly of her in “Norman Granz: The Man Who Used Jazz for Justice” (Tad Hershorn, University of California Press, 2011): “There was a kind of naiveté about her,” Paul Smith said. “She was like a little girl. If she was unhappy she’d pout like an 8-year-old, which, in a way, she was. I always thought of her as a lady who never quite grew up. She always had that little girl quality about her. Her feelings could be hurt very easily. Ella was a very tender lady. She loved kids. She was kind of like a kid herself, inside. She never had a romantic life. Ella was a lonely lady and every once in a while one of those guys would come by and they’d have a live-in relationship for a short while… Ella’s naiveté permeated her relations with men.”</span><br /><span class="Texte">On that evening, Ella is definitely eager to perform an up-to-date repertoire, and the subtle singer alternates ballads and sure hits with her usual charm. She even demonstrates a few twist gyrations, the dance craze of the time. The crowd at the Olympia is ecstatic…</span><br /><span class="Texte">Ella’s relationship with the city of lights has always been in full harmony; however, in 2012, sixteen years after her death, the sweet Ella became the stake of a fierce battle. In the northern part of the city, the new tramway line T3 was in its final steps and its managers wished to pay homage to Ella, an artist closely tied to Paris, by naming the North suburban Pantin stop after her. On the other hand, the Mayor of Pantin was dead set on giving the tram stop the name of a local trademark, “Les Grands Moulins” (The Big Mills). In the end, a very French compromise was found. The stop bears today the unusual name of “Ella Fitzgerald – Grands Moulins de Pantin”. One says that some jazz fans and tram riders, when arriving at the stop, hum softly “Take the T3 Train”…</span><br /><strong><span class="Texte">Michel BRILLIÉ</span></strong><br /><span class="Texte">Dedicated to Claude Boquet, Bill Dubois, Jean Claude, Philippe Moch and the gang</span><br /><span class="Texte">Sincere thanks to Michel Macaire</span><br /><span class="Source">© FRÉMEAUX & ASSOCIÉS 2014</span><br /><span class="Soustitre2">CD 1 - 1957-1960</span><br /><span class="Texte"><strong>1. Singin the Blues</strong> (Melvin Endsley)     2’23</span><span class="Texte"><br /><strong>2. Angels Eyes</strong> (Matt Dennis / Earl Brent)     3’33</span><br /><strong><br /></strong><span class="Texte"><strong>3. Airmail Special</strong> (James Mundy / Benny Goodman / Charlie Christian)    3’46</span><br /><strong><br /></strong><span class="Texte"><strong>4. April In Paris</strong> (Vernon Duke / E. Y. Harburg)     4’02</span><br /><span class="Texte"><strong> <br />5. It Don’t Mean a Thing </strong>(Irving Mills / Duke Ellington)     7’17</span><br /><span class="Texte"><strong><br />6. A Foggy Day</strong> (Ira Gershwin / George Gershwin)     3’25</span><br /><span class="Texte"> <br /><strong>7. Caravan</strong> (Irving Mills / Duke Ellington / Juan Tizol)     2’37</span><br /><span class="Texte"><br /><strong>8. Saint-Louis Blues </strong>(William C. Handy)     5’23</span><br /><span class="Texte"><strong>9. I Got it Bad </strong>(And That Ain’t Good) (Paul Francis Webster / Duke Ellington)    3’00</span><br /><strong><br /></strong><span class="Texte"><strong>10. Satin Doll (</strong>Johnny Mercer / Duke Ellington / Billy Strayhorn)    2’37</span><br /><span class="Texte"><strong>11. Mack the Knife </strong>(Bertolt Brecht / Mark Blitzstein/ Kurt Weill)    4’35</span><br /><strong><br /></strong><span class="Texte"><strong>12. Roll ‘Em Pete </strong>(Big Joe Turner / Pete Johnson)     6’17</span><br /><span class="Texte"><strong>13. I’ve Got a Crush On Yo</strong>u (Ira Gershwin / George Gershwin)    2’45</span><br /><strong><br /></strong><span class="Texte"><strong>14. How High the Moon</strong> (Nancy Hamilton / Morgan Lewis)     7’34</span><br /><span class="Texte"><strong>15. Lady Be Good</strong> (Ira Gershwin / George Gershwin)     3’16</span><br /><strong><br /></strong><span class="Texte"><strong>16. S’ Wonderful</strong> (Ira Gershwin / George Gershwin)     3’15</span><br /><span class="Texte"><strong>17. Our Love Is Here to Stay</strong> (Ira Gershwin / George Gershwin)     3’10</span><br /><span class="Texte"><strong>18. Gone With the Wind </strong>(Herb Magidson / Allie Wrubel)     2’21</span><br /><span class="Texte"><strong>19. Misty </strong>(Johnny Burke / Erroll Garner)    2’57</span><br /><span class="Texte"><strong>20. Just in Time</strong> (Betty Comden / Adolph Green / Jule Styne)     2’02</span><br /><span class="Texte">Recorded by: Europe N°1 Technical Staff</span><br /><span class="Texte">Recording dates: </span><br /><span class="Texte">Tracks 1 to 5: May 8 ,1957 </span><br /><span class="Texte">Tracks 6 to 8: April 30, 1958 </span><br /><span class="Texte">Tracks 9 to 20: February 23,1960</span><br /><span class="Texte">Recording place: Olympia Theater, Paris, France</span><br /><span class="Texte">Personnel:</span><br /><span class="Texte">May 8 ,1957</span><br /><span class="Texte"><strong>Ella Fitzgerald</strong> (vcl), <strong>Don Abney </strong>(p),<strong> Herb Ellis</strong> (g),<strong> Stuff Smith </strong>(vl),<strong> Ray Brown</strong> (b),<strong> Jo Jones</strong> (d).</span><br /><span class="Texte">April 30, 1958</span><br /><span class="Texte"><strong>Ella Fitzgerald</strong> (vcl)<strong>, Lou Levy,</strong> (p), <strong>Max Bennett </strong>(b),<strong> Gus Johnson</strong> (d).</span><br /><span class="Texte">23 February 1960</span><br /><span class="Texte"><strong>Ella Fitzgerald </strong>(vcl), <strong>Paul Smith</strong> (p),<strong> Jim Hall </strong>(g), <strong>Wilfred Middlebrooks</strong> (b),<strong> Gus Johnson</strong> (d).</span><br /><span class="Texte">Produced by: <strong>Norman Granz, Frank Ténot</strong> & <strong>Daniel Filipacchi.</strong></span><br /><span class="Soustitre2">CD 2 - 1960-1961</span><br /><span class="Texte"><strong>1. The Lady Is a Tramp</strong> (Lorenz Hart / Richard Rodgers)    3’05</span><br /><span class="Texte"><br /><strong>2. The Man I Love</strong> (Ira Gershwin / George Gershwin)    3’42</span><br /><span class="Texte"><br /><strong>3. Tenderly</strong> (Jack Lawrence / Walter Gross)     3’07<br /></span><span class="Texte"><br /><strong>4. It’s Too Darn Ho</strong>t (Cole Porter)     3’14</span><br /><span class="Texte"><strong>5. Too Close For Comfort </strong>(George David Weiss / Larry Holofcener / Jerry Bock)    2’59</span><br /><span class="Texte"><br /><strong>6. On a Slow Boat to China (</strong>Frank Loesser)     2’09</span><br /><span class="Texte"><strong>7. Heart and Soul </strong>(Frank Loesser / Hoagy Carmichael)    4’01</span><br /><span class="Texte"><strong>8. ‘Round Midnight</strong> (Bernie Hanighen Thelonious Monk / Cootie Williams)     3’34</span><br /><span class="Texte"><br /><strong>9. You’re Driving Me Crazy</strong> (Walter Donaldson)     3’17</span><br /><span class="Texte"><strong>10. Cheek to Cheek</strong> (Irving Berlin)     3’42</span><br /><strong><br /></strong><span class="Texte"><strong>11. Anything Goes </strong>(Cole Porter)     2’34</span><br /><span class="Texte"><strong>12. Lil’ Darlin’</strong> (Jon Hendricks / Neal Hefti)    4’19</span><br /><strong><br /></strong><span class="Texte"><strong>13. I Found a New Baby</strong> (Jack Palmer / Spencer Williams)    2’32</span><br /><span class="Texte"><strong>14. I Was Doing Alrigh</strong>t (Ira Gershwin / George Gershwin)     2’42</span><br /><span class="Texte"><strong>15. This Time The Dream’s On M</strong>e (Johnny Mercer / Harold Arlen)    5’05</span><br /><span class="Texte"><strong>16. Everytime You Say Goodbye</strong> (Cole Porter)     3’01</span><br /><span class="Texte"><strong>17. This Could Be The Start Of Something Big</strong> (Steve Allen)     2’29</span><br /><span class="Texte"><strong>18. You’ll Have to Swing It</strong> (Mr Paganini) (Ella Fitzgerald / Sam Coslow)    4’47</span><br /><strong><br /></strong><span class="Texte"><strong>19. But Not for Me</strong> (Ira Gershwin / George Gershwin)    2’16</span><br /><strong><br /></strong><span class="Texte"><strong>20. Love Is Sweepin’ the Country </strong>(Ira Gershwin / George Gershwin)    2’34</span><br /><span class="Texte"><strong>21. Am I Blue / Baby Won’t You Please Come Home</strong> (Harry Akst / Grant Clarke / Charles Warfield / Clarence Williams)    3’49</span><br /><strong><br /></strong><span class="Texte"><strong>22. Airmail Special</strong> (Benny Goodman / James Mundy / Charlie Christian)    5’31</span><br /><span class="Texte">Recorded by: Europe N°1 Technical Staff</span><br /><span class="Texte">Recording dates: </span><br /><span class="Texte">Tracks 1 to 4: February 23,1960</span><br /><span class="Texte">Tracks 5 to 12: February 28, 1961</span><br /><span class="Texte">Tracks 13 to 22: April 11, 1961</span><br /><span class="Texte">Recording place: Olympia Theater, Paris, France</span><br /><span class="Texte">Personnel</span><br /><span class="Texte">May 1, 1958 / February 23 & 29, 1960</span><br /><span class="Texte"><strong>Ella Fitzgerald </strong>(vcl), <strong>Lou Levy</strong> (p),<strong> Max Bennett</strong> (b), <strong>Gus Johnson</strong> (d).</span><br /><span class="Texte">23 February 1960</span><br /><span class="Texte"><strong>Ella Fitzgerald </strong>(vcl), <strong>Paul Smith</strong> (p), Jim Hall (g),<strong> Wilfred Middlebrooks </strong>(b), <strong>Gus Johnson </strong>(d).</span><br /><span class="Texte">February 28 & April 11,1961</span><br /><span class="Texte"><strong>Ella Fitzgerald</strong> (vcl),<strong> Lou Levy </strong>(p), <strong>Herb Ellis</strong> (g), <strong>Wilfred Middlebrooks</strong> (b), <strong>Gus Johnson </strong>(d).</span><br /><span class="Texte">Produced by:<strong> Norman Granz, Frank Ténot </strong>&<strong> Daniel Filipacchi.</strong></span><br /><span class="Soustitre2">CD 3 - 1961-1962</span><br /><span class="Texte"><strong>1. On the Sunny Side Of the Street</strong> (Dorothy Fields / Jimmy McHugh)     2’52</span><br /><span class="Texte"><strong>2. Straighten Up and Fly Right</strong> (Nat King Cole / Irving Mills)    2’40</span><br /><span class="Texte"><strong>3. They Can’t Take That Away From Me</strong> (Ira Gershwin / George Gershwin)    2’42</span><br /><span class="Texte"><strong>4. On a Slow Boat to China</strong> (Frank Loesser)    2’28</span><br /><span class="Texte"><strong>5. Happiness Is a Thing Called Joe</strong> (Yip Harburg / Harold Arlen)    3’56</span><br /><span class="Texte"><strong><br />6. ‘Round Midnight</strong> (Bernie Hanighen / Thelonious Monk / Cootie Williams)    3’36</span><br /><span class="Texte"><br /><strong>7. Saint-Louis Blues</strong> (W.C. Handy)    6’04</span><br /><strong><br /></strong><span class="Texte"><strong>8. Ella’s Comments </strong>(Ella Fitzgerald)    0’37</span><br /><span class="Texte"><strong>9. C’est magnifique </strong>(Cole Porter)     3’37</span><br /><strong><br /></strong><span class="Texte"><strong>10. Misty </strong>(Johnny Burke / Erroll Garner)    3’14</span><br /><span class="Texte"><strong>11. My Funny Valentine</strong> (Richard Rodgers / Lorenz Hart)     2’39</span><br /><span class="Texte"><strong>12. Hallelujah I Love Him So</strong> (Ray Charles)     3’02</span><br /><span class="Texte"><strong>13. Take the A Train </strong>(Billy Strayhorn)    4’56</span><br /><span class="Texte"><strong>14. Mack the Knife</strong> (Bertolt Brecht / Mark Blitzstein / Kurt Weill)    3’56</span><br /><span class="Texte"><strong>15. Won’t You Come Home</strong> (Bill Bailey / Hughie Cannon)     3’53</span><br /><strong><br /></strong><span class="Texte"><strong>16. Just A Sittin’ and a Rockin’</strong> [alternate concert] (Lee Gaines Duke Ellington / Billy Strayhorn)    3’59</span><br /><span class="Texte"><strong>17. Spring Is Here </strong>[alternate concert]<strong> </strong>(Lorenz Hart / Richard Rodgers)    2’18</span><br /><span class="Texte"><strong>18. It’s All Right With Me </strong>[alternate concert] (Cole Porter)    2’34</span><br /><span class="Texte"><strong>19. You’re Driving Me Crazy</strong> [alternate concert] (Walter Donaldson)     3’43</span><br /><span class="Texte"><strong>20. More Than You Know [alternate concert] (B</strong>illy Rose / Edward Eliscu / Vincent Youmans)    4’14</span><br /><span class="Texte"><strong>21. Mack the Knife</strong> [alternate concert] (Bertolt Brecht / Marc Blitzstein / Kurt Weill)     3’52</span><br /><span class="Texte"><strong>22. Take the A Train </strong>[alternate concert] (Joya Sherrill / Billy Strayhorn)     6’54</span><br /><span class="Texte">Recorded by: Europe N°1 Technical Staff</span><br /><span class="Texte">Recording dates</span><br /><span class="Texte">Tracks 1 to 7: April 11, 1961</span><br /><span class="Texte">Tracks 8 to 22: March 16,1962</span><br /><span class="Texte">Recording place</span><br /><span class="Texte">Olympia Theater, Paris, France</span><br /><span class="Texte">Personnel</span><br /><span class="Texte">April 11,1961</span><strong><br /></strong><span class="Texte"><strong>Ella Fitzgerald (vcl),</strong> <strong>Lou Levy </strong>(p), <strong>Herb Ellis</strong> (g),<strong> Wilfred Middlebrooks</strong> (b),<strong> Gus Johnson (d).</strong></span><br /><span class="Texte">March 16, 1962</span><br /><span class="Texte"><strong>Ella Fitzgerald</strong> (vcl),<strong> Paul Smith</strong> (p),<strong> Wilfred Middlebrooks</strong> (b)<strong>, Stan Levey </strong>(d).</span><br /><span class="Texte">Produced by: Norman Granz, Frank Ténot & Daniel Filipacchi.</span><br /><span class="Texte">La collection Live in Paris :</span><br /><span class="Texte">Collection créée par <strong>Gilles Pétard pour Body & Soul et licenciée à Frémeaux & Associés.</strong></span><br /><span class="Texte">Direction artistique et discographie : <strong>Gilles Pétard et Michel Brillié.</strong></span><br /><span class="Texte">Fabrication et distribution :<strong> Frémeaux & Associés.</strong></span><br /><span class="Texte">Ce coffret triple propose une série de concerts enregistrés de 1957 à 1962 à l’Olympia, de l’une des plus grandes voix du XXe siècle. Sous l’aile du célèbre manager et producteur Norman Granz, Ella Fitzgerald est alors au pic de sa carrière phonographique, en enregistrant les Songbooks de George Gershwin (avec Louis Armstrong), Cole Porter et Harold Arlen. C’est également sa grande période live, la version de « Mack the Knife » à Berlin en 1960 est l’un de ses plus beaux succès. Touchée par la grâce, quand Ella chante le jazz, la First lady of song transporte littéralement son auditoire. </span><br /><strong><span class="Texte">Patrick FRÉMEAUX</span></strong><br /><span class="Texte">This triple album set contains a series of concerts recorded at the Paris Olympia between 1957 and 1962 by one of the greatest voices of the 20th century. Under the wing of distin­guis­hed manager/producer Norman Granz, Ella Fitzgerald was then at the peak of her artistic career after recording the Songbook series of titles by George Gershwin (with Louis Armstrong), Cole Porter and Harold Arlen. It was also her outstanding concert period, and her version of «Mack the Knife» in 1960 in Berlin was one of her biggest hits. In a state of grace, Ella sings jazz for an audience literally transported by the First Lady of Song.    <strong> Patrick FRÉMEAUX</strong></span><br /><span class="Texte">La collection « Live in Paris », dirigée par Michel Brillié, permet de retrouver des enregistrements inédits (concerts, sessions privées ou radiophoniques), des grandes vedettes du jazz, du rock & roll et de la chanson du XXe siècle. Ces prises de son live et la relation avec le public apportent un supplément d’âme et une sensibilité en contrepoint à la rigueur appliquée lors des enregistrements studio. Une importance singulière a été apportée à la restauration sonore des bandes pour convenir aux standards CD tout en conservant la couleur d’époque.     <br /><strong>Patrick FRÉMEAUX & Gilles PÉTARD </strong></span><br /><span class="Texte">The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock & roll and song. These “live” takes, and the artists’ rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet CD standards while preserving the original colours of the period.     <br /><strong>Patrick FRÉMEAUX & Gilles PÉTARD</strong></span><br /><span class="Source">CD Ella Fitzgerald 1957-1962, Live in Paris, Ella Fitzgerald© Frémeaux & Associés 2014</span>.</p>
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        <p>The Fifties saw a major turn in the career of Nat King Cole, who made his name as a jazz pianist before becoming one of the greatest crooners. Quincy Jones, still in his twenties, moved to Paris in 1959 and, with the help of Frank Ténot and Daniel Filipacchi, set up a big band which he led with swing and elegance (cf. the set “Quincy Jones Live in Paris”, FA5460, in this collection). <br />In 1960, the famous impresario Norman Granz set up a meeting between Nat &amp; Quincy during the crooner’s European tour; Granz had been a fan of Cole since the beginning, and he knew there were purists in Europe, so he asked Cole to go back to the piano he’d abandoned a few years before and play some titles with a trio. Those titles contrast sharply with the big band pieces and leave room for some wonderful improvising. In fact, this whole recording illustrates a marvellous association between two men of jazz, both capable of creating fantastic hits, and both with a unique approach to great popular music. <br /><strong>Patrick FRÉMEAUX</strong></p>\n
        <p><br />The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock &amp; roll and song. These “live” takes, and the artists’ rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet CD standards while preserving the original colours of the period. <br /><strong>Patrick FRÉMEAUX &amp; Gilles PÉTARD</strong></p>\n
        <p></p>\n
        <p align="justify"><strong>DIRECTION ARTISTIQUE : GILLES PÉTARD ET MICHEL BRILLIÉ</strong></p>\n
        <p align="justify"><strong>PRODUCTION / DROITS : BODY &amp; SOUL.<br /></strong><br />DANCE BALLERINA DANCE [1ST CONCERT] • DARLING, JE VOUS AIME BEAUCOUP [1ST CONCERT] • THE CONTINENTAL [1ST CONCERT] • IT’S ONLY A PAPERMOON [1ST CONCERT] • SWEET LORRAINE [1ST CONCERT] • ROUTE 66 [1ST CONCERT] • WELCOME TO THE CLUB [1ST CONCERT] • JOE TURNER’S BLUES [1ST CONCERT] • TICKLE TOE [2ND CONCERT] • BLUES IN THE NIGHT [2ND CONCERT] • LESTER LEAPS IN [2ND CONCERT] • DANCE BALLERINA DANCE [2ND CONCERT] • DARLING, JE VOUS AIME BEAUCOUP • THE CONTINENTAL [2ND CONCERT] • IT’S ONLY A PAPERMOON [2ND CONCERT] • SWEET LORRAINE [2ND CONCERT] • ROUTE 66 [2ND CONCERT] • WELCME TO THE CLUB [2ND CONCERT] • JOE TURNER’S BLUES [2ND CONCERT] • THOU SWELL [2ND CONCERT].</p>
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        <h3>Nat King Cole - QJ FA5494</h3>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Soustitre2">NAT KING COLE<br /></span> <span class="Soustitre2">& THE QUINCY JONES</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Soustitre2">BIG BAND 19 AVRIL 1960</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Soustitre2">Live in Paris</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Soustitre2">La collection des grands <br /></span> <span class="Soustitre2">concerts parisiens</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Soustitre">Dirigée par Michel Brillié et Gilles Pétard</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Soustitre">Nat King Cole & The Quincy Jones Big Band<br />Live in Paris</span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Soustitre">19 avril 1960 </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Soustitre">Par Michel Brillié</span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">« Quincy, rappelle tes gars et rejouez quelques morceaux sans moi… » </span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">C’est un Nat King Cole dépité qui murmure ces mots à l’oreille du jeune Quincy Jones. La scène se passe à Zurich, pendant leur tournée européenne du printemps 1960, où le grand orchestre de Quincy accompagne Nat Cole. Le « monarque mélancolique » comme l’a surnommé le magazine Look, vient de se faire huer par le public suisse de jazz fans purs et durs venus pour écouter l’un des maîtres du piano, l’égal d’Earl Hines et d’Art Tatum. A la place, ils ont découvert un crooner suave et romantique qui « reçoit journellement des centaines de lettres d’admiratrices impatientes de le voir chanter » (Jazz Magazine, mars 1960). L’incompréhension est totale et fait sortir de scène l’élégant chanteur. Quincy Jones, fan absolu du King Cole Trio des débuts, peut comprendre, et surtout sait réagir :</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">« Sauf ton respect, Nat, remonte sur scène et joue-leur Sweet Lorraine, juste au piano avec la rythmique. »</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">Cole regarde Quincy longuement, tourne les talons et remonte sur scène pour donner une interprétation « comme une bête » de Sweet Lorraine. Ayant renoué avec son public, le chanteur reprend ensuite son répertoire chanté et, cette fois, le public lui fait un triomphe. « C’était un très grand monsieur, bourré de talent, très intelligent, et avec l’oreille absolue pour couronner le tout », commente Quincy Jones, admiratif (Quincy, par Quincy Jones, Traduction Mimi et Isabelle Perrin, Robert Laffont, 2003).</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">« Le roi du double jeu » titre Jean Robert Masson pour son long article consacré au chanteur musicien dans Jazz Magazine du mois de mai 1960. Y a-t-il un homme, deux visages ? « Les fidèles de l’authentique pianiste de jazz, lassés par ces incursions dans la sphère des beaux sentiments susurrés, en viendraient à douter que Nat King Cole fut d’abord et demeure, malgré tout, un homme de jazz. Injustice ? Disons plutôt étonnement devant ces perpétuels et habiles changements de ton auxquels Cole le premier semble se complaire. » La réalité est sans doute plus simple, et plus pragmatique. Oui, le King Cole Trio des années quarante a produit l’une des musiques les plus excitantes et sophistiquées, subtiles, « un langage capable de retranscrire les nuances les plus fines et les idées musicales les plus complexes » (Nat King Cole, par Daniel Mark Epstein, G.K. Hall & Co, 1999). En même temps l’artiste, piètre homme d’affaires, a peu profité financièrement de son talent, se retrouvant criblé de dettes envers le fisc américain. D’où la confidence du King faite à Quincy Jones dans un bar à bières allemand, toujours pendant cette même tournée 1960 : « Je me rappelle du moment où je suis passé du statut de vedette à celui d’industrie. J’ai dû choisir : me griller en cinq ans après une ascension fulgurante, ou prendre le temps de construire un succès durable. »</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">C’est donc la star qui « chante pour l’Amérique » que le grand impresario Norman Granz sollicite pour cette tournée européenne de 1960. Ce n’est pas la première fois que Nathaniel Adams Coles vient en Europe. Il a déjà traversé l’Atlantique sur le paquebot Queen Mary en 1950, au moment de son sirupeux hit Mona Lisa. A Londres, au Palladium, les amateurs de jazz avaient été critiques de l’évolution commerciale du grand pianiste. Cela l’avait profondément marqué, et Nat était sorti de scène pratiquement en pleurs, selon le souvenir de Maria, son épouse. </span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">Ce n’est pas non plus la première visite de Nat King Cole à Paris. Au printemps 1954, le chanteur repart en Europe, où il passe d’abord par Londres, et cette fois-ci il y est acclamé par le public et la presse anglaise. Puis il traverse le Channel pour se rendre à Paris et y donner son tout premier concert parisien au Palais de Chaillot. Il va en profiter bien sûr pour jouer au touriste et visiter les hauts lieux de la capitale, en (bonne) compagnie de la grande Lena Horne – et de son mari. Sa seconde femme Maria l’accompagne, comme elle le fait à chaque tournée ; Maria a compris, contrairement à Nadine, la première épouse de Cole, qu’il ne faut pas lâcher un homme de la trempe de Nat d’une semelle…</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">On va les voir ainsi caresser un mouton dans un célèbre restaurant parisien de l’époque, « Au mouton de Panurge », un établissement réputé pour ses repas pantagruéliques. Cela doit convenir à l’homme, connu pour son appétit pour les côtes de porc poêlées et les « Delicatessen ». Son penchant pour le pastrami et autres spécialités juives l’ont fait surnommer auprès de ses amis « Nat King Cohn »... En avril 1957, Cole va revenir une nouvelle fois à Paris, toujours au Palais de Chaillot. C’est le clarinettiste français Hubert Rostaing qui dirige l’orchestre.</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">Et en ce mois d’avril 1960, c’est au tour de Quincy Jones avec tout son Big Band de soutenir Nature Boy. L’association des deux musiciens est l’œuvre de Norman Granz, un ardent fan de King Cole. Dès 1942, Granz, alors à ses débuts, l’a produit lors d’une session mémorable avec Lester Young au sax ténor, Red Callender à la basse, et Nat Cole au piano. Deux ans plus tard, en juillet 1944, c’est encore Granz qui le fait participer au tout premier concert-jam session JATP, Jazz at the Philharmonic. En réunissant, entre autres, Jay Jay Johnson (trombone), Illinois Jacquet (ténor sax), Les Paul (guitare), et le pianiste sur la grande scène du Philharmonic Auditorium d’Hollywood, Californie, l’impresario réalise ainsi son grand rêve de donner un cadre digne aux jeunes jazzmen, tout en conservant l’esprit d’improvisation « jam-session » cher aux artistes.</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">Quand Granz lui propose cette tournée européenne, il est conscient du tournant commercial que Nat Cole a pris, même s’il le regrette. En préparant l’organisation, Granz demande quand même à Cole (qu’il paye 3.000 dollars par show) s’il peut prévoir un ou deux morceaux instrumentaux, juste au piano. Cole lui répond qu’il ne s’en sent pas vraiment l’envie… Dans le livre Norman Granz : The Man Who Used Jazz For Justice (par Tad Hershorn, University of California Press, 2011), le jazz-promoter conclut : « Peut-être qu’il appréciait toujours le jazz en privé, mais d’après moi, il avait abandonné l’idée de le jouer, et pour lui c’était la bonne décision. » Quincy Jones abonde dans le même sens : « Je ne suis pas dogmatique… Je crois que chacun a le droit d’exprimer ce qu’il désire. Lui c’était d’abord un pianiste, et puis un chanteur. Il a été le plus grand de tous, avec Sinatra. Et ainsi soit-il. Moi j’adorais écouter Nat chanter. »</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">En fait, c’est un peu le hasard qui va réunir « Q  » et « King », ces deux énormes noms du jazz. Quincy est à Paris depuis janvier 1960 ; avec son Big Band, il a participé au fiasco de Free and Easy, une comédie musicale destinée à Broadway et venue se rôder à Paris. Quand le spectacle ferme au bout de trois semaines, Jones et sa troupe sont « sur le sable ». Plusieurs promoteurs de concerts vont venir à la rescousse en engageant l’orchestre ici ou là : Daniel Filipacchi, par exemple, et Norman Granz.</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">A l’Olympia, le Show de Nat King Cole ouvre ainsi avec le set de 40 minutes du Big Band au complet (Clark Terry, reparti aux USA, est remplacé par Roger Guérin). Puis après l’entracte, la section rythmique de Cole vient se substituer à celle de Quincy. Il y a les musiciens qui sont derrière le chanteur depuis plusieurs années : John Collins à la guitare, Charles Harris à la basse, et le petit frère de Lester, Lee Young, aux drums.</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">Auparavant, Nat King Cole s’est préparé avec soin, sous le regard de son valet personnel Sparky Tavares. Il s’est assis devant son miroir de maquillage et a passé sa chemise de smoking à jabot. Il a noué soigneusement son nœud papillon, prenant parfois dix minutes afin que ce soit parfait. Sparky lui a tendu des bas noirs maintenus par une jarretière, et ses chaussures vernies. Nat a grillé une ou deux cigarettes en bavardant en caleçon avec son valet. Dans cet intervalle de temps avant d’entrer en scène, peut-être se maudit-il, lui qui en fume plusieurs paquets, de ne pas pouvoir se libérer de cette boulimie tabagique qui le tuera cinq ans plus tard… Peut-être ses pensées vont-elles vers sa femme Maria, avec qui il vient de fêter le dixième anniversaire de son mariage, et avec laquelle il a adopté quelques mois auparavant un petit garçon, Kelly… Ou vers le candidat démocrate à l’élection présidentielle américaine, John Fitzgerald Kennedy : le jeune sénateur du Massachusetts, qu’il connait et apprécie depuis 1958, vient de lui envoyer un mot pour lui demander son soutien public. Plus probablement, Cole se projette deux semaines plus tard, pour ce qui va être le point d’orgue de sa tournée internationale : sa prestation au « Royal Command Performance Gala » à Londres, devant toute la famille royale, Elizabeth II en tête. Maria et Natalie, sa fille âgée de dix ans, seront là pour l’occasion, ainsi que pour le concert de Monte Carlo sous le regard brillant de la princesse Grace de Monaco.</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">Dans la loge de l’Olympia, le régisseur est venu le prévenir de la fin de l’entracte. Sparky lui a passé sa tenue de scène, son pantalon et sa veste en mohair, le smoking que sa femme Maria lui a fait spécialement faire chez Sy Devore, le tailleur des stars de Hollywood. Nat King Cole a déplié ses un mètre quatre-vingt cinq pour se diriger enfin vers la scène.</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">Pour la suite, pour exprimer ce qui se passait sur scène, ce charme indéfinissable de la megastar américaine, il n’y a pas mieux que ces mots splendides d’Alain Gerber : « Le roi était un seigneur : il pratiquait la fausse désinvolture, mais enseignait la vraie légèreté. Non pas celle qui rend inconsistant : celle qui rend aérien. Impalpable, il faisait semblant d’être volatil, soluble dans le courant du temps qui passe […] Il s’est évertué à sortir par une oreille, à peine était-il entré par l’autre, toujours sur la pointe des pieds – et c’est précisément pour cela qu’on ne peut plus se passer de lui ; « unforgettable » pour s’être voué à l’oubli. » (Unforgettable, par Alain Gerber, livret du coffret 2 Cds Nat King Cole, The Quintessence, Frémeaux & Associés, 1998)</span></p>\r\n
        <p></p>\r\n
        <p align="ight" class="MsoNormal"><span class="Soustitre">Michel BRILLIÉ</span></p>\r\n
        <p></p>\r\n
        <p align="ight" class="MsoNormal"><span class="Texte">© FRÉMEAUX & ASSOCIÉS 2015</span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Soustitre">Nat King Cole & The Quincy Jones Big Band<br />Live in Paris</span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Soustitre">April 19 1960 </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Soustitre">By Michel Brillié </span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">“Quincy, call the cats back on and let the band play a few more tunes by themselves…”</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">It is a disappointed Nat King Cole who whispers these words in the ear of young Quincy Jones. The scene takes place in Zurich during the singer’s 1960 European spring tour, where Jones’ band is backing him. The “melancholy monarch”, as he has been called by Look Magazine, has just been booed by the hardcore Swiss jazz fans that came to hear the piano master, the peer to Earl Hines or Art Tatum. Instead, they discover a suave and romantic crooner, a man who “every day receives hundreds of letters from female admirers eager to see him perform live” (Jazz Magazine, March 1960). The Swiss audience obviously doesn’t care at all about his vocal talent and it drives the singer off stage. Now Quincy, as an absolute fan of the early King Cole Trio days can understand, and has the right reaction:</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">“With all due respect, Nat – go back out and try Sweet Lorraine. On piano, with just the rhythm section.”</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">Cole looks at Quincy for a while, then turns around, walks back onstage, and “plays the shit out of Sweet Lorraine”. This time the crowd appreciates it, after which the singer gets back to his sung repertoire, and tears up the audience. “He was one of the best who ever did it, a talented, highly intelligent man, with perfect pitch on top of it all” sums up the admiring Quincy Jones (Q : The Autobiography of Quincy Jones by Quincy Jones, Random House, 2001).</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">“The King of Double Play” is what Jean Robert Masson calls Nat King Cole in his article on the musician-singer in the May 1960 issueof Jazz Magazine. Is this a two-faced man? “The aficionados of the true jazz pianist are tired by his wanderings into the land of sweetly whispered <br />feelings, and maybe they are starting to doubt that Nat King Cole ever was at first and remains, in spite of it all, a jazzman. Is this unfair? Let us say we are puzzled by these clever and perpetual changes that Cole himself seems the first to enjoy.” Reality is perhaps simpler and more prag­matic. Yes, the King Cole Trio in the forties produced one the most exciting, sophisticated, subtle music, “a musical language capable of expressing the finest shades of feeling and the most complex ideas” (Nat King Cole, by Daniel Mark Epstein, G.K. Hall & Co, 1999). At the same time, the artist, not a very astute businessman, has benefited little from his talent, and has found himself owing large sums to the U.S. Internal Revenue Service. This explains what a pensive King confided to Quincy Jones in a German beer hall during the same 1960 European tour: “I remember the moment I stopped being just a pianist and a singing star and became an industry back home. I had to make a choice between moving up fast and burning out in five years, or taking my time and building it slowly so I make it for the long haul.”</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> Thus it is the “star that sings for America” whom Norman Granz, the great jazz agent, requests for the 1960 tour in Europe. It is not the first time that Nathaniel Adams Coles makes the trip. He has already sailed across the Atlantic on the Queen Mary once in 1950, at the time of his syrupy hit, Mona Lisa. At the London Palladium the jazz fans had been very critical of the commercial evolution of the great piano player. This affected him deeply, and Nat stepped off stage almost in tears, according to his wife Maria.</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">It’s also not the first time Nat King Cole pays a visit to Paris. In the spring of 1954, the singer travels a second time to Europe, stopping first in London, where he is at last celebrated by the English public and by the press. He then crosses the Channel to go to Paris and to perform for the very first time in the city at the Palais de Chaillot. Of course, Nat takes advantage of the opportunity to see the sights of the French capital, in the good company of the great Lena Horne – along with her husband. Maria, Nat’s second spouse, is by his side, as she is on each and every tour; Maria is fully aware, contrary to Nadine, Nat’s first wife, that it is best to keep a man such as Nat within eyesight…</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">In Paris, Nat and Maria are shown petting a sheep in front of “Le Mouton de Panurge”, a famed Parisian restaurant known for its gigantic meals. This must be to Nat’s liking, whose favorite dishes include pan fried pork chops and delicatessen. His yearn for pastrami and other Jewish specialties have brought him among his close friends the nickname of “Nat King Cohn”… In April 1957, Cole returns a second time to the French capital, to sing at the same place, the Palais de Chaillot. French clarinetist Hubert Rostaing leads the backing band.</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">On the month of April 1960, it is Quincy Jones’s turn to conduct his Big Band behind Nature Boy. This meeting of the two musicians is the work of Norman Granz, a great fan of King Cole. In 1942, Granz, then an up-and-coming jazz impresario, produced with Nat Cole a memorable recording session including tenor-sax Lester Young and bassist Red Callender. Two years later, in July 1944, it is Granz again who hires him to play at the very first J.A.T.P. (Jazz at the Philharmonic) concert-jam session. By getting together on the stage of the Philharmonic Auditorium in Hollywood, California, such artists as Jay Jay Johnson (trombone), Illinois Jacquet (tenor sax) Les Paul (guitar) along with the piano player, the agent fulfills his dream of staging jazz concerts in larger and more comfortable halls, where young artists would get the serious attention they deserved, while keeping the spirit of a improvised jam session.</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">When Granz contacts him for this European tour in 1960, he is fully aware of the commercial slant that Nat has taken, even if Granz regrets it. Getting ready for the tour, Granz asks Nat (whom he is paying $ 3,000 per show) if he would eventually play a couple of strictly instrumental numbers, just him at the piano. Cole replies that he really does not much care for playing anymore… In the book Norman Granz: The Man Who Used Jazz For Justice (by Tad Hershorn, University of California Press, 2011), the jazz promoter sums it up: “He may have privately liked to hear jazz, but from what I knew of Nat, I think he just gave up the idea, and for him it was the right decision.” Quincy Jones echoes this sentiment: “I’m not that dogmatic. I think a person has the right to express everything they want to. He was a piano player first and he was a singer. He was the greatest who ever lived along with Sinatra. So be it. I loved to hear Nat sing.”</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">There is in fact a small dose of chance involved in this reunion of “Q’” and “King”, those two mega names in jazz. Quincy had been in Paris since January 1960; together with his musicians, he was the regular band backing the Free and Easy musical. This show came to Paris to get ready for Broadway, and it flopped. When the musical folds after three weeks, Jones and his gang are stranded. Several concert promoters rush to help, among them Daniel Filipacchi, and Norman Granz.</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">At the Paris Olympia, the Nat King Cole Show opens with a forty minutes set by Jones’ full Big Band, with Roger Guérin standing in for Clark Terry who has returned to the U.S. After intermission, Cole’s rhythm section takes over Quincy’s. These are the musicians who have backed the singer for several years: John Collins on guitar, Charles Harris on bass, and Lester Young’s younger brother Lee on drums.</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">Prior to this, Nat King Cole has taken meticulous care in getting ready, under the scrutiny of Sparky Tavares, his private valet. He has sat down at his make-up mirror, put on his ruffled dress shirt, and tied carefully his bow tie. He has worked at his bow tie for ten minutes until it is perfect. Sparky has handed him his knee-length black socks with garters and his file-top shoes. Nat has sat smoking a cigarette or two, while conversing with his valet in boxer shorts. In this time lapse before show time, perhaps is he cursing himself, as he chain smokes several packs a day, not to be able to kick this deadly habit that will kill him five years later… Perhaps his thoughts wander off towards his wife Maria, with whom he has recently celebrated his tenth wedding anniversary, and adopted a little boy named Kelly a few months earlier… Or perhaps towards the new Democrat candidate for the Presidential Election, John Fitzgerald Kennedy, with whom he is acquainted and appreciates since 1958. The young senator from Massachusetts has just sent him a note asking for his official support. </span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">More likely, Cole thinks ahead, for in two weeks it will be the highlight of his international tour: he will perform at the Royal Command Performance Gala in London, in front of Queen Elizabeth II and the full Royal Family. Maria and Natalie, his ten-year-old daughter, will fly in from the U.S. for the occasion, as they will be at the Monte Carlo concert under the sparkling eyes of princess Grace of Monaco.</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">In his dressing room at the Olympia Theater, the stage manager has come to warn him that the intermission is nearly over. Sparky has handed him his stage outfit, the mohair trousers and jacket. This tuxedo was custom-made to Maria’s specifications by Sy Devore, the tailor for Hollywood celebs. Finally, Nat King Cole unrolls his six feet one inch and walks towards the stage door.</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">To describe what follows on stage, to capture the indefinable charm of the American mega-star, there are no better words than those of Alain Gerber:</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">“King was a great lord. He practiced a mock casualness, but taught true lightness. Not inconsistency, but “aerialty”. He had the supreme elegance to assume a mantle of futility, to incarnate the superfluous, so that he might, within the space of a song, relieve us of our bodily weight and swathe us in the comforting illusion of insouciance. That is why we can’t do without him: “unforgettable” he was and will be forever, he who devoted himself to oblivion.”</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">(Unforgettable, by Alain Gerber, translated by Don Waterhouse, booklet for CD box: Nat King Cole, The Quintessence, Frémeaux & Associés, 1998)</span></p>\r\n
        <p></p>\r\n
        <p align="ight" class="MsoNormal"><span class="Soustitre">Michel BRILLIÉ</span></p>\r\n
        <p></p>\r\n
        <p align="ight" class="MsoNormal"><span class="Texte">© FRÉMEAUX & ASSOCIÉS 2015</span></p>\r\n
        <p></p>\r\n
        <p align="ight" class="MsoNormal"><span class="Texte"> </span></p>\r\n
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        <p align="ight" class="MsoNormal"><span class="Texte"> </span></p>\r\n
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        <p align="ight" class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 1. Dance Ballerina Dance [1st Concert] (Bob Russell / Carl Sigman)           2’11</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 2. Darling, je vous aime beaucoup [1st Concert] (Anna Sosenko)               3’03</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 3. The Continental [1st Concert] (Herbert Magidson / Con Conrad)           3’38</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 4. It’s Only a Papermoon [1st Concert] (E. Y. Harburg / Billy Rose / Harold Arlen)     4’22</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 5. Sweet Lorraine [1st Concert] (Mitchell Parish / Cliff Burwell)     5’47</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 6. Route 66 [1st Concert] (Bobby Troup)         4’00</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 7. Welcome to the Club [1st Concert] (Noel Sherman/ Dick Wolf Noel)       2’32</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 8. Joe Turner’s Blues [1st Concert] (Walter Hirsch / W.C. Handy)                4’22</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 9. Tickle Toe [2nd Concert] (Jon Hendricks / Lester Young)         2’35</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">10. Blues in the Night [2nd Concert] (Johnny Mercer / Harold Arlen)             4’28</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">11. Lester Leaps in [2nd Concert] (Lester Young)              4’09 </span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">12. Dance Ballerina Dance [2nd Concert] (Bob Russell / Carl Sigman)           2’10</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">13. Darling, je vous aime beaucoup [2nd Concert] (Anna Sosenko)               3’07</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">14. The Continental [2nd Concert] (Herbert Magidson / Con Conrad)           3’35</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">15. It’s Only a Papermoon [2nd Concert] (E. Y. Harburg / Billy Rose / Harold Arlen)    5’42</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">16. Sweet Lorraine [2nd Concert] (Mitchell Parish / Cliff Burwell)     5’36</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">17. Route 66 [2nd Concert] (Bobby Troup)          4’26</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">18. Welcome to the Club [2nd Concert] (Noel Sherman / Dick Wolf)               2’39</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">19. Joe Turner’s Blues [2nd Concert] (Walter Hirsch / W.C. Handy)               4’37</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">20. Thou Swell [2nd Concert] (Lorentz Hart / Richard Rodgers)      1’56</span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">Recorded by: Europe N°1 Technical Staff </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">Recording date </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">April 19, 1960 </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">Recording place </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">Olympia Theater, Paris, France </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">Produced by: Daniel Filipacchi, Norman Granz & Frank Ténot </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">Personnel </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">Les Spann (Flute, Guitar), Julius Watkins (French Horn), Phil Woods (Saxophone), <br />Budd Johnson (Saxophone), Jerome Richardson (Saxophone), Porter Kilbert (Saxophone), <br />Sahib Shihab (Saxophone), Jimmy Cleveland (Trombone), Quentin Jackson (Trombone), <br />Melba Liston (Trombone), Ake Persson (Trombone), Roger Guérin (Trumpet), <br />Benny Bailey (Trumpet), Clyde Reasinger (Trumpet), Floyd Standifer (Trumpet), <br />Patti Bown (Piano: tracks 9 to 11), John Collins (Guitar: all tracks except 9 to 11), <br />Charles Harris (Bass: all tracks except 9 to 11), Buddy Catlett (Bass: tracks 9 to 11), <br />Lee Young (Drums: all tracks except 9 to 11), Joe Harris (Drums: tracks 9 to 11),</span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">Nat King Cole (Piano, vocals: all tracks except 9 to 11)</span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">Quincy Jones (Arranger, Bandleader)</span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">String Quintet of Unidentified French Musicians (All tracks except 9 to 11)</span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">Dedicated to Claude Boquet, Bill Dubois, Jean Claude, Philippe Moch and the gang</span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><strong><span class="Texte">La collection Live in Paris:</span></strong></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">Collection créée par Gilles Pétard pour Body & Soul et licenciée à Frémeaux & Associés</span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">Direction artistique et discographie: Michel Brillié, Gilles Pétard </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">Coordination: Augustin Bondoux</span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">Conception: Patrick Frémeaux, Claude Colombini</span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte">Fabrication et distribution: Frémeaux & Associés</span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">La décennie 1950 voit le grand virement dans la carrière artistique de Nat King Cole, qui s’était fait connaitre comme pianiste de jazz avant de devenir le grand crooner intemporel. Quincy Jones, encore la vingtaine, s’installe à Paris en 1959 et monte, avec l’aide de Frank Ténot et Daniel Filipacchi, son propre big band qu’il conduit avec swing et élégance (voir le coffret « Quincy Jones Live in Paris » FA5460 dans cette collection). Norman Granz, le célèbre impresario, initie en 1960 la rencontre entre les deux hommes lors d’une tournée européenne du crooner. Fan de Cole depuis la première heure, il lui demande, à la faveur d’un public européen puriste,  de prévoir quelques titres en trio et de reprendre le piano qu’il avait délaissé depuis quelques années. Ces titres viennent trancher avec les morceaux en big band et laissent place à de belles improvisations. Ce disque illustre la formidable collaboration entre deux hommes issus du jazz, formidables accoucheurs de tubes, qui ont tous deux eu une appro­che singulière et intemporelle de la grande variété.   </span><span class="Soustitre">Patrick FRÉMEAUX</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">The Fifties saw a major turn in the career of Nat King Cole, who made his name as a jazz pianist before becoming one of the greatest crooners. Quincy Jones, still in his twenties, moved to Paris in 1959 and, with the help of Frank Ténot and Daniel Filipacchi, set up a big band which he led with swing and elegance (cf. the set “Quincy Jones Live in Paris”, FA5460, in this collection). In 1960, the famous impresario Norman Granz set up a meeting between Nat & Quincy during the crooner’s European tour; Granz had been a fan of Cole since the beginning, and he knew there were purists in Europe, so he asked Cole to go back to the piano he’d abandoned a few years before and play some titles with a trio. Those titles contrast sharply with the big band pieces and leave room for some wonderful improvising. In fact, this whole recording illustrates a marvellous association between two men of jazz, both capable of creating fantastic hits, and both with a unique approach to great popular music.                   </span><span class="Soustitre">Patrick FRÉMEAUX</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">La collection Live in Paris, dirigée par Michel Brillié, permet de retrouver des enregistrements inédits (concerts, sessions privées ou radiophoniques), des grandes vedettes du jazz, du rock & roll et de la chanson du XXe siècle. Ces prises de son live, et la relation avec le public, apportent un supplément d’âme et une sensibilité en contrepoint de la rigueur appliquée lors des enregistrements studios. Une importance singulière a été apportée à la restauration sonore des bandes, pour convenir aux standards CD tout en conservant la couleur d’époque.     </span><span class="Soustitre">Patrick FRÉMEAUX & Gilles PÉTARD</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock & roll and song. These “live” takes, and the artists’ rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet CD standards while preserving the original colours of the period.                </span><span class="Soustitre">Patrick FRÉMEAUX & Gilles PÉTARD</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> </span></p>\r\n
        <p></p>\r\n
        <p align="center" class="MsoNormal"><span class="Soustitre">NAT KING COLE & THE QUINCY JONES BIG BAND</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 1. Dance Ballerina Dance [1st Concert]                                       2’11</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 2. Darling, je vous aime beaucoup [1st Concert]                       3’03</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 3. The Continental [1st Concert]                                                    3’38</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 4. It’s Only a Papermoon [1st Concert]                                         4’22</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 5. Sweet Lorraine [1st Concert]                                                      5’47</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 6. Route 66 [1st Concert]                                                                 4’00</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 7. Welcome to the Club [1st Concert]                                            2’32</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 8. Joe Turner’s Blues [1st Concert]                                               4’22</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte"> 9. Tickle Toe [2nd Concert]                                                              2’35</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">10. Blues in the Night [2nd Concert]                                                4’28</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">11. Lester Leaps in [2nd Concert]                                                    4’09 </span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">12. Dance Ballerina Dance [2nd Concert]                                      2’10</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">13. Darling, je vous aime beaucoup                                                3’07</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">14. The Continental [2nd Concert]                                                   3’35</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">15. It’s Only a Papermoon [2nd Concert]                                        5’42</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">16. Sweet Lorraine [2nd Concert]                                                     5’36</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">17. Route 66 [2nd Concert]                                                                4’26</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">18. Welcome to the Club [2nd Concert]                                           2’39</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">19. Joe Turner’s Blues [2nd Concert]                                              4’37</span></p>\r\n
        <p></p>\r\n
        <p class="MsoNormal"><span class="Texte">20. Thou Swell [2nd Concert]                                                            1’56</span></p>\r\n
        <p></p>
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        <p>More than a major figure of the 20th century, Louis Armstrong is an incandescent jazz icon, an architect and pioneering founder of jazz music for half a century. One of the greatest trumpeters, Louis lived in Montmartre for a few years before the war, and he felt quite at home. Paris was a city he adored, and the city loved him back. This exceptional concert shows “Pops” at the summit; radiating good humour, he has the audience eating out of his hand. <strong>Patrick FRÉMEAUX</strong><br /><br />The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock &amp; roll and song. These “live” takes, and the artists’ rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet CD standards while preserving the original colours of the period. <strong>Patrick FRÉMEAUX &amp; Gilles PÉTARD</strong></p>\n
        <p><em></em><br /><strong>DIRECTION ARTISTIQUE : GILLES PÉTARD ET MICHEL BRILLIÉ </strong></p>\n
        <p align="justify"><strong>DROITS : BODY &amp; SOUL LICENCIE A FREMEAUX &amp; ASSOCIES.<br /></strong><br />WHEN IT’S SLEEPY TIME DOWN SOUTH • (BACK HOME AGAIN IN) INDIANA • A KISS TO BUILD A DREAM ON • MY BUCKET’S GOT A HOLE IN IT • TIGER RAG • NOW YOU HAS JAZZ • HIGH SOCIETY • OLE MISS RAG • WHEN I GROW TOO OLD TO DREAM • TINROOF BLUES • YELLOW DOG BLUES • WHEN THE SAINTS GO MARCHING IN • STRUTTIN’ WITH SOME BARBECUE • NOBODY KNOWS THE TROUBLE I’VE SEEN • BLUEBERRY HILL • THE FAITHFUL HUSSAR • ST. LOUIS BLUES [FEAT. JEWEL BROWN] • AFTER YOU’VE GONE • MACK THE KNIFE.</p>
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        <h3>Armtrong Live FA5612</h3>\r\n
        <p><span class="Texte"><br /></span><span class="Soustitre2">LOUIS ARMSTRONG</span><span class="Texte"><br /></span><span class="Soustitre">24 AVRIL 1962<br /></span><span class="Soustitre2">Live in Paris</span><span class="Texte"><br /></span><span class="Soustitre">La collection des grands concerts parisiens<br />Dirigée par Michel Brillié et Gilles Pétard</span><span class="Texte"><br /><strong>Louis Armstrong <br />LIVE IN PARIS 24 avril 1962<br />Par Michel BRILLIÉ</strong><br /></span><span class="Soustitre">A bientôt, Louis !</span><span class="Texte"><br />Il aura fallu soixante-quatre ans à Paris pour saluer la mémoire de Louis Armstrong, cet homme si attaché à la capitale française. Au départ, 1934, l’année du premier long séjour de Louis en France et à Paris. À l’arrivée, 1998, quand finalement la mairie du 13e arrondissement, encouragée par Frank Ténot, inaugure en son nom une place arborée du quartier Salpêtrière, non loin des studios Polydor où Jacques Canetti dirigea la première séance d’enregistrement française de Satchmo, à la fin de l’année 1934. Frank Ténot d’ailleurs prétendait malicieusement qu’un assistant technicien de cette mémorable séance avait, paraît-il, proposé à Armstrong des pastilles de menthe pour s’éclaircir la voix…<br />Dire que la relation entre la France et le trompettiste-chanteur est étroite est un understatement. Paris en 34 a dû lui apparaître comme un ‘wonderful world’ en comparaison avec son Amérique natale. C’est en Europe et en France que les critiques de l’époque, Hugues Panassié en tête, donnent au jazz ses lettres de noblesse, par contraste avec l’attitude américaine qui considère cette musique comme un divertissement bon pour la danse. Dès le choc des premiers concerts des 9 et 10 novembre 1934 à la salle Pleyel, les lieux où se produira Armstrong seront bondés d’un public exubérant. Quand en septembre 1934, Louis s’installe avec Alpha, sa volcanique épouse, près de la place Pigalle dans l’appartement de la rue de la Tour d’Auvergne que lui a dégotté Canetti, il trouve rapidement ses marques. Il y reste jusqu’en février 1935, adoptant le French way of life avec aisance.<br />Le matin, les habitants de la rue le voient, coiffé d’une casquette à carreaux, promener son chien ; le soir, aller à la salle Bullard, rue Mansart, pour y faire un peu de culture physique au milieu de boxeurs américains de passage. Plus tard, Louis prend un verre au Bourdon, le café rendez-vous des jazzmen du moment. La fin de soirée le retrouve à la Villa d’Este ou Chez Bricktop’s, le club de Pigalle de la chanteuse Ada Smith. Y jouent Sidney Bechet, Fats Waller, Duke Ellington, Django Reinhardt… On l’imagine aisément faisant le bœuf avec le guitariste manouche : « Sans échanger un mot, les deux hommes se jaugèrent. Ayant gonflé ses joues en caoutchouc, Louis lance une note que Django saisit au vol et en avant pour trois quarts d’heure de pure jubilation. Ils s’envoyaient des vannes par notes interposées. C’était à celui qui lancerait le meilleur calembour musical. Trompette et guitare rivalisaient d’humour. Quand ce fut fini, l’heureux créateur d’un monde merveilleux embrassa sur le front le gamin vif-argent et quitta le cabaret sur un tonitruant éclat de rire. » (Alexis Salatko, Folles de Django, roman, Editions Robert Laffont, 2013). À Paris, pour Louis, le jazz est partout dans la rue. Alix Combelle raconte à Hugues Panassié que, pendant l’un de ses séjours parisiens, Louis et lui remontaient la rue Pigalle à une heure avancée de la nuit, quand passa une voiture à cheval. Les sabots de l’animal sonnaient distinctement sur le pavé et Louis, sur ce rythme imprévu, se mit aussitôt à improviser en chantant, au grand émerveillement de son compagnon.<br />Cette belle liaison entre Paris et Armstrong va se prolonger comme une idylle sans nuage tout au long du vingtième siècle. Louis adore les restaurants et les bistrots de Pigalle, et ses admirateurs, anonymes ou célèbres, le vénèrent : « Sa trompette parle une sorte de terrible langage humain, monte en zigzags, en rétablissements, en glissades, et arrive, sans se tuer, au haut du plus haut gratte-ciel, où elle crache un jet de sang pourpre. Armstrong c’est l’ange de Jéricho, le soldat de l’Apocalypse, le point parfait où s’épousent la prière céleste du Nègre et son érotisme infernal. » (Jean Cocteau, cité par Michel Boujut, Louis Armstrong, Editions Plume, 1998).<br />Après l’interruption de la guerre, 1948 voit le retour du musicien sur le sol français. En mars, salle Pleyel, il donne deux concerts archi-bourrés où les organisateurs refoulent plusieurs milliers de personnes. Armstrong y arrive sous la protection de quinze agents de police, pour déjouer une menace d’agression anonyme. À la sortie, raconte Hugues Panassié, « une telle foule attendait Louis Armstrong que Michel de Bry, pour soustraire Louis à la ruée de ses admirateurs, le fit monter dans le car de police qui stationnait devant Pleyel, lequel ‘panier à salade’ démarra aussitôt ! » (Hugues Panassié, Louis Armstrong, Nouvelles Editions Latines, 1969). C’est en grande vedette qu’il apparaît ensuite pendant l’été au festival de Nice ; et c’est bien un hôte de marque que le président de la République Vincent Auriol récompense par l’intermédiaire d’Yves Montand en lui offrant un magnifique vase de Sèvres.<br />L’année suivante, Louis rejoint les grands de ce monde, présidents, et autres monarques… Il est sacré « Roi des Zoulous » par une association locale lors de la parade du Mardi Gras à la Nouvelle- Orléans. Leonard Feather, le grand écrivain du jazz, relate la cérémonie : « Le roi avait la figure toute noire avec des grands ronds blancs autour des yeux et de la bouche. Il portait une couronne, une longue perruque noire, une tunique de velours rouge brodée de sequins d’or, une chemise de cellophane jaune et un collant noir avec des hautes chaussures dorées. Il avait un gros cigare et un sceptre d’argent. Sûr, Louis était grotesque, mais c’était l’homme le plus heureux que j’ai vu de ma vie. » (Jazz Hot N°32, avril 1949 – Traduction Boris Vian)<br />Et voici Louis dans les années cinquante. Le chanteur a entendu « La vie en rose »  d’Edith Piaf lors d’une tournée en Belgique, et l’a magistralement adaptée avec sa voix « de gorille et de tourterelle » comme l’écrit Léopold Sédar Senghor, la transformant en succès planétaire. Autre reprise célèbre que Louis va enregistrer à Los Angeles fin septembre 1955, juste avant de s’embarquer pour une nouvelle tournée européenne, et qui sera l’un de ses plus grands best-sellers : « Mack the Knife », de l’Opéra de Quat’ Sous de Bertold Brecht et Kurt Weil. Puis Satchmo traverse le continent américain et l’Atlantique, emportant avec lui comme à l’accoutumée vingt-quatre valises, dans lesquelles on trouve deux magnétophones, un transistor, une trousse à médicaments avec tout ce qu’il faut pour soigner maux de dents, problèmes oculaires, lèvres, laxatifs, etc.<br />A Paris, du 17 novembre au 6 décembre 1955, pendant trois semaines consécutives, il passe en vedette à l’Olympia, avec le fantaisiste Jean Constantin au programme. Il est « éblouissant », selon Hugues Panassié : plus de trente représentations, avec scènes d’enthousiasme de ses admirateurs que la presse qualifiera d’« émeutes ». Pendant ce séjour, Daniel Filipacchi réalise avec Louis une séance de photos en studio qui paraît dans le numéro de novembre 1955 de Jazz Magazine. Daniel se souvient de ce passage parisien de Satchmo : « C’était un type tout à fait sympa et adorable… On avait fait des photos avec lui et Mezz (Mezzrow). C’était à l’époque où il était maigre… Relativement maigre. Il avait perdu quelques dizaines de kilos… Qu’il reprenait immédiatement. On était allés au restaurant chez Allard… Il était un peu poursuivi, il avait des fans qui lui couraient après. Comme il était très gentil, aimable et complaisant, j’essayais de lui éviter le pire. Je l’ai hébergé quelques jours chez moi, rue de Verneuil… On restait là, on regardait la télé. » Le goût de Louis Armstrong pour la gastronomie française l’amène même parfois à y faire référence pendant ses concerts parisiens : « Cassoulet is waiting ! » s’exclame-t-il à son public ravi. Mais l’homme qui a pour plat préféré les red beans and rice, les haricots rouges avec du riz, le plat de base des noirs des États du sud, n’oublie pas ses racines, même dans la capitale de la haute cuisine : une photo le représente à Pigalle en compagnie de Gabrielle Haynes, la fondatrice, avec son mari Leroy, du mythique restaurant Gabby & Haynes, la première table en France à proposer des plats de cuisine traditionnelle du vieux sud des États -Unis. Le grand Satchmo est gourmand - il est aussi généreux. A Pleyel, lors d’un concert qui se finit à point d’heure, la concierge du lieu se désespère devant lui d’avoir loupé le dernier métro : Louis sort alors un gros billet de son portefeuille et lui tend. Quelques années plus tard, il repasse dans la même salle et retrouve la même concierge. Il éclate de rire à sa vue : « Ha ha ha…No metro for you tonight, taxi ! »<br />Plus la décennie avance, plus l’audience d’Armstrong s’accroît et s’internationalise. Il sillonne le monde réunissant des foules énormes : 25.000 personnes au Festival de Newport pour son anniversaire, 50.000 à Accra au Ghana lors de sa grande tournée africaine, 100.000 à Kingston en Jamaïque… Armstrong est devenu de fait l’ambassadeur itinérant de la musique noire, « le titan noir du cri » (Le Corbusier, Quand les cathédrales étaient blanches, Editions Bartillat, 2012).<br />Ce globe-trotter du jazz n’en oublie pas pour autant Paris et ses terrasses de bistrots préférés : Louis y repasse quelques semaines en décembre 1960, d’abord pour y donner plusieurs concerts, et pour tourner dans le film Paris Blues de Martin Ritt en compagnie de Paul Newman, Sidney Poitier et Duke Ellington. Herman Leonard, le photographe du jazz au XXe siècle avec William Claxton, fixe Louis, Duke et son orchestre au grand complet aux fenêtres du très classieux hôtel de la Trémoille dans le quartier des Champs-Elysées. Le film est devenu avec l’âge un hommage mélancolique au Paris du début des sixties ; il est à revoir, ne serait-ce que pour la scène du début où Wild Man Moore, le musicien joué par Satchmo, improvise depuis son compartiment de wagon-lit pour ses fans venus l’accueillir sur le quai de la gare Saint Lazare.<br />Films, concerts, voyages… tournées. Armstrong travaille trop. Sa voix « de râpe » (Vian) fatigue un peu. Mais il est là, toujours vaillant. Comme lors de son retour à l’Olympia, en avril 1962. Paris lui appartient, la presse lui est toute dévouée : « Armstrong, bravo et merci » (L’Aurore) ; « Les jeunes découvrent l’arbre de vie ; ce visage où s’inscrivent toutes les peines et les joies d’une race, … / … ces notes d’or qu’Armstrong semble fixer dans le ciel » (Michel Perrin, Les Nouvelles littéraires). Et les critiques redoutés sont (presque) au diapason : « Le talent d’Armstrong nous fait oublier la qualité des solos de ses musiciens. Armstrong était en pleine forme. Outre ses nombreux vocaux toujours pleins d’humour, d’intérêt et de swing, ses parties de trompette étaient remarquables. A bientôt, Louis ! » (Jazz Magazine, juin 1962).<br />C’est vrai, on lui reproche aussi de ne pas changer d’un iota son répertoire, de ne jouer que ses morceaux ultra-célèbres. Déjà son premier manager, Johnny Collins, lui en avait fait la remarque dès le début de leur association. Cela avait provoqué une colère noire de Satchmo : « Ecoute, espèce d’enfoiré ! Peut-être que tu es mon manager et un gros qui se la pète avec tout le fric des concerts que tu bookes, mais quand je monte sur scène avec mon instrument et que je suis dans la merde, c’est pas toi qui vas me sauver. » (Terry Teachout, Pops : the wonderful world of Louis Armstrong, JR Books Ltd, 2009). Sur scène, Louis est le magicien qui « tire des paillettes d’or de la mélodie la plus banale » (Jacques Réda, Anthologie des musiciens de Jazz, Editions Stock musique). Amuseur ou génie, synthèse du sublime et du bouffon, Grock du Jazz, qu’importe… Pour le coup de chapeau final, place à Boris : « Armstrong, il peut jouer ‘La Marseillaise’, au tuba, demain matin… se déculotter devant l’Arc de Triomphe ; scier la colonne Vendôme avec une fourchette bleue et manger des huîtres tout en courant le long des Tuileries, il aura quand même gravé 300 faces (au moins) inoubliables. » (Boris Vian, En Verve, Editions Pierre Horay, 1970.)    © FRÉMEAUX & ASSOCIÉS 2015<br /><strong>LOUIS ARMSTRONG <br />LIVE IN PARIS April 24, 1962<br />By Michel BRILLIÉ</strong><br /></span><span class="Soustitre">See you soon, Louis… </span><span class="Texte"><br />It took sixty-four years for the city of Paris to honor the memory of Louis Armstong, the musician and the man so fond of the French capital. The story started in 1934 when Louis Armstrong arrived in Paris for the first time. It ended in 1998 as a tree-shaded square was named after him in a ceremony presided by the mayor of the 13th arrondissement (district) of the city, strongly supported by French jazz personality Frank Ténot. The Place Louis Armstrong is a step away from Polydor Records studios where French producer Jacques Canetti directed the first session of Satchmo and his band on the French soil, at the end of 1934. Ténot asserted mischievously that a reliable witness of that session had seen an assistant offer Armstrong lozenges to clear his throat… <br />To say that the relationship between France and the singer-musician was close is an understatement. In ’34, Paris was definitely a wonderful world to his eyes, compared to his native land. For it is in Europe and France that critics of the time, such as Hugues Panassié, gave jazz its noble music status, contrary to the common American attitude that considered it as just an entertaining way to dance. Right from the very first concerts in 1934 at the Salle Pleyel in Paris, Armstrong played to concert halls filled to capacity with enthusiastic audiences. When in September 1934, Louis and his tornado of a wife Alpha settled down in a central Paris apartment provided by Canetti, he quickly found his way. He remained in town until February ’35, completely adopting the French way of life. <br />Locals could spot him in the morning, walking his dog wearing a checkered cap. In the evening, they could see him going for a workout at the Salle Bullard, a gym on rue Mansart, where he would watch American boxers train. Louis may have then had a drink at the Bourdon, the meeting place of jazzmen in town. At the end of the night, the musician would hit the Villa d’Este or Chez Bricktop’s, singer Ada Smith’s club in Pigalle. There he may have run into Sidney Bechet, Fats Waller, Duke Ellington, or Django Reinhardt… We can easily imagine him jamming with the gipsy guitar player: “Without a word, the two men size each other up. Blowing his rubber cheeks, Louis projects a note that Django catches in mid-air and they’re off for forty-five minutes of pure joy. They would tease each other by means of music notes. It was a contest for the best musical pun, a humorous rivalry between the trumpet and the guitar. When it was over, the blessed creator of a wonderful world would kiss the forehead of the quicksilver kid and leave the club with an enormous laughter.” (Folles de Django, a novel, by Alexis Salatko, Editions Robert Laffont, 2013). For Louis, jazz was everywhere to be found in Paris. French musician Alix Combelle reminisces with Hugues Panassié that one night, while Louis was in town, Armstrong and he were going up the rue Pigalle at some late hour, when a horse-drawn cart passed by. The sound of the hoofs of the animal on the cobblestones immediately inspired Louis to improvise a song on this unexpected tempo, to the delight of his companion.<br />This love affair between Louis and Paris remained unclouded throughout the twentieth century. Louis loved the restaurants and the bistros in Pigalle, and his unknown or illustrious Parisian admirers worshipped him: “His trumpet lets out some kind of furious human language, going up in zig zag, recovering then sliding to end up at the top of the tallest skyscraper, where it spits out some crimson blood stream. Armstrong is the Angel of Jericho, the Soldier of the Apocalypse, the perfect mating point for the Negro heavenly prayer and its infernal eroticism.” (Jean Cocteau, quoted in Louis Armstrong, by Michel Boujut, Editions Plume, 1998)<br />After World War II, the musician returned to France in 1948. In March, Louis performed at the Salle Pleyel in Paris for two sold-out concerts, where several thousand people were turned down. Armstrong arrived there under the protection of fifteen policemen, as he had received threats. After the show, as Hugues Panasssié recalls in his book Louis Armstrong (Nouvelles Editions Latines, 1969), “there was such a crowd waiting for him that, to protect Louis from the fervor of his fans, Michel de Bry had to whisk him in a police van which was parked in front of the Salle Pleyel, and the paddy wagon took off immediately!” Armstrong then appeared at the following summer Nice Festival. At this time, he is received almost like royalty as actor Yves Montand presents him with a magnificent vase from the Manufacture de Sèvres, on behalf of President Vincent Auriol.<br />One year later, Louis ‘officially’ joins the mighty ones of this world, presidents and monarchs alike… Satchmo is crowned “King of the Zulus” by a prominent social club during New Orleans Mardi Gras Parade. Leonard Feather is on the scene and relates the March 1949 event: “The king had blackface makeup except for an area around his eyes and lips which were painted white; he wore a red-feathered cardboard crown, a long black wig, a red velvet tunic with gold sequins, a grass shirt and black-dyed long underwear with gold shoes. He sported a big fat cigar and a golden scepter. Sure, Louis was a little farcical, but this was the happiest man I ever saw in my life.” (Jazz Hot Magazine N°32, April 1949 – French Translation by Boris Vian)<br />And on we move to the fifties. While touring Belgium, the singer hears Edith Piaf’s ‘La vie en rose’ and records his own striking rendition with his “gorilla and turtledove” voice, as Leopold Sédar Senghor writes, turning the song into a world-wide hit. At the end of September 1955, Louis also records another reprise in Los Angeles, just before embarking for a new European tour: it’s ‘Mack the Knife’, from Bertold Brecht and Kurt Weil’s Three Penny Opera, which will become a standard in his repertoire. Then Satchmo travels across America and the Atlantic Ocean to reach Europe one more time. As usual, he brings along twenty-four suitcases filled with two tape recorders, one transistor radio, and a medicine case complete with everything needed to cure tooth-ache, eye problems, and even laxatives.<br />In Paris, during three whole weeks, from November 17 to December 6, 1955, he stars at the Olympia Theater, along with French comic singer Jean Constantin. He is “dazzling” in the words of Hugues Panassié. For more than thirty appearances, there are deliriously enthusiastic fans who almost start ‘riots’, as related in the French press. During this stay, photographer and friend Daniel Filipacchi shot a studio photo session included in the November 1955 issue of Jazz Magazine. Daniel remembers this Parisian episode vividly: “He was really a quite lovable and friendly guy… I had shot some pictures of him with Mezz (Mezzrow). At that time he was slim… Well, relatively slim. He had lost a lot of weight that he would regain immediately. We went to Allard restaurant… He was a little bit harassed by eager fans. Since he was such a nice, pleasant and accommodating man, I tried to protect him from the worst. I put him up at my place, on rue de Verneuil, for a few days. We would just stay there watching TV.” Armstrong’s love for French gastronomy even shows during his Parisian concerts, as he sometimes would open the show with a loud gargantuan “Cassoulet is waiting!” roar to his delighted audience. But the man whose favorite dish is the basic southern ‘red beans and rice’ wasn’t forgetting his roots: there is a picture of him in Pigalle next to Gabrielle Haynes, the woman who founded Gabby & Haynes Restaurant with her husband Leroy, the first place to feature a traditional Southern US fare in France. Satchmo is a fine gourmet with a generous mind: on one occasion at the Salle Pleyel, the show ended really late, and the concierge was totally upset to have missed the last metro… So Louis took out a large banknote from his wallet and handed it to her. Several years later, Armstrong was back in the same place for a performance, and there was the same concierge. Louis burst out laughing: «Ha ha ha… No metro for you tonight, taxi! »<br />As the years grow in number, so does Armstrong’s international audience. He travels intensively throughout the world gathering huge crowds: 25.000 spectators at the Newport Festival on his birthday; 50.000 in Accra, Ghana during his big African tour; 100.000 in Kingston, Jamaica… Armstrong had become the travelling ambassador of black music, “the black shouting titan” (Le Corbusier, Quand les cathédrales étaient blanches, Editions Bartillat, 2012). <br />In spite of all the acclaim, this world traveler of jazz music does not forget Paris and his favorite sidewalk cafés: Louis is back in town for a few weeks in December 1960. He gives several concerts and shoots some scenes of Martin Ritt’s film Paris Blues, along with Paul Newman, Sidney Poitier and Duke Ellington. Herman Leonard, the jazz photographer of the times (with William Claxton), catches on camera Louis, Duke and his whole band standing at the windows of the posh Hotel de la Trémoille in the Champs-Elysées district. With time, the movie has become a tender tribute to the early sixties in Paris; it’s a pleasure to see again, if only for the opening scene when Louis, as musician Wild Man Moore, improvises from his train window in the Saint Lazare train Station, cheered on by exuberant fans.<br />Movies, concerts, travels, tours: throughout his life, Louis worked too hard. His ‘grater sounding’ voice (Boris Vian) got tired at times. But in April 1962, he is still bravely standing for his comeback at the Olympia Theater. Paris belongs once again to Armstrong, and so does a devoted press: “Armstrong, bravo and thanks a lot” (L’Aurore); “Young people have found the tree of life; this face that bears all the sorrows and joys of a race; … /… these golden notes that Armstrong seems to shoot in the sky” (Michel Perrin, Les Nouvelles littéraires). And the feared critics (almost) in tune state: “Armstrong’s talent makes us forget the level of ability of his musicians. Armstrong was indeed in great shape. In addition to his vocals parts full of humor, interest and swing, his trumpet solos were outstanding. See you soon, Louis!” (Jazz Magazine, June 1962)<br />True, his repertoire didn’t change in the slightest from year to year, confined strictly to ultra-famous numbers. His first manager, Johnny Collins, had already made that remark at the start of their association. Satchmo had become absolutely furious: “Listen, cocksucker, you might be my manager and you might be the biggest shit, booking the best business in the world, but when I get on the fucking stage with that horn and get in trouble, you can’t save me! ” (Terry Teachout, Pops: the wonderful world of Louis Armstrong, JR Books Ltd, 2009). On stage, Louis remained a magician that “draws glitters of gold from the most common melody” (Jacques Réda, Anthologie des musiciens de Jazz, Editions Stock musique). Whether an entertainer or a genius, the combination of the sublime and the grotesque, a Grock of Jazz Music, who cares… And to finish, one final tip of the hat from French iconic writer Boris Vian: “Armstrong can play the ‘Marseillaise’ with a tuba tomorrow morning, or pull down his pants under the Arc de Triomphe; or saw off the Colonne Vendôme with a blue fork and eat oysters while running along the Tuileries Gardens, he will remain the man that cut (at least) 300 unforgettable records.” (Boris Vian, En Verve, Editions Pierre Horay, 1970)<br />© FRÉMEAUX & ASSOCIÉS 2015<br /> 1. When It’s Sleepy Time Down South (Clarence Muse / Leon René / Otis René)    3’17<br /> 2. (Back Home Again in) Indiana (James F. Hanley / Ballard MacDonald )    4’22<br /> 3. A Kiss to Build a Dream On (Harry Ruby / Bert Kalmar / Oscar Hammerstein II)    4’27<br /> 4. My Bucket’s Got a Hole in It (Hank Williams)    3’16<br /> 5. Tiger Rag (Nick LaRocca / Eddie Edwards / Henry Ragas /Tony Sbarbaro - Harry DaCosta)    1’26<br /> 6. Now You Has Jazz (Cole Porter)    6’51<br /> 7. High Society (Cole Porter)    3’03<br /> 8. Ole Miss Rag (W.C. Handy)    3’48<br /> 9. When I Grow Too Old to Dream (Sigmund Romberg / Oscar Hammerstein II)    4’17<br />10. Tin Roof Blues (Paul Mares / Ben Pollack / Mel Stitzel / George Brunies / Leon Roppolo)    5’18<br />11. Yellow Dog Blues (W. C. Handy)    3’00<br />12. When the Saints Go Marching in (Traditional)    3’33 <br />13. Struttin’ With Some Barbecue (Lil Hardin Armstrong / Louis Armstrong / Don Raye)    5’51<br />14. Nobody Knows the Trouble I’ve Seen (Traditional)    3’13 <br />15. Blueberry Hill (Vincent Rose / Larry Stock / Al Lewis)    3’27<br />16. The Faithful Hussar (Heinrich Frantzen / Louis Armstrong)    5’10<br />17. St. Louis Blues [feat. Jewel Brown] (W.C. Handy)    3’36<br />18. After You’ve Gone (Turner Layton / Henry Creamer)    3’23<br />19. Mack the Knife (Kurt Weill / Marc Blitzstein / Bertolt Brecht)    4’52<br />Recorded by: Europe N°1 Technical Staff<br />Recording date<br />April 24, 1962<br />Recording place<br />Olympia Theater, Paris, France<br />Produced by: <br />Daniel Filipacchi & Frank Ténot<br />Personnel<br />Louis Armstrong (tp, voc)<br />Trummy Young (tb)<br />Joe Darensbourg (cl)<br />Billy Kyle (p)<br />Bill Cronk (b)<br />Danny Barcelona (ds)<br />Jewel Brown (track 17) (voc)<br />Dedicated to Claude Boquet, Bill Dubois, Jean Claude, Philippe Moch and the gang<br />La collection Live in Paris :<br />Collection créée par Gilles Pétard pour Body & Soul <br />et licenciée à Frémeaux & Associés<br />Direction artistique et discographie : Michel Brillié, Gilles Pétard<br />Coordination : Augustin Bondoux<br />Conception : Patrick Frémeaux, Claude Colombini<br />Fabrication et distribution : Frémeaux & Associés<br />Figure majeure du XXe siècle, Louis Armstrong est l’icône incandescente du jazz, dont il fut parmi les pionniers fondateurs et grands architectes pendant un demi-siècle. Le trompettiste, qui avait vécu quelques années dans le Montmartre d’Avant-guerre, se sentait à Paris comme chez lui, se retrouve dans une ville qu’il adorait et qui l’adulait. Un concert exceptionnel dans lequel « Pops », au sommet, irradie de bonne humeur et de maitrise un auditoire conquis. <br /><strong>Patrick FRÉMEAUX</strong><br />More than a major figure of the 20th century, Louis Armstrong is an incandescent jazz icon, an architect and pioneering founder of jazz music for half a century. One of the greatest trumpeters, Louis lived in Montmartre for a few years before the war, and he felt quite at home. Paris was a city he adored, and the city loved him back. This exceptional concert shows “Pops” at the summit; radiating good humour, he has the audience eating out of his hand. <br /><strong>Patrick FRÉMEAUX</strong><br />La collection Live in Paris, dirigée par Michel Brillié, permet de retrouver des enregistrements inédits (concerts, sessions privées ou radiophoniques), des grandes vedettes du jazz, du rock & roll et de la chanson du XXe siècle. Ces prises de son live, et la relation avec le public, apportent un supplément d’âme et une sensibilité en contrepoint de la rigueur appliquée lors des enregistrements studios. Une importance singulière a été apportée à la restauration sonore des bandes, pour convenir aux standards CD tout en conservant la couleur d’époque.     <strong><br />Patrick FRÉMEAUX & Gilles PÉTARD </strong><br />The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock & roll and song. These “live” takes, and the artists’ rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet CD standards while preserving the original colours of the period.     <br /><strong>Patrick FRÉMEAUX & Gilles PÉTARD</strong><br /></span><span class="Soustitre"><br />LOUIS ARMSTRONG</span><span class="Texte"><br /> 1. When It’s Sleepy Time Down South    3’17<br /> 2. (Back Home Again in) Indiana    4’22<br /> 3. A Kiss to Build a Dream On        4’27<br /> 4. My Bucket’s Got a Hole in It    3’16<br /> 5. Tiger Rag                1’26<br /> 6. Now You Has Jazz            6’51<br /> 7. High Society            3’03<br /> 8. Ole Miss Rag            3’48<br /> 9. When I Grow Too Old to Dream    4’17<br />10. Tin Roof Blues            5’18<br />11. Yellow Dog Blues            3’00<br />12. When the Saints Go Marching in    3’33  <br />13. Struttin’ With Some Barbecue    5’51<br />14. Nobody Knows the Trouble I’ve Seen    3’13 <br />15. Blueberry Hill            3’27<br />16. The Faithful Hussar            5’10<br />17. St. Louis Blues [feat. Jewel Brown]    3’36<br />18. After You’ve Gone            3’23<br />19. Mack the Knife            4’52<br /></span></p>
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        <p>A legendary aura surrounds the four initials JATP: collectively they refer to Jazz At The Philharmonic, an unforgettable series of concerts and recordings produced from the ‘40s to the ‘70s by Norman Granz, the most famous impresario in jazz history. <br />His aim was to bring jazz out of the clubs and into major venues with jam sessions involving the day’s leading artists. <br />This 3-disc set, complete with an introductory booklet by Alain Tercinet, contains several concerts (for the first time on CD) that were recorded in Paris in 1958 and 1960. Here, the Old School faces the New: stalwarts of Swing (Roy Eldridge, Jo Jones, Coleman Hawkins…) against Boppers (Dizzy Gillespie, Lalo Schifrin, Sonny Stitt…), and also musicians who’d never played in Europe before, like Stan Getz or Shelly Manne and his orchestra. <br />This set shows the vivacity of jazz during this period, and completes the Frémeaux collection that began with recordings by Miles Davis and Ella Fitzgerald taken from those same JATP tours. <strong><br />Patrick FRÉMEAUX</strong></p>\n
        <p><strong><br />DIRECTION ARTISTIQUE : GILLES PÉTARD ET MICHEL BRILLIÉ<br />REDACTION LIVRET : ALAIN TERCINET</strong></p>\n
        <p><strong>SUIVI PRODUCTION : AUGUSTIN BONDOUX</strong></p>\n
        <p><strong>DROITS : BODY &amp; SOUL LICENCIE A FREMEAUX &amp; ASSOCIES. <br /><br />CD 1 :</strong> NORMAN GRANZ INTRODUCTION • IDAHO. BALLAD MEDLEY : INDIAN SUMMER • AUTUMN IN NEW YORK • THE MAN I LOVE • THE WALKER • TAKE THE A TRAIN. BALLAD MEDLEY : THE NEARNESSE OF YOU • MY FUNNY VALENTINE • I REMEMBER CLIFFORD • LAURA • EASY LIVING • INDIANA (BACK HOME AGAIN IN).<strong><br />CD 2 :</strong> NORMAN GRANZ INTRODUCTION • NIGHTINGALE • YESTERDAYS • POINCIANA • STEP LIGHTLY • VAMP’S BLUES • NORMAN GRANZ INTRODUCTION • I REMEMBER CLIFFORD • YOUNGER THAN SPRINGTIME • THE THRILL IS GONE • PERNOD • SUMMERTIME • AS CATCH CAN.<br /><strong>CD 3 :</strong> NORMAN GRANZ INTRODUCTION • JUST YOU, JUST ME • YOU’RE BLASÉ • BERNIE’S TUNE • BLUE ‘N’ BOOGIE 11’44. GILLESPIANA SUITE : PRELUDE • BLUES • PANAMERICANA • AFRICANA • TOCCATA.</p>\n
        <p><br /><strong>COLLECTIVE PERSONNEL :</strong><br />ROY ELDRIDGE, DIZZY GILLESPIE (TP) ; J.J. JOHNSON (TB) ; BENNY CARTER, SONNY STITT (AS) ; COLEMAN HAWKINS, DON BYAS, STAN GETZ (TS) ; LOU LEVY, VIC FELDMAN (P) ; HERB ELLIS (G) ; MAX BENNETT, SAM JONES, RAY BROWN (B) ; JO JONES, GUS JOHNSON, LOUIS HAYES (DM) ; SHELLY MANNE &amp; HIS MEN, STAN GETZ QUARTET, DIZZY GILLESPIE QUINTET - <br />APRIL 30 1958 - FEBRUARY 23, MARCH 31, NOVEMBER 25 1960.</p>
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        <h3>JATP FA5632</h3>\r\n
        <p align="justify"><span class="Soustitre2"><br />JATP</span><span class="Texte"><br /></span><span class="Soustitre">JAZZ AT THE <br />PHILHARMONIC</span><span class="Texte"><br /></span><span class="Soustitre2">1958-1960</span><span class="Texte"><br /></span><span class="Soustitre">DIZZY GILLESPIE - ROY ELDRIDGE - STAN GETZ - SONNY STITT - COLEMAN HAWKINS - SHELLY MANNE - LALO SCHIFFRIN…</span><span class="Texte"><br /><strong>Live in Paris<br />La collection des grands concerts parisiens<br />Dirigée par Michel Brillié et Gilles Pétard</strong><br /></span><span class="Soustitre2"><br />JAZZ AT THE PHILHARMONIC 1958/60</span><span class="Texte"><br /></span><span class="Soustitre">Par Alain TERCINET</span><span class="Texte"><br />Au retour des beaux jours, et cela pour la sixième année consécutive, la troupe du Jazz at the Philharmonic débarqua à Paris fin avril 1958. Au grand complet avec, en têtes d’affiche. quelques habitués (Ella Fitzgerald, Oscar Peterson, Roy Eldridge), un récidiviste (Dizzy Gillespie), deux nouveaux venus (Coleman Hawkins, Stan Getz) et un invité de la dernière heure, Sonny Stitt. Venant d’arriver à Paris pour assurer un engagement au Blue Note, il avait été détourné par Norman Granz afin d’ajouter du piment à ce qui faisait la réputation de sa formule, les jam-sessions. Depuis le premier concert donné à Los Angeles le 2 juillet 1944, la raison d’être du Jazz at the Philharmonic reposait sur des confrontations, parfois détonnantes, qui draînaient un public aussi enthousiaste que tapageur. <br />Les desseins de Granz pouvaient être impénétrables. Pourquoi ne programma-t-il pas Sonny Stitt en compagnie de Dizzy Gillespie et de Stan Getz, ressuscitant ainsi l’ensemble de souffleurs qui avait fait de « For Musicians Only » un album de référence ? Mystère. Toujours est-il que le concert fourmilla d’excellents moments parmi lesquels figurent la version d’Hawkins d’Indian Summer, Autumn in New-York interprété par Sonny Stitt, The Man I Love dévolu à Roy Eldridge, You’re Blasé servi avec délicatesse par un Stan Getz qui, face à Dizzy, ne s’en laissa pas compter au long de Bernie’s Tune. Le lendemain 1er mai, faisant foin des traditions, une partie de la troupe travailla. Au studio Hoche, à la demande de Marcel Carné, elle enregistra une partie de la bande sonore du film « les Tricheurs ».<br />Lorsque le label « Jazz at the Philharmonic » figura à nouveau sur un programme en 1960, les choses avaient changé : les trois concerts présentés par Norman Granz réunissaient essentiellement des formations pré-existantes. En ce tout début d’année, les répercutions de la guerre d’Algérie n’incitait guère aux sorties nocturnes dans la capitale. Dans ses mémoires, Quincy Jones accusera ce contexte politique d’avoir été responsable de l’échec du spectacle « Free and Easy » qu’il accompagnait à l’Alhambra. <br />Est-ce pour cette même raison que, le 23 février, la venue de l’orchestre-phare du jazz de la côte ouest, « Shelly Manne and His Men » ne suscita aucun commentaire conséquent dans la presse spécialisée ? Il s’agissait pourtant d’une grande première mettant en vedette l’une des meilleures petites formations du moment. Des solistes constamment inspirés - Joe Gordon, Richie Kamuca, Russ Freeman, Monty Budwig – y étaient aiguillonnés par l’un des plus inventifs batteurs de l’époque, Shelly Manne. Leurs interprétations s’appuyant sur de petits arrangements discrets, efficaces, tranchaient sur la routine, nombre de formations similaires se contentant d’enchaîner solo après solo. Leur traitement de Yesterdays ou de Poinciana en sont autant d’exemples et Vamp’s Blues, quant à lui, est un petit chef-d’œuvre. Pour une fois étonnamment discipliné, le public ne s’y trompa pas.<br />Moins d’un mois plus tard, Norman Granz remettait le couvert. Si l’environnement avait quelque peu gagné en sérénité, il n’en fut pas de même sur la scène de l’Olympia. Les interventions du nouvel interlocuteur de Miles Davis, John Coltrane, suscitèrent des réactions à tout le moins mitigées. La retransmission du concert publiée dans le coffret « Miles Live in Paris » permet de s’en faire une idée.<br />Au sein du quartette de Stan Getz qui partageait l’affiche avec Miles et le trio d’Oscar Peterson, la sérénité ne régnait guère. Installé au Danemark, Stan avait engagé pour la tournée, les trois musiciens scandinaves avec lesquels il venait de graver l’album « At Large ». Sur la scène de l’Olympia, sans que cela n’entache en rien la qualité de ses solos, Getz va se trouver aux prises avec des ennuis d’anche, particulièrement dans Pernod. Une interprétation sur tempo ultra rapide qui répondait aux « objections » d’une salle indisposée par la délicatesse de The Thrill is Gone. Apparemment, les problèmes ne firent que s’aggraver. Au cours de As Catch Can, une composition de Gerry Mulligan rarement interprétée, ne jouant que parcimonieusement Getz laissa le champ libre à ses accompagnateurs. Le concert terminé, par une de ces foucades dont il était coutumier, Stan congédia sur le champ Daniel Jordan et William Schiöpffe alors qu’ils n’avaient nullement démérité et n’étaient en rien responsables de ses problèmes.<br />Huit mois plus tard, Getz était de retour, au sein d’une édition aussi imposante qu’hybride du Jazz at the Philharmonic. Norman Granz y présentait deux formations ayant pignon sur rue – les quintettes de Cannonball Adderley et de Dizzy Gillespie – , quelques individualités - J. J. Johnson, Stan Getz - et une troupe de légendes du jazz, admirées de tous - Benny Carter, Don Byas, Coleman Hawkins, Jo Jones. Des vétérans qui, le souvenir des années d’avant-guerre restant vivace, réussiront le miracle de réunir dans une même salle Pleyel les frères ennemis, Hugues Panassié et Charles Delaunay. Présent aussi le saxophoniste Alix Combelle, ancien partenaire d’Hawkins et de Benny Carter, tout comme l’avait été Django Reinhardt, hélas disparu, représenté pour l’occasion par son fils Babik. <br />Pratiquant allégrement le mélange des genres, Norman Granz n’hésita pas à associer le pianiste et le bassiste de Dizzy à Jo Jones pour constituer la rythmique des « anciens ». Tout se passa le mieux du monde ainsi qu’en témoignent Take The A Train et Indiana réunissant toute la troupe ou le Ballad Medley qui donnait tour à tour la parole à chaque souffleur. Plus logiquement à la rythmique de Cannonball Adderley sera confié le soin d’accompagner Getz et Gillespie pour un solide Blue’N’Boogie dans lequel intervenait aussi l’immense tromboniste J. J. Johnson. <br />Revint ensuite au quintette de Dizzy, la tâche délicate de présenter une version allégée de la Gillespiana Suite gravée en studio six jours plus tôt avec l’assistance d’un grand orchestre. Il se découvrit que, sous cette forme, la partition de Lalo Schiffrin ne perdait rien de sa puissance d’évocation. Assisté avec efficacité par Leo Wright, Gillespie, alors au sommet de son art, se montre impérial de bout en bout, de Prelude à Toccata. <br />Décidément, grâce à Norman Granz, 1960 aura été une année que les amateurs de jazz marquérent d’une pierre blanche et cela quelles qu’aient été leurs préférences stylistiques…<br /></span><span class="Soustitre"><br />Alain Tercinet<br /></span><span class="Texte"><br />© FRÉMEAUX & ASSOCIÉS 2016<br /></span><span class="Soustitre2"><br />JAZZ AT THE PHILHARMONIC 1958/60</span><span class="Texte"><br /></span><span class="Soustitre">By Alain TERCINET</span><span class="Texte"><br />At the end of April 1958, with the return of spring, the JATP troupe landed in Paris again for the sixth consecutive year. They turned out in full, with head­liners who were old hands (Ella Fitzgerald, Oscar Peterson, Roy Eldridge), a second offender (Dizzy Gillespie), two newcomers (Coleman Hawkins, Stan Getz), and a last minute guest in the person of Sonny Stitt. Stitt had been booked to play at the Blue Note in Paris, and Norman Granz hijacked him to add spice to the formula that gave JATP its reputation: the jam session. Ever since the troupe’s first concert (Los Angeles, July 2, 1944), JATP’s raison d’être lay in these sometimes-explosive confrontations that drew audiences; and the enthusiasm of the latter was equal to the noise they made. <br />The designs of Norman Granz could sometimes work in mysterious ways. Why didn’t he put Sonny Stitt on the programme with Dizzy Gillespie and Stan Getz, thereby resuscitating the trio of horns who made the landmark album “For Musicians Only”? It’s a mystery. But it didn’t make the concert any less exhilarating, with a Hawkins version of Indian Summer, Sonny Stitt’s Autumn in New-York, The Man I Love in the hands of Roy Eldridge, and You’re Blasé delicately performed by Stan Getz (the same Getz, incidentally, who never let Dizzy intimidate him in Bernie’s Tune.) The next day was May 1, but part of the group didn’t care much for labour traditions and went to work anyway: filmmaker Marcel Carné was to send them into the Studio Hoche to record part of the soundtrack for his film “Les Tricheurs” [aka “Youthful Sinners”.]<br />By 1960, when the label “Jazz At The Philharmonic” once again appeared on a poster, things had changed: the three concerts that Norman Granz organized were essentially gigs by groups that already existed. It was early in the year, and repercussions of the war in Algeria were scarcely encouraging Parisians to go out at night… In his memoirs, Quincy Jones would hold the political climate responsible for the empty seats at “Free and Easy”, the show he was accompanying at the Alhambra. <br />Was that also why the February 23 visit by “Shelly Manne and His Men”, the Number One band out on America’s West Coast, received hardly a mention from local specialists? It was still a great première starring one of the best small groups of the period, with soloists who were constantly inspired — Joe Gordon, Richie Kamuca, Russ Freeman, Monty Budwig — spurred on by one of the day’s most inventive drummers, Shelly Manne himself. Their performances relied on discreet little arrangements that were efficient and also broke with routine (many similar groups of the time were happy just to string solos together…) The treatment Shelley and his “Men” give to Yesterdays or Poinciana are excellent examples, and Vamp’s Blues is quite simply a masterpiece. For once, the audience showed amazing discipline, and they were lucky to be there.<br />Less than a month later, Granz was at it again. If the atmosphere outside was now more serene, things were different inside, onstage at the Olympia, where the contributions of Miles Davis’ new partner John Coltrane had mixed reactions to say the least. The concert-broadcast published in the “Miles Live in Paris” set gives you a fair idea.<br />Miles and the Oscar Peterson Trio shared the bill with the Stan Getz Quartet, and serenity was lacking there, too. Stan had moved to Denmark, and for the JATP tour he’d hired the three Scandinavian musicians who’d appeared on his album “At Large”. On the Olympia’s stage — not that it detracted from the quality of his solos — Getz would have trouble with his reeds, particularly on Pernod, which he plays ultrafast in reply to the “objections” of an audience indisposed by the delicate nature of The Thrill is Gone. But his troubles worsened, apparently. During As Catch Can, a rarely played composition by Gerry Mulligan, Stan plays sparingly and gives his partners a free hand. Once the gig was over, in an outburst that wasn’t so rare for the saxophonist, Stan fired Daniel Jordan and William Schiöpffe on the spot, holding them responsible for his own problems. They in no way deserved it. <br />Getz resurfaced eight months afterwards, in a JATP troupe as impressive as it was hybrid. For this one, Norman Granz had convened two well-established groups (the quintets of Cannonball Adderley and Dizzy Gillespie), a couple of worthy individuals (Getz and J. J. Johnson), plus four legends in jazz whom everybody admired: Benny Carter, Don Byas, Coleman Hawkins and Jo Jones. Memories of the pre-war years were still alive and kicking, so these four veterans pulled off a miracle when they managed to draw two old rivals into Salle Pleyel at the same time: Hugues Panassié and Charles Delaunay. Also present were saxophonist Alix Combelle, an old partner of both Hawkins and Benny Carter, as had been the late Django Reinhardt, whose spirit was represented for the occasion by his son Babik. <br />Mixing genres cheerfully, Granz didn’t bat an eyelid in associating Jo Jones with Dizzy’s pianist and bassist to form an “old guys” rhythm section. You can hear it all turned out for the best, with Take The A Train and Indiana featuring the whole troupe, or the Ballad Medley that allows each horn to solo in turn. A more logical pairing found Cannonball Adderley’s rhythm section accom­panying Getz and Gillespie for a solid Blue’N’Boogie that sees the great trombonist J. J. Johnson contri­buting too. Next, Dizzy’s quintet faced the delicate task of presenting a lighter version of the Gillespiana Suite recorded in a studio six days beforehand with a big band… and you discover that Lalo Schifrin’s score loses none of its evocative powers when played by this “small group.” Also worth noting is that with assistance from the efficient Leo Wright, Gillespie plays imperially throughout, from Prelude to Toccata. He was at his peak. Thanks to Norman Granz, 1960 was decidedly a red-letter year for jazz fans, no matter what style they preferred.<br /></span><span class="Soustitre"><br />Alain TERCINET</span><span class="Texte"><br />Adapted into English by Martin DAVIES<br />© FRÉMEAUX & ASSOCIÉS 2016<br /></span><span class="Soustitre2"><br />JAZZ AT THE PHILHARMONIC 1958 – 1960 Live in Paris</span><span class="Texte"><br /></span><span class="Soustitre2">CD 1</span><span class="Texte"><br />1. Norman Granz introduction    1’52<br />2. Idaho (J. Stone)    6’28<br />Ballad Medley<br />3. Indian Summer (A. Dubin, V. Herbert)    4’30<br />4. Autumn in New York (V. Duke)    4’43<br />5. The Man I Love (I. & G. Gershwin)    3’29<br />6. The Walker (R. Eldridge, C. Hawkins)    8’28<br />7. Take the A Train (B. Strayhorn)    9’00<br />Ballad Medley<br /> 8. The Nearnesse of You (N. Washington, H. Carmichael)    2’48<br /> 9. My Funny Valentine (L. Hart, R. Rogers)    2’43<br />10. I Remember Clifford (B. Golson)    3’17<br />11. Laura (J. Mercer, D. Raksin)    2’45<br />12. Easy Living (L. Robin / R. Rainger)    3’12<br />13. Indiana (Back Home Again in) (B. McDonald, J. F. Hanley)    17’30<br />2. Roy Eldridge (tp) ; Sonny Stitt (as) ; Coleman Hawkins (ts) ; Lou Levy (p) ; Herb Ellis (g) ; Max Bennett (b) ; Gus Johnson (dm) – Paris, Olympia, April 30, 1958<br />3. Coleman Hawkins (ts) ; Lou Levy (p) ; Herb Ellis (g) ; Max Bennett (b) ; Gus Johnson (dm) – Same place and date<br />4. Sonny Stitt (as) ; Lou Levy (p) ; Herb Ellis (g) ; Max Bennett (b) ; Gus Johnson (dm) – Same place and date<br />5. Roy Eldridge (tp) ; Lou Levy (p) ; Herb Ellis (g) ; Max Bennett (b) ; Gus Johnson (dm) – Same place and date<br />6. Roy Eldridge (tp) ; Sonny Stitt, Coleman Hawkins (ts) ; Lou Levy (p) ; Herb Ellis (g) ; Max Bennett (b) ; Gus Johnson (dm) – Same place and date<br />7 & 13. Roy Eldridge (tp) ; Benny Carter (as) ; Don Byas, Coleman Hawkins (ts) ; Lalo Schiffrin (p) ; Art Davis (b) ; Jo Jones (dm) – Paris, Salle Pleyel, November 25, 1960<br />8 & 11. Benny Carter (as) ; Lalo Schiffrin (p) ; Art Davis (b) ; Jo Jones (dm) – Same place and date<br />9 & 12. Roy Eldridge (tp) ; Lalo Schiffrin (p) ; Art Davis (b) ; Jo Jones (dm) – Same place and date<br />10. Don Byas (ts) ; Lalo Schiffrin (p) ; Art Davis (b) ; Jo Jones (dm) – Same place and date<br /></span><span class="Soustitre2">CD 2</span><span class="Texte"><br />1. Norman Granz introduction    1’07<br />2. Nightingale (F. Wise, G. Rosner, X. Cugat)     6’26<br />3. Yesterdays (O. Harbach, J. Kern)    8’07<br />4. Poinciana (B. Bernier, N. Simon)    6’55<br />5. Step Lightly (B. Golson)    10’20<br />6. Vamp’s Blues (C. Mariano)    10’22 <br />7. Norman Granz introduction    0’39<br />8. I Remember Clifford (B. Golson)    6’01<br />9. Younger Than Springtime (O. Hammerstein II, R. Rogers)    5’30<br />10. The Thrill Is Gone (L. Brown, R. Anderson)    4’12<br />11. Pernod (J. Mandel)    6’01<br />12. Summertime (DuBose Heyward, <br />I. Gershwin, G. Gershwin)    4’50<br />13. As Catch Can (G. Mulligan)    6’35<br />2 – 6. Shelly Manne and His Men : Joe Gordon (tp) ; Richie Kamuca (ts) ; Russ Freeman (p) ; Monty Budwig (b) ; Shelly Manne (dm, lead) – Paris, Olympia, February 23, 1960<br />8 – 13. Stan Getz Quartet : Stan Getz (ts) ; Jan Johansson (p) ; Daniel Jordan (b) ; William Schiöpffe (dm) – Paris, Olympia, March 21, 1960<br /></span><span class="Soustitre2">CD 3</span><span class="Texte"><br />1. Norman Granz introduction    1’06<br />2. Just You, Just Me (R. Klages, J. Greer)    8’49<br />3. You’re Blasé (B. Sivier, O. Hamilton)    4’28<br />4. Bernie’s Tune (B. Miller, M. Stoller, J. Leiber)    7’37<br />5. Blue ‘N’ Boogie (D. Gillespie, F. Paparelli)    11’44<br />Gillespiana suite (Lalo Schiffrin)<br /> 6. Prelude    5’02<br /> 7. Blues     10’56<br /> 8. Panamericana    6’25<br /> 9. Africana     6’56<br />10. Toccata    13’41<br />2 & 4. Dizzy Gillespie (tp) ; Stan Getz (ts) ; Lou Levy (p) ; Ray Brown (b) ; Gus Johnson (dm) – Paris, Olympia, April 30, 1958<br />3. Same, omit Gillespie<br />5. Dizzy Gillespie (tp) ; J. J. Johnson (tb) ; Stan Getz (ts) ; Vic Feldman (p) ; Sam Jones (b) ; Louis Hayes (dm) – Paris, Salle Pleyel, November 25, 1960<br />6 – 10 ; Dizzy Gillespie Quintet : Dizzy Gillespie (tp) ; Leo Wright (as, fl) ; Lalo Schiffrin (p) ; Art Davis (b) ; Chuck Lampkin (dm) – Same place and date<br />Produced by: Daniel Filipacchi, Norman Granz & Frank Ténot.<br />Dedicated to Claude Boquet, Bill Dubois, Jean Claude, Philippe Moch and the gang.<br />La collection Live in Paris :<br />Collection créée par Gilles Pétard pour Body & Soul et licenciée à Frémeaux & Associés.<br />Direction artistique et discographie : Michel Brillié, Gilles Pétard.<br />Coordination : Augustin Bondoux.<br />Conception : Patrick Frémeaux, Claude Colombini.<br />Fabrication et distribution : Frémeaux & Associés.<br />Une aura légendaire plane au dessus de l’appellation J.A.T.P. (pour Jazz at the Philarmonic), qui regroupe une série mythique de concerts et de disques produits entre les années 1940 et 1970 par Norman Granz, le plus célèbre impresario de l’histoire du jazz. Son objectif était de sortir le jazz des clubs en le faisant entrer dans les grandes salles de spectacles en proposant des jams sessions à des artistes phares ou en vogue. Ce coffret 3 CD, avec un livret d’Alain Tercinet, regroupe pour la première fois sur CD plusieurs concerts enregistrés à Paris en 1958 et 1960. S’y confrontent l’ancienne et la nouvelle école : les piliers du swing (Roy Eldridge, Jo Jones, Coleman Hawkins,…) avec les bopeurs (Dizzy Gillespie, Lalo Schiffrin, Sonny Stitt,…) et propose également des artistes qui ne s’étaient alors jamais présentés sur le continent européen : Stan Getz ou l’orchestre de Shelly Manne. Un coffret qui témoigne de la vivacité du jazz de l’époque, qui vient compléter une collection de concerts historiques publiée chez Frémeaux & Associés, initiée notamment par les volumes consacrés à « Miles Davis » et « Ella Fitzgerald » issus des mêmes tournées.      </span><span class="Soustitre"><br />Patrick FRÉMEAUX</span><span class="Texte"><br />A legendary aura surrounds the four initials JATP: collectively they refer to Jazz At The Philharmonic, an unforgettable series of concerts and recordings produced from the ‘40s to the ‘70s by Norman Granz, the most famous impresario in jazz history. His aim was to bring jazz out of the clubs and into major venues with jam sessions involving the day’s leading artists. This 3-disc set, complete with an introductory booklet by Alain Tercinet, contains several concerts (for the first time on CD) that were recorded in Paris in 1958 and 1960. Here, the Old School faces the New: stalwarts of Swing (Roy Eldridge, Jo Jones, Coleman Hawkins…) against Boppers (Dizzy Gillespie, Lalo Schifrin, Sonny Stitt…), and also musicians who’d never played in Europe before, like Stan Getz or Shelly Manne and his orchestra. This set shows the vivacity of jazz during this period, and completes the Frémeaux collection that began with recordings by Miles Davis and Ella Fitzgerald taken from those same JATP tours.    <br /></span><span class="Soustitre">Patrick FRÉMEAUX</span><span class="Texte"><br />La collection « Live in Paris », dirigée par Michel Brillié, permet de retrouver des enregistrements inédits (concerts, sessions privées ou radiophoniques), des grandes vedettes du jazz, du rock & roll et de la chanson du XXe siècle. Ces prises de son live et la relation avec le public apportent un supplément d’âme et une sensibilité en contrepoint à la rigueur appliquée lors des enregistrements studio. Une importance singulière a été apportée à la restauration sonore des bandes pour convenir aux standards CD tout en conservant la couleur d’époque.     Patrick FRÉMEAUX & Gilles PÉTARD <br />The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock & roll and song. These “live” takes, and the artists’ rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet CD standards while preserving the original colours of the period.     </span><span class="Soustitre"><br />Patrick FRÉMEAUX & Gilles PÉTARD</span><span class="Texte"><br /></span><span class="Soustitre2"><br />JATP</span><span class="Texte"><br /></span><span class="Soustitre"><br />CD 1 : </span><span class="Texte">1. Norman Granz introduction 1’52 • 2. Idaho 6’28 • Ballad Medley • 3. Indian Summer 4’30 • 4. Autumn in New York 4’43 • 5. The Man I Love 3’29 • 6. The Walker 8’28 • 7. Take the A Train 9’00 • Ballad Medley • 8. The Nearnesse of You 2’48 • 9. My Funny Valentine 2’43 • 10. I Remember Clifford 3’17 • 11. Laura 2’45 • 12. Easy Living 3’12 • 13. Indiana (Back Home Again in) 17’30. <br /></span><span class="Soustitre">CD 2 : </span><span class="Texte">1. Norman Granz introduction 1’07 • 2. Nightingale 6’26 • 3. Yesterdays 8’07 • 4. Poinciana 6’55 • 5. Step Lightly 10’20 • 6. Vamp’s Blues 10’22 • 7. Norman Granz introduction 0’39 • 8. I Remember Clifford 6’01 • 9. Younger Than Springtime 5’30 • 10. The Thrill Is Gone 4’12 • 11. Pernod 6’01 • 12. Summertime 4’50 • 13. As Catch Can 6’35. <br /></span><span class="Soustitre"><br />CD 3 : </span><span class="Texte">1. Norman Granz introduction 1’06 • 2. Just You, Just Me 8’49 • 3. You’re Blasé 4’28 • 4. Bernie’s Tune 7’37 • 5. Blue ‘N’ Boogie 11’44 • Gillespiana suite • 6. Prelude 5’02 • 7. Blues 10’56 • 8. Panamericana 6’25 • 9. Africana 6’56 • 10. Toccata 13’41.<br />Collective personnel : Roy Eldridge, Dizzy Gillespie (tp) ; J.J. Johnson (tb) ; Benny Carter, Sonny Stitt (as) ; Coleman Hawkins, Don Byas, Stan Getz (ts) ; Lou Levy, Vic Feldman (p) ; Herb Ellis (g) ; Max Bennett, Sam Jones, Ray Brown (b) ; Jo Jones, Gus Johnson, Louis Hayes (dm) ; Shelly Manne & His Men, Stan Getz Quartet, Dizzy Gillespie Quintet - April 30 1958 - February 23, March 31, November 25 1960.<br /></span></p>
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        <p align="justify"><em>In the early Sixties Les McCann was a pioneer of “soul jazz”. Critics called it commercial, but the music drew efficient melodies from blues, gospel and rhythm &amp; blues. </em><br /><em>The young pianist McCann signed with Pacific Jazz in 1960 and toured Europe with his Trio on ‘61 and ‘62, opening for the orchestras of Ray Charles and Count Basie. </em><br /><em>The “Live in Paris” collection gives us the opportunity to listen to these great concerts again, and also hear rare recordings like this one, recorded in July ‘61 at the Chameleon club in Paris, a legendary Left Bank nightspot.</em><br /><em> The inspired McCann also growls characteristically, kindly admonishing his audience when they whistle along with the melody, and everyone has a good time. </em><br /><em>The jazz is soulful in this set, and you can almost see the club’s damp walls beneath wreaths of smoke. A rare document that transports the listener, thanks to a generous, swinging pianist. </em><br /><strong>Patrick FRÉMEAUX</strong></p>\n
        <p align="justify"><br /><strong>DIRECTION ARTISTIQUE : GILLES PÉTARD ET MICHEL BRILLIÉ</strong></p>\n
        <p align="justify"><strong>DROITS : BODY &amp; SOUL</strong></p>\n
        <p align="justify"><strong>LICENCIE A FREMEAUX &amp; ASSOCIES.<br /><br />CD1 :</strong> A LITTLE 3/4 TIME FOR GOD &amp; CO • VACUSHNA • I AM LOVE • EVERYTHING HAPPENS TO ME • THE TRUTH • LITTLE GIRL BLUE • THEY CAN’T TAKE THAT AWAY FROM ME • VACUSHNA (REPRISE) • HOW HIGH THE MOON • I’LL TAKE ROMANCE.<br /><strong>CD 2 </strong>: UNIDENTIFIED • OUT OF THIS WORLD • OH THEM GOLDEN GATERS • RED SAILS IN THE SUNSET • SOMEONE STOLE MY CHITLINGS • DEED I DO • DORENE DON’T CRY • COME ON AND GET THAT CHURCH.</p>
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        <h3>Les McCann trio FA5635</h3>\r\n
        <p><span class="Soustitre2"><br />Les McCann TRIO<br />28 Juillet 1961<br />Live in Paris</span><span class="Texte"><br /></span><span class="Soustitre">La collection des grands concerts parisiens<br />Dirigée par Michel Brillié et Gilles Pétard</span><span class="Texte"><br /></span><span class="Soustitre">Live in Paris 28 Juillet 1961: <br />Les McCann Trio Live at the Caméléon Club, <br />Paris France</span><span class="Texte"><br /></span><span class="Soustitre">Le Soul à l’assaut</span><span class="Texte"><br />« Pas de sifflette… » Les McCann admoneste gentiment une première fois l’audience pour calmer les quelques jazz fans mélodistes attablés devant un whisky-coca au Caméléon ce soir du 28 juillet 1961.  Il est vrai que «How High the Moon», le standard de Les Paul & Mary Ford que le Les McCann Ldt (c’est le nom du trio à l’époque) est en train d’entamer se prête bien à ce karaoké avant l’heure. Les noctambules ne se calmant pas, McCann renouvelle son avertissement sur un ton plus ferme : « No whistling! » Ce n’est quand même pas rien, ce trio. Quatre jours auparavant, du 18 au 24 juillet, le groupe a été la révélation du deuxième festival de jazz d’Antibes/Juan-les-Pins. A leur arrivée sur la Côte d’Azur, ils sont pratiquement inconnus en Europe. Quand ils en repartent, ils sont devenus quasiment les stars de la manifestation. Au même programme que Ray Charles, lui aussi pour la première fois en France, Count Basie et son grand orchestre, le trio vocal Lambert Hendricks & Ross, Sister Rosetta Tharpe… Leur musique, mélange efficace de blues, gospel et grognements à la Erroll Garner, a fait un tabac. McCann a cassé la baraque : le soul nouveau est arrivé…<br />Retour sur un parcours sinueux. Le petit Les est né à Lexington, au milieu des vertes collines du Kentucky. Gamin, une vieille dame du voisinage lui donne quelques rudiments de piano vite oubliés. Plus tard l’adolescent fait partie de l’orchestre de son lycée. «Le rythme a été un élément intégrant de mon enfance » confie-t-il à Chris Slaweski d’All About Jazz en Juin 2015. « Mon truc, c’était le Hambone », une forme de danse très rythmée où l’on tape du pied en se frappant les bras, les cuisses et les joues tout en effectuant des pas de danse avec une jambe en l’air. « Le rythme c’est mon petit nom… J’adorais regarder les grands danseurs de claquettes comme Bill Robinson quand il se produisait au théâtre juste à côté de chez moi. L’endroit faisait partie du « Chitlin’ Circuit. »1<br />Au début des années cinquante, Les McCann s’enrôle dans la Navy. Il en profite pour se remettre sérieusement au piano. Comme il est posté dans une base au nord de la Californie, il se familiarise avec les clubs de San Francisco. Il va écouter Miles Davis, il se passionne pour Erroll Garner…. D’où sa manière de fredonner/grommeler la mélodie qu’il joue au piano. Sous l’uniforme, il gagne un concours de chant qui l’envoie jusqu’au plateau de l’émission TV d’Ed Sullivan. Sans plus… Le marin a l’esprit frondeur. A sa sortie de la Marine, il refuse la suggestion de Miles Davis de rejoindre le groupe de Cannonball Adderley et préfère former son propre trio. La première année de la décennie soixante le propulse comme chef de file de ce style soul jazz, avec ses LPs live captés à Los Angeles ou San Francisco. <br />Et puis, un an après, voici la consécration internationale avec le festival de jazz d’Antibes. « C’est le meilleur public que j’ai eu ! » avoue-t-il à la presse française… Succès public que les spécialistes admettent avec un ou deux bémols :<br />« Chaque soir, à l’entracte, on s’arrachait ses disques. Chaque soir, Les McCann accueillait avec une très visible satisfaction la progression des ventes, et, habilement, glissait au micro quelques renseignements concernant ces dits disques… Homme d’affaires averti et qui saura organiser au mieux de ses intérêts sa carrière, Les McCann n’est pourtant pas le vilain businessman des caricatures. Ceux qui lui ont parlé louent son ouverture d’esprit, son attachante franchise, sa connaissance très sûre de l’esthétique musicale. Les McCann fit pendant quatre soirs un étalage très complet de ses possibilités – et de ses manies. Esprit churchy et jeu bluesy, le style de Les McCann atteint une sorte de rigidité et de pureté <br />classiques dans son outrance soul même. » (Jean Robert Masson, Jazz Magazine Septembre 1961)<br />Jean Tronchot, dans Jazz Hot du même mois, donne son interprétation du phénomène McCann :<br />« Les McCann est un petit marrant sympathique qui prend visiblement plaisir à jouer. Les trois noirs, Les McCann (p), Herbie Lewis (b), et Ron Jefferson (d) ont été subitement découverts par le public de Juan-les-Pins, venu pour Ray Charles, Count Basie. C’est cet effet de surprise, ce choc, qui expliquent sans doute son triomphe. Il a, somme toute, assez peu d’idées, mais beaucoup de swing…/.. En tout cas, il ne perd pas une occasion de jouer. Plusieurs fois, nous l’avons entendu faire le bœuf, par exemple avec le L.H.R. trio, au Pam-Pam vers quatre heures du matin. » <br />Les McCann, interviewé en Novembre 2015 par téléphone depuis la Californie, se souvient encore de ce moment, malgré une attaque cardiaque qui lui embrouille un peu la mémoire: « J’étais super jeune, et très angoissé de passer après Ray Charles. C’était la première fois qu’on jouait devant un public aussi nombreux. Je me rappelle que les organisateurs nous ont demandé de quitter la scène au bout de vingt minutes, mais les gens en redemandaient encore et encore… C’est l’un de ces moments où l’on remercie Dieu de l’avoir vécu. »<br />Même succès à Paris, au Caméléon. Un triomphe où l’on a dû le premier soir « reculer les murs du caveau pour admettre les amateurs désireux de faire connaissance avec la dernière découverte du jazz américain » (Jazz Hot). Le club fait partie des endroits réguliers des jazz fans parisiens. Il y a sans doute moins de stars qu’ailleurs, comme au Club Saint Germain avec Art Blakey, au Blue Note avec Bud Powell, aux Trois Mailletz avec Memphis Slim. Plus tard Chet Baker s’installera à une encablure, au Chat qui Pêche… Le patron vietnamien du Caméléon, lui, propose des house bands bien français. Henri Renaud, par exemple, en est un habitué. Quand il est retenu ailleurs, un jeune pianiste autodidacte prend le tabouret : Bernard de Bosson. Son souvenir du Caméléon : « C’était une grande et longue cave voutée, avec un minibar dans un renfoncement, des tables….Je jouais avec Dominique Chamson et j’accompagnais Guy Lafitte… Boîte mythique, avec, au rez-de-chaussée, un bar mais en même temps une discothèque où tu pouvais demander au mec de te mettre un disque de Sarah Vaughan… Et au sous-sol il y avait la cave où on jouait, - Il y avait Michel Hausser au vibraphone – et quand on jouait, souvent Bud Powell venait jouer avec nous. Quand il s’avançait vers moi, je savais qu’il voulait se mettre au piano, alors moi, je rentrais dans le mur…» De Bosson, devenu PDG des disques Warner-Elektra-Atlantic, éditera de nombreux albums de Les McCann dans les années 70.<br />Aujourd’hui, un bon demi-siècle plus tard, Les McCann fait encore 2 ou 3 gigs par an, et reste aussi actif et créatif par ses aquarelles et photographies. Il a sorti en avril 2015 “Invitation to Openness”2 un grand album de ses photos de jazz captées pendant la période 1960 /1980, des clichés intimes de Stevie Wonder, Nina Simone, Sammy Davis Jr., John Coltrane, Aretha Franklin, Nancy Wilson, Quincy Jones, Tina Turner, Miles Davis, Cannonball Adderley, Louis Armstrong, Count Basie, B.B. King, Erroll Garner, Stanley Clarke, Bill Evans, Lionel Hampton…<br />« Invitation to Openness », était déjà le titre d’un album du pianiste de 1972 : « Cette phrase, «Invitation to Openness » : c’est le symbole de ce que suis… Dans ma vie pour moi maintenant, il a deux choses : l’amour ou la peur. C’est le seul choix que vous pouvez faire aujourd’hui. Voilà ce que j’ai appris. Ouvrez votre cœur à l’amour à tout moment ; ne dites jamais plus : non ! »<br />Et maintenant, à vous d’ouvrir la porte du Caméléon, ça va commencer. Et puis, vous pouvez siffloter, si ça vous chante…<br /><strong>Michel BRILLIÉ</strong><br />© FRÉMEAUX & ASSOCIÉS 2016<br />1. Chitlin’ Circuit : la « tournée des tripes ». Les « Chitterlings ou Chitlins sont un plat typiquement soul food du sud des USA. Le Chitlin’ Circuit désigne l’itinéraire des tournées des artistes afro-américains, les villes et les endroits où ils pouvaient se produire sans être victimes de ségrégation ou d’agressions. Du début du 19e siècle jusqu’aux sixties du 20e, ces tournées passaient essentiellement dans des zones situées dans les états du Sud, de l’Est et du Midwest des U.S.A. Les salles les plus célèbres étaient l’Apollo de Harlem, le Regal de Chicago, Le Howard de Washington, l’Uptown de Philadelphie…<br />2. « Invitation to Openness », par Alan Abraham & Pat Thomas, Fantagraphics Books, 2015.<br /></span><span class="Soustitre2">Live in Paris, July 28, 1961: <br />Les McCann Trio Live at the Caméléon Club, <br />Paris France</span><span class="Texte"><br /></span><span class="Soustitre">Soul on top</span><span class="Texte"><br />“No whistling.” It’s a rather kind Les McCann that scolds the audience that night of July 28,1961, as some of the patrons sipping their Bacardi & Coke have started to hum the world famous Les Paul & Mary Ford standard, “How High the Moon”. Actually, this number opening the Les McCann trio set lends itself well to this type of karaoke sing-along… Since the Parisian night birds do not pipe down, McCann warns them again in a firmer tone: “Hey! No whistling!” After all, these guys are really something… Four days ago, from July 18 to 24, the three musicians have become the revelation of the second Jazz Festival in Antibes/Juan-les-Pins. When they arrived on the Côte d’Azur, hardly anybody knew anything about them in Europe. When they left, they had virtually been the stars of the show, on par with other musicians, such as Ray Charles, for the first time in France, Count Basie and his band, the vocal trio of Lambert, Hendricks & Ross, Sister Rosetta Tharpe…Their music, an efficient blend of blues, gospel and vocal growling and mumbling à la Garner, was a big hit. McCann stole the show: a new soul had arrived…<br />Flashback on a long and winding route. Little Les was born in Lexington, among the Kentucky rolling green hills. As a child, a nice old lady from his neighborhood gave him some piano basics, soon to be forgotten. Later the teenager took part in his local high school marching band. “Rhythm was part of my childhood. All we did was rhythm things”, he confides in June 2015 to Chris Slaweski of All about Jazz.com. “I grew up doing a rhythm thing they used to call the Hambone”, an American style of dance that involves stomping as well as slapping and patting the arms, legs, chest, and cheeks, while turning counter-clockwise, often with one leg raised. “Rhythm is my middle name. That’s what we were raised on in Kentucky. That’s what it was all about. And tap dancing—watching great dancers like Bill Robinson at the theater right around the corner from my house, live shows. The Chitlin’ Circuit1, it was called.”<br />At the onset of the fifties, Les McCann joins the Navy. He also starts playing the piano again, this time more seriously. As he is stationed at a northern California naval base, he takes every opportunity to visit San Francisco’s jazz clubs, where he is first exposed to Miles Davis and is influenced by Erroll Garner. He shares with the musician the same way of growling the tune he is playing on the piano. When a sailor, he enters a talent contest in the Navy and wins as a singer, which gets him a TV appearance on the Ed Sullivan Show. Always a bit of a rebel, the ex-Sailorman turns down a Miles Davis’ suggestion to have him join the Cannonball Adderley combo and prefers to form his own trio. The first year of the sixties propels the pianist as a leader of the soul jazz trend, recording live albums in Los Angeles and San Francisco.<br />And then, one year later, here comes international fame at the Antibes Jazz Festival. “This is the best audience, I ever had!” he tells the French press. A public acclaim slightly toned down by critics:<br />“Every night, at intermission, people would buy his records like hot cakes. Each and every night, McCann would witness with great satisfaction the growing sales, and deftly gives some information about his records at the stage mike… While he appeared as a shrewd businessman who will definitely take care of his career, McCann is not, however the greedy rogue that some depict. People that know him praise his open-mindedness, his charming frankness, his excellent knowledge of the musical aesthetic. During four nights, McCann displayed his comprehensive abilities – and obsessions. With its churchy feeling and bluesy playing, McCann’s style reaches some kind of classic rigidity and pureness to the excess.” (Jean Robert Masson, Jazz Magazine, September 1961)<br />In the same month issue of Jazz Hot Magazine, Jean Tronchot gives his understanding of the McCann phenomenon: “Les McCann is a funny little guy who obviously enjoys playing. The three black men, Les McCann (p), Herbie Lewis (b), and Ron Jefferson (d) have suddenly been discovered by the Juan-les-Pins crowd, here essentially to see Ray Charles or Count Basie. This element of surprise, this shock account for his triumph. On the whole, the man has few ideas, but a lot of swing …/… Anyway, he takes every opportunity to play. On several occasions, we heard him jam with Lambert Hendricks & Ross, around 4:00 AM, at the Pam-Pam Club.”<br />When interviewed in November 2015, he had a vivid recollection of that time, in spite of a stroke that somewhat blurs his memory: “Then I was very young and nervous going on after Ray Charles. It was the first time I played in front of a whole bunch of people. I remember the promoter told me to get off the stage and all we could play was twenty minutes, but the people asked for more and I ended playing my music to people who loved it… It’s one of those moments when you thank God it happened.”<br />Echoing this success were the two nights at the Caméléon Club in Paris. It was such a smash that on the first gig “they had to pull back the walls of the jazz cellar to let the eager fans in to have them experience the latest discovery in American jazz” (Jazz Hot). This Latin Quarter watering hole is a familiar place among Parisian jazz aficionados. Perhaps you don’t find as many famous musicians here, like Art Blakey at the Club Saint Germain, Bud Powell at the Blue Note, Memphis Slim at the Trois Mailletz. Some time later, Chet Baker will establish himself a stone throw from there; at the Chat qui Pêche…The Vietnamese owner of the Caméléon is more into French house bands. Henri Renaud, for one, is a regular. When he is not available, a young self-taught pianist takes over: Bernard de Bosson. His remembrance of the Caméléon: “It was a large and long arched cellar, with a small bar in a recess, some tables… I used to play with Dominique Chamson, or back Guy Lafitte… A real cult place: at street level, a bar that doubled as a disco, you could ask the guy to play some Sarah Vaughan album… And in the basement, that’s where we performed – There was also Michel Hausser on vibes – sometimes when we played, Bud Powell would join us. When he walked gingerly towards my stool, I knew he wanted to play the piano, so I would gradually dissolve into the wall…” De Bosson later became C.E.O. of Warner-Elektra-Atlantic Records and issued several Les McCann albums in the seventies.<br />Today, a good fifty years later, Les McCann still plays two or three gigs per year, and stays active/creative with his watercolor paintings and photographs. His latest book, Invitation to Openness2 was published in April 2015. It is a comprehensive collection of his jazz photos shot between 1960 and 1980, some intimate pictures of Stevie Wonder, Nina Simone, Sammy Davis Jr., John Coltrane, Aretha Franklin, Nancy Wilson, Quincy Jones, Tina Turner, Miles Davis, Cannonball Adderley, Louis Armstrong, Count Basie, B.B. King, Erroll Garner, Stanley Clarke, Bill Evans, and Lionel Hampton…<br />Invitation to Openness was already the title of one of McCann’s albums in 1972: “That phrase, Invitation to Openness, symbolizes what I am. I look at life now as only two things, love or fear. Make that choice in everything you do. I’ve learned that. Open up your heart to love at all times. Never say no again.” <br />And now, open the door to the Caméléon, the gig’s just about to start. And hey, you can whistle along, if you feel like it.<br /><strong>Michel BRILLIÉ</strong><br />© FRÉMEAUX & ASSOCIÉS 2016<br />1. The “Chitlin’ Circuit” is the collective name given to the string of performance venues throughout the eastern, southern, and upper Midwest areas of the United States that were safe and acceptable for African American musicians, comedians, and other entertainers to perform  during the age of racial segregation in the United States (from at least the early 19th century through the 1960s).<br />2. Invitation to Openness, by Alan Abraham & Pat Thomas, Fantagraphics Books, 2015.<br />Live in Paris 28 Juillet 1961: <br />Les McCann live at the Caméléon Club, <br />Paris France<br /></span><span class="Soustitre2">CD1</span><span class="Texte"><br /> 1. A Little 3/4 Time for God & Co (Les McCann)    5’17  <br /> 2. Vacushna (Les McCann)    5’28  <br /> 3. I Am Love (Cole Porter)     8’20<br /> 4. Everything Happens to Me (Tom Adair / Matt Dennis)     5’19<br /> 5. The Truth (Les McCann)     7’32  <br /> 6. Little Girl Blue  (Lorenz Hartz / Richard Rodgers)     8’16<br /> 7. They Can’t Take That Away from Me (Ira Gershwin / George Gershwin)     3’01<br /> 8. Vacushna (Reprise) (Les McCann)     2’00  <br /> 9. How High the Moon (Nancy Hamilton / Morgan Lewis)     11’33<br />10. I’ll Take Romance (Oscar Hammerstein II / Ben Oakland)     5’39<br /></span><span class="Soustitre2">CD 2</span><span class="Texte"><br />1. Unidentified (Les McCann)     9’59  <br />2. Out of This World (Harold Arlen / Johhny Mercer)     10’29<br />3. Oh Them Golden Gaters (Les McCann)    4’36  <br />4. Red Sails in the Sunset (Jimmy Kennedy / Hugh Williams)    9’20<br />5. Someone Stole My Chitlings (Les McCann)    5’10  <br />6. Deed I Do (Walter Hirsch / Fred Rose)     10’13<br />7. Dorene Don’t Cry (Les McCann)    5’47  <br />8. Come on and Get That Church (Les McCann)    9’06  <br />Recorded by:  <br />Europe N°1 Technical Staff  <br /> <br />Recording Date:<br />July 28,1961 <br /> <br /> <br />Recording Place:<br />Cameléon Jazz Club, Paris, France <br /> <br />Produced by:  <br /> Daniel Filipacchi & Frank Ténot <br /> <br /> <br /><strong> <br />Personnel:<br />Les McCann piano<br />Herbie Lewis bass<br />Ron Jefferson drums</strong><br /> <br /> Dedicated to Claude Boquet, Bill Dubois, Jean Claude, Philippe Moch and the gang<br />La collection Live in Paris :<br />Collection créée par Gilles Pétard pour Body & Soul <br />et licenciée à Frémeaux & Associés.<br />Direction artistique et discographie : Michel Brillié, Gilles Pétard.<br />Coordination : Augustin Bondoux.<br />Conception : Patrick Frémeaux, Claude Colombini.<br />Fabrication et distribution : Frémeaux & Associés.<br />Les McCann est au début des années 1960 l’un des pionniers du soul jazz, courant commercial selon certains, qui puise des mélodies efficaces dans le rhythm & blues, le gospel et du blues. Jeune pianiste, il signe avec la firme Pacific Jazz en 1960 et entame une tournée européenne avec son trio en 1961 et 1962, à travers laquelle il côtoie les orchestres de Ray Charles et de Count Basie. La collection Live in Paris permet de retrouver les grands concerts parisiens, mais également des enregistrements rares, plus confidentiels comme celui-ci. Enregistré en juillet 1961 au Caméléon, mythique boite de jazz de la Rive Gauche, on y entend un Les McCann inspiré grommeler les mélodies, admonester gentiment un public mélomane, qui sifflote les mélodies. Un coffret ‘soulful’, où l’on perçoit volutes des fumées de cigarettes, ressent la moiteur des murs du caveau et où l’on est transporté par la générosité et le swing du pianiste. Un document rare. <br /><strong>Patrick Frémeaux</strong><br />In the early Sixties Les McCann was a pioneer of “soul jazz”. Critics called it commercial, but the music drew efficient melodies from blues, gospel and rhythm & blues. The young pianist McCann signed with Pacific Jazz in 1960 and toured Europe with his Trio on ‘61 and ‘62, opening for the orchestras of Ray Charles and Count Basie. The “Live in Paris” collection gives us the opportunity to listen to these great concerts again, and also hear rare recordings like this one, recorded in July ‘61 at the Chameleon club in Paris, a legendary Left Bank nightspot. The inspired McCann also growls characteristically, kindly admonishing his audience when they whistle along with the melody, and everyone has a good time. The jazz is soulful in this set, and you can almost see the club’s damp walls beneath wreaths of smoke. A rare document that transports the listener, thanks to a generous, swinging pianist.     <br /><strong>Patrick FRÉMEAUX</strong><br />La collection « Live in Paris », dirigée par Michel Brillié, permet de retrouver des enregistrements inédits (concerts, sessions privées ou radiophoniques), des grandes vedettes du jazz, du rock & roll et de la chanson du XXe siècle. Ces prises de son live et la relation avec le public apportent un supplément d’âme et une sensibilité en contrepoint à la rigueur appliquée lors des enregistrements studio. Une importance singulière a été apportée à la restauration sonore des bandes pour convenir aux standards CD tout en conservant la couleur d’époque.     <br /><strong>Patrick FRÉMEAUX & Gilles PÉTARD </strong><br />The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock & roll and song. These “live” takes, and the artists’ rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet CD standards while preserving the original colours of the period.     <strong><br />Patrick FRÉMEAUX & Gilles PÉTARD</strong><br /></span></p>
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        <h3>Horace Silver Live in Paris FA5641</h3>\r\n
        <p><span class="Soustitre2"><br />HORACE <br />SILVER<br /></span><span class="Soustitre">14 FÉVRIER 1959</span><span class="Soustitre2"><br />Live in Paris</span><span class="Texte"><br /></span><span class="Soustitre">La collection des grands concerts parisiens<br />Dirigée par Michel Brillié et Gilles Pétard</span><span class="Texte"><br /></span><span class="Soustitre">Le Lord du Funk</span><span class="Texte"><br />« Funky, comment ça funky ? Tu prends un bain tous les jours ! » C’est le père d’Horace Silver qui réagit à un article de Downbeat, le magazine de jazz américain, qui vient de titrer son article sur le pianiste avec cet adjectif.1 Pour le pianiste/compositeur, qui rapporte cette anecdote dans son autobiographie2, cette réplique est assez amusante, compte tenu du style de vie du musicien. Elevé dans un cadre familial plutôt strict – son père est originaire des îles du Cap Vert – il aura toute sa vie une conduite rigoureuse : pas d’alcool, pas de drogues, pas de tabac, une nourriture équilibrée et vitaminée. A 20 ans, ses voisins l’appellent « Nature Boy », le tube de Nat King Cole du moment. Une vie quasi monacale, si l’on exclut la partie sentimentale, plus dense. Même si, comme il l’écrit, Horace Silver n’a eu qu’une seule vraie femme dans son existence : « Lady Music ».<br />Funk…ou Soul ? Pour en revenir à la qualification de cette variation hard bop du début des sixties, les spécialistes se grattent la tête. Dans le numéro d’avril 1961 de Jazz Magazine, Michel-Claude Jalard essaye de synthétiser : « Le soul semble procéder tout naturellement de ce que, ces dernières années, l’on a appelé le funky. Les jazzmen ont tendance à substituer le terme « soul » au terme « funky » adjectif extrêmement trivial suggérant une idée de puanteur. »<br />Donc, en ce mois de février 1959, on en est bien encore au… funk. Alors, soul, funk : à Horace le dernier mot, rapporté dans Jazz Hot du même mois : « Tout ce qu’il faut à un musicien c’est du soul (traduisez du funk). C’est la seule chose qui compte. Et en tant que bonhomme, tout ce que je lui demande, c’est d’être bien lavé… » Hygiène du corps et de l’âme, le prêcheur tient bien en main ses ouailles. <br />Ce 14 février 1959, c’est la Saint Valentin… Fidel Castro va devenir premier ministre de Cuba, le premier circuit intégré est créé par Texas Instruments, et Elvis Presley, trouffion pour l’Oncle Sam en Allemagne, se prépare à passer sa prochaine permission à Paris, avec visite des girls du Lido… <br />Horace Silver et ses musiciens débarquent ce samedi 14 sous une douce météo parisienne. C’est sa première tournée européenne, dotée d’un planning pas trop lourd : le 14 à Paris, le 23 à Marseille, le 24 à Lyon, avec une escapade le 20 à San Remo, en Italie. Pendant son passage dans la capitale française, le quintet va jouer pour quelques dizaines de privilégiés serrés comme des harengs au célébrissime Club Saint Germain, rue Saint Benoit. <br />Le pianiste est par nature un être discret et réservé. Pourtant il aurait de quoi se pousser du col : il est déjà apprécié du public français – Pour ceux qui aiment le jazz, l’émission vedette d’Europe N°1 de Frank Ténot et Daniel Filipacchi le suit depuis plusieurs années : « Dès qu’un musicien intéressant arrivait, comme Horace Silver, il était matraqué à l’antenne », confirme Daniel à Jean-Louis Ginibre3. En 59, Silver a déjà joué avec la crème du jazz : Cannonball Adderley, Art Blakey, Miles Davis, Stan Getz, Coleman Hawkins, Milt Jackson, Quincy Jones, Lester Young…<br />Juste avant de s’envoler pour la vieille Europe, Horace Silver a enregistré Finger Poppin’, son dernier album aux studios de Rudy Van Gelder dans le New Jersey, avec son tout nouveau quintet : Blue Mitchell (tp), Junior Cook (ts), Eugene Taylor (b), Louis Hayes (ds). Cette formation deviendra l’archétype des quintets du pianiste – celui qui aura la plus grande longévité aussi. « Sweet Stuff », le morceau qu’il interprète à l’Olympia pour la première fois en public, fait partie de ce nouvel opus.<br />Le reste de la setlist des deux concerts bien remplis – 18h et minuit – est sage : une majorité de thèmes connus. Horace Silver les interprète avec toute sa fougue, « chétif, mèche en suspens sur l’œil que l’on devinait extatique, gestes saccadés, pied effectuant une gigue folle autour du tabouret. Avec une sorte de rage démoniaque, il frappait des notes sèches, des phrases courtes que sa main gauche accompagnait puissamment. » (Jean Pierre Binchet, Jazz Magazine, N°87)<br />« Room 608 » fait référence au numéro de la chambre que Silver a occupé à l’Arlington Hotel de New York, au milieu des années 50, et où il l’a composé, en même temps que « Doodlin’ » et « The Preacher ». L’endroit était l’un des lieux favoris de Miles Davis, Duke Jordan ou Art Farmer. Miles adorait ‘Doodlin’’, se rappelle Horace : « la première fois que je l’ai joué à Basin Street, il m’a rejoint après le set et m’a dit : « mec, ce truc, « Doodlin’ », c’est tellement funky ! Si j’étais une fille, ca me donnerait envie de coucher avec toi4… C’est Miles qui m’a fait l’un des plus beaux compliments que j’ai jamais eu : au Birdland, il est venu me voir et m’a dit que j’étais un ‘pur-sang’. »<br />« The Preacher » est sans doute le thème « silverien » par excellence. L’amusant est qu’il a failli ne jamais voir le jour. A l’écoute des premières répétitions du titre, en 1955, les propriétaires des disques Blue Note, Alfred Lion et Frank Wolff, ont trouvé que ça ressemblait trop à du Dixieland, et qu’on devait le remplacer par une impro de blues. Il a fallu qu’Horace Silver et Art Blakey insistent lourdement pour que « The Preacher » soit enregistré…<br />« Senor Blues » date de fin 56, et est, avec « Song for My Father », le morceau les plus vendu de Silver. Les deux titres sont une référence au père de Silver, John Tavares Silva, qui l’a élevé seul avec une grande tante après la mort de la mère d’Horace, quand il avait 9 ans.<br />Silver adorait voyager : pendant la décennie on va le retrouver un peu partout sur le globe, au Japon (ce qui va inspirer « Tokyo Blues ») ou au Brésil, que son ami et pianiste Sergio Mendes lui a fait découvrir. C’est de retour de ce voyage effectué pendant la période du Carnaval, que « hanté par le rythme de la bossa-nova », le pianiste compose « Song for My Father » - de fait plus inspiré par les vieilles mélodies traditionnelles du Cap Vert que son père jouait à la maison. Silver revisite Paris en Octobre 1962, puis en fin 68 en Europe pour une tournée organisée par le gouvernement américain. Il ne réapparaît dans la capitale française qu’en 1995, à l’occasion d’un album en son hommage enregistré par Dee Dee Bridgewater, Love and Peace, a Tribute to Horace Silver. Silver y joue sur deux titres, dont « Song for My Father ». Ce retour en France est chargé d’une émotion un peu particulière : Horace Silver y retrouve l’une de ses filleules, Allison LaFontaine, la petite fille de ses vieux amis du Connecticut, les Russell. Allison, qui vit toujours à Paris, est un peu émue de se souvenir de son parrain :<br />« Toute petite, je le voyais chez mes parents. Là il pouvait être lui-même, simple, naturel… Quand il revenu dans ma vie, à Paris, en 1995, c’était très important pour moi. Je me suis occupé de lui, j’avais un scooter Peugeot 80, et il était partant, alors je l’ai baladé à l’arrière, de gauche à droite dans Paris, depuis son hôtel dans le 18e, je l’ai amené chez Dee Dee… Je crois qu’il a fait un concert au Zénith à ce moment, et il a aussi joué au Blue Note… C’était un être humble et accessible. Spirituellement, c’était mon vrai père. »<br />Horace Silver est mort le 18 Juin 2014 à New Rochelle, dans l’état de New-York. A la fin de son livre autobiographique, il tient à reproduire ses paroles de « My Spirit’s With You », un extrait de la suite Message for the Maestro qu’il a composée en hommage à Duke Ellington :<br />Composer, composer, the melody’s closer now.<br />Look over your shoulder, don’t worry I’ll show you how.<br />My spirit’s with you, leading you on.<br />My spirit’s with you, so go ahead and write your song.5<br /></span><span class="Soustitre">Michel Brillié</span><span class="Texte"><br />© 2016 FRÉMEAUX & ASSOCIÉS<br />1. Funky ou funk dénomme à l’origine une odeur de transpiration, d’origine sexuelle par exemple. Comme l’explique le chanteur Wilson Pickett dans l’histoire de la soul music, Nowhere to Run : « Avant, le mot funk désignait une activité que l’on faisait dans le noir et dans le plus simple appareil. » (Nowhere to Run, par Gerri Hirshey, traduction de Nicolas Guichard, Editions Rivages, 2013). C’est dans les années 50/60 que funky devient un mot d’argot des musiciens de jazz pour désigner ce style « charnel » qui amalgame blues, jazz, gospel.<br />2. Let’s Get to the Nitty Gritty, University of California Press, 2006. Les plupart des citations verbatim d’Horace Silver sont extraites de ce livre.<br />3. Les Années Jazz Magazine, Filipacchi Editions, 1994<br />4. Traduction très édulcorée des propos de Miles, dont vous pouvez apprécier la réelle teneur dans la version anglaise du texte. <br />5. Compositeur, ta mélodie n’est plus très loin.<br />Regarde par-dessus ton épaule, ne t’inquiète pas, je vais te montrer.<br />Mon esprit est avec toi, qui te guide.<br />Mon esprit est avec toi, alors vas-y, écris ta chanson.<br /></span><span class="Soustitre2">Horace Silver  Live in Paris  February 14th 1959<br /></span><span class="Soustitre">By Michel Brillié</span><span class="Texte"><br /></span><span class="Soustitre">The Lord of Funk</span><span class="Texte"><br />“Funky, what do you mean, funky? You take a bath everyday…”1 This is Horace Silver father’s reaction when he reads U.S. jazz monthly  Downbeat’s story on his son the pianist. A rather amusing reply for the musician and composer, considering his own way of life. This is what he writes in his autobiographical book, Let’s Get to the Nitty-Gritty.2 Horace was raised in a somewhat strict family circle – his father being of Cape Verde extraction – and will abide by the rules all his life: no booze, no drugs, no smoking, along with health food and lots of vitamins. When he was around 20, his friendly neighbors nicknamed him “Nature Boy” after the  hit song by Nat King Cole. Quite a monk-like life, with the exception of his much more active love life. Even though, as he himself writes, Horace Silver has had only one true love in his life, “Lady Music”.<br />Funk…or Soul? To get back to what people called at this time this hard bop variety of the early sixties, even scholars are at a loss. In the April 1961 issue of Jazz Magazine, Michel-Claude Jalard tries to set the record straight: “Soul seems to stem in a natural way from what was called recently funky. Jazzmen tend to substitute the word soul in lieu of funky, an extremely trivial adjective with a strong stench connotation.”<br />So, as of February 1959, we are still at the funk level. Well, soul or funk, let’s give the final word to Horace himself, speaking at the same time to Jazz Hot Magazine: “All it takes to a musician is to have soul (Jazz Hot translation: funk…) that’s all that matters. And, as a man, all I’ll ask from him is to be clean...” A good hygiene of the body and the mind, the preacher looks after his flock.<br />This Saturday the 14th of February, it’s Valentine’s Day. In a few days, Fidel Castro will become prime minister of Cuba. Texas Instruments will create the first memory chip. Elvis Presley, who is serving in the U.S. Army in Germany, is getting ready for his next leave in Paris, including a visit to the Lido chorus line girls. Horace Silver and his men arrive in Paris under a pleasantly mild Parisian weather. This is their first European tour, with a rather light agenda: Paris on the 14th, then on to Marseille on the 23rd, Lyon on the 24th, and a sidestep to San Remo, Italy on the 20th. While the quintet is in Paris, it’s set to play also for several dozens of jammed lucky customers in the world-known Club Saint Germain.<br />The pianist is in essence a quiet and reserved person. And yet he really could have something to boast about: The French audience already knows and likes him – For Those Who Dig Jazz, the top-rated radio show on Europe N°1 Station hosted by Frank Ténot and Daniel Filipacchi has strongly supported him: “When we found an interesting new musician such as Horace Silver, we would immediately play his records heavily” confirms Daniel to Jean-Louis Ginibre.3 In 1959, Silver has already played with top names in jazz such as Cannonball Adderley, Art Blakey, Miles Davis, Stan Getz, Coleman Hawkins, Milt Jackson, Quincy Jones, or Lester Young…<br />Just before flying off to Europe Horace Silver has recorded at Rudy Van Gelder’s New-Jersey studio his latest album, Finger Poppin’, with his brand new quintet: Blue Mitchell (tp), Junior Cook (ts), Eugene Taylor (b), Louis Hayes (ds). This group remains the epitome of all of Silver’s quintets – the longest lasting one as well. “Sweet Stuff”, the number that the musicians play for the first time at the Olympia, is part of this new album. <br />The rest of the set list of the two well-attended concerts, at 6PM and midnight, is carefully chosen, with a vast majority of well-known numbers.  Horace Silver performs them with spirit, “a puny guy with a lock of hair dangling in front of his ecstatic eyes, his hands jerking about and his feet madly dancing around the stool. With a kind of demonic rage, he punched dry notes into the keyboard, short phrases that his left hand backed with power.”  (Jean Pierre Binchet, Jazz Magazine, N°87)<br />”Room 608” was Horace’s room number at the Arlington Hotel in New-York in the mid-fifties. This is where he composed the tune, along with “Doodlin’” and “The Preacher”. The place was a favorite of Miles Davis, Duke Jordan or Art Farmer. Miles really loved “Doodlin’”, recalls Horace: “I had just written it, and we played it for the first time that night (at Basin Street). Miles came up to me after the set and said, “Man, that tune ‘Doodlin’’ is so funky. If I was a bitch, I’d give you some pussy”... I’ll always remember the great compliment that Miles Davis paid me. At Birdland, he came over to me and said that drummer Louis Hayes and I were thoroughbreds.”<br />“The Preacher” is probably the epitome of “Silverian” themes. The funny thing is that it was almost never recorded. When the owners of Blue Note Records, Alfred Lion and Frank Wolff, listened to the tune at an early rehearsal in 1955, they thought it sounded too much like  Dixieland music, and they suggested to suppress it  and jam a blues in its place. Horace Silver and Art Blakey so strongly insisted that “The Preacher” finally got recorded.<br />“Senor Blues” is from late ’56, and, along with “Song for My Father”, Silvers’ best-selling tune. Both are in reference to Silver’s father, John Tavares Silva, who raised him on his own with a grandaunt after Horace’s mother died when he was 9.<br />Silver enjoyed travelling a lot. Throughout the decade, he went all over the world, in countries such as   Japan (an inspiration to “Tokyo Blues”) or Brazil, where he was invited by his friend, the pianist Sergio Mendes. When he returned from that trip having experienced the Rio Carnival, he was “haunted by the rhythm of bossa-nova” and composed “Song for My Father” – which in fact sounds more like the old Cape Verdean melodies that his dad used to play. Silver came back to Paris in October 1962, then in late ’68 for a European Tour sponsored by the U.S. Government. He then returned to the city only in 1995, when Dee Dee Bridgewater recorded a full album of his tunes “Love and Peace: A Tribute to Horace Silver”. The pianist plays on two of the tracks; one of them is “Song for My Father”. <br />This trip back to France had a very emotional moment: Horace Silver’s reunion with Allison LaFontaine, one of his goddaughters, which he hadn’t seen in a long time. Allison is the granddaughter of the Russells, Silver’s old friends in Connecticut. She still lives in Paris, and is somewhat moved at the memory of her godfather: “As a child, I used to see him at my parents’ place. There he was himself, a simple, natural man… When he came back into my life, in 1995, it was a very important moment for me. I took care of him; I had a small Peugeot 80 scooter, and he was willing, so, he rode in the back of me from his hotel in the Montmartre area to Dee Dee’s place… I believe he did a gig at the Zenith at that time, and he also played at the Blue Note... He was a humble and open-minded man. He was in fact my spiritual father.”<br />Horace Silver died on June 18, 2014, in New Rochelle, New-York. At the end of his autobiography, he really wanted to quote some verses from “My Spirit’s With You”, an excerpt from “Message for the Maestro”, the suite he composed in tribute to Duke Ellington: <br />Composer, composer, the melody’s closer now.<br />Look over your shoulder, don’t worry, I’ll show you how.<br />My spirit’s with you, leading you on.    <br />My spirit’s with you, so go ahead and write your song.    <br />© 2016 FRÉMEAUX & ASSOCIÉS<br />1. The word funk initially referred (and still refers) to a strong body odor. And, as soul singer Wilson “The Wicked” Pickett explains Gerri Hirshey in her wonderful book on Soul Music, “Nowhere to Run”: “Once, funk was something you do in the dark with very basic equipment…”  (Da Capo Press, 1994)<br />2. By Horace Silver; University of California Press, 2006. Most of the verbatim mentioned here are excerpts from this book.<br />3. Les Années Jazz Magazine, Filipacchi Editions, 1994.<br /></span><br /><span class="Texte"><span class="Texte">Horace Silver was the co-founder of the Jazz Messengers (with Art Blakey), and he was a pianist who left an indelible mark on the history of jazz. An unavoidable figurehead in the ‘hard bop’ and ‘soul jazz’ movements (which he helped to initiate), at the turn of the Sixties he was one of the major artists to record for Blue Note. This album of his first concert in Paris – issued here for the very first time on CD — includes a tasty version of his hit Señor Blues, the cornerstone of the funky soul jazz to come.<br /><strong>Patrick FRÉMEAUX</strong><br />The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock & roll and song. These “live” takes, and the artists’ rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet CD standards while preserving the original colours of the period.     Patrick <strong>FRÉMEAUX & Gilles PÉTARD</strong></span><br />1. Horace Silver Introduction (Horace Silver)    01’33<br />2. The Preacher (Horace Silver)    11’55 <br />3. Room 608 (Horace Silver)    15’08<br />4. Doodlin’ (Horace Silver)    18’18<br />5. Sweet Stuff (Horace Silver)    08’30<br />6. Señor Blues (Horace Silver)    13’18<br />Total time : 1h09’<br />Recorded by: <br />Europe N°1 Technical Staff <br />Recording Date:<br />February 14,1959<br />Recording Place<br />Olympia Theater, Paris, France<br />Produced by: <br />Daniel Filipacchi, <br />Norman Granz & Frank Ténot<br />Personnel:<br />Horace Silver, piano • Junior Cook, tenor sax • Blue Mitchell, trumpet<br />Gene Taylor, bass • Louis Hayes, drums<br />Dedicated to Claude Boquet, Bill Dubois, Jean Claude, Philippe Moch and the gang<br /><strong>La collection Live in Paris :</strong><br />Collection créée par Gilles Pétard <br />pour Body & Soul<br />et licenciée à Frémeaux & Associés.<br />Direction artistique et discographie : <br />Michel Brillié, Gilles Pétard.<br />Coordination : Augustin Bondoux.<br />Conception : Patrick Frémeaux, <br />Claude Colombini.<br />Fabrication et distribution : <br />Frémeaux & Associés.<br />Cofondateur des Jazz Messengers avec Art Blakey, Horace Silver est un pianiste qui a marqué durablement l’histoire du jazz. Incontournable figure des mouvements hard bop et du soul jazz (dont il est l’un des initiateurs), il est, au tournant des années 1960, l’un des artistes majeurs de la firme Blue Note. Pour la première fois éditée en CD, voici son premier concert parisien, il offre ici une savoureuse version de son tube Señor Blues, pierre fondatrice de ce qui allait devenir le funky ou soul jazz.<br /><strong>Patrick FRÉMEAUX<br /></strong></span><span class="Texte">La collection Live in Paris, dirigée par Michel Brillié, permet de retrouver des enregistrements inédits (concerts, sessions privées ou radiophoniques), des grandes vedettes du jazz, du rock & roll et de la chanson du XXe siècle. Ces prises de son live, et la relation avec le public, apportent un supplément d’âme et une sensibilité en contrepoint de la rigueur appliquée lors des enregistrements studios. Une importance singulière a été apportée à la restauration sonore des bandes, pour convenir aux standards CD tout en conservant la couleur d’époque.    <strong>Patrick FRÉMEAUX & Gilles PÉTARD </strong><br /></span><span class="Texte"><br />THE HORACE SILVER QUINTET<br />Horace Silver, piano // Junior Cook, tenor sax // Blue Mitchell, trumpet // Gene Taylor, bass // Louis Hayes, drums<br />1. Horace Silver Introduction (Horace Silver)    01’33<br />2. The Preacher (Horace Silver)    11’55 <br />3. Room 608 (Horace Silver)    15’08<br />4. Doodlin’ (Horace Silver)    18’18<br />5. Sweet Stuff (Horace Silver)    08’30<br />6. Señor Blues (Horace Silver)    13’18<br /></span></p>
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