array:12 [
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    -imageRetriever: ImageRetriever {#621
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    -link: Link {#163}
    -priceFormatter: PriceFormatter {#628}
    -productColorsRetriever: ProductColorsRetriever {#624}
    -translator: TranslatorComponent {#55
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      -formatter: MessageFormatter {#56
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      -debug: false
      -configCacheFactory: ConfigCacheFactory {#58
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    #settings: ProductPresentationSettings {#619
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      "description" => """
        <p><strong>PARTENARIAT JAZZ RADIO</strong><br />Une nouvelle venue dans la famille de la chanson swing ?<br />Si Sandrine Mallick n’en est pas à ses premiers pas artistiques, c’est bien d’une histoire de famille qu’il s’agit avec la réunion des grands représentants du swing, du scat et de la chanson : Ludovic Beier, Doudou Cuillerier, Antonio Licusati, et l’ombre tutélaire d’Angelo Debarre.<br />Sandrine Mallick signe les titres pleins d’entrain de Lucioles chatoyantes enregistrées avec le soutien complice et créatif de City Record et de Ludovic Beier, à qui l’on doit la majorité des musiques. Un album réconciliant chanson française, show déjanté sensuel et cynique, et swing ravageur de la Bande à Beier !<br /><strong>Benjamin Goldenstein &amp; Patrick Frémeaux<br /></strong><br />Sandrine Mallick : Chant - Philippe "doudou" Cuillerier : Guitare - Antonio Licusati : Contrebasse - Ludovic Beier : Accordéon, accordina, claviers, piano<br />Invités : Frédéric Rottier (sur 1, 5, 7, 8 et 13) : Batterie, percussions - Jean-Paul Jamot (sur 1, 5 et 10) : Banjo, mandoline et guitare électrique - avec la participation amicale d'Angelo Debarre (guitare sur 3)</p>\n
        <p><em><br />Another newcomer to the family of swinging songs?<br />If Sandrine Mallick isn't exactly a newcomer as an artist, the family notion is still relevant, thanks to this reunion between some of the great representatives of Swing, Scat and Song: Ludovic Beier, Doudou Cuillerier and Antonio Licusati, not forgetting the guidance of Angelo Debarre behind the scenes. <br />Sandrine Mallick has recorded songs that shimmer for "Luciole" (the title means "Firefly"), with the creative support of old friends like City Record and Ludovic Beier, who composed most of the music. This album brings together French chanson, an unhinged spectacle of sensual cynicism and the devastating Swing of the Beier Gang!<br /></em><em><strong>Benjamin Goldenstein &amp; Patrick Frémeaux</strong><br /></em>1. Lucioles (S. Mallick, L. Beier) 4’22 • 2. Incognito (T. Sauvage, F. Martin) 1’07 • 3. Pas touche au Manouche (S. Mallick, L. Beier - A. Debarre) 3’15 • 4. Les p’tits moineaux (S. Mallick, L. Beier) 3’18 • 5. Swing a La Villette (S. Mallick, J.P. Jamot, L. Beier) 3’27 • 6. Intermittite aiguë (S. Mallick, L. Beier) 3’57 • 7. Chinoiseries (S. Mallick, L. Beier) 3’50 • 8. Dans l’ombre de ma diva (S. Mallick, L. Beier) 4’14 • 9. L’évidente (S. Mallick, L. Beier) 2’28 • 10. Volutes de fumée (S. Mallick, P. Cuillerier) 3’00 • 11. Cœur de puma (S. Mallick, L. Beier) 2’46 • 12. Matin d’hiver (S. Mallick, L. Beier) 0’44 • 13. Job alimentaire (S. Mallick, L. Beier) 3’44 • 14. Le jazz band (Leo Ferré) 3’46.<br /><strong>Droits : Frémeaux &amp; Associés en accord avec City Record (Ludovic Beier &amp; Sebastien Smits) </strong></p>\n
        <p><br /><br /></p>
        """
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    -language: Language {#40
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      #fieldsRequiredLang: []
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        "table" => "lang"
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        "classname" => "Language"
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    -arrayAccessList: ArrayObject {#622
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        <p>Jean-Baptiste « Toots » Thielemans a traversé une grande partie de l’histoire du jazz, du début des années 1940 à 2016, l’année de sa disparition. Ce musicien belge, naturalisé américain possède un style inimitable. Considéré comme le plus grand harmoniciste et « siffleur » du jazz, il a accompagné les plus grands : Count Basie, Lester Young ou Billie Holiday, puis Elis Regina ou Bill Evans. Cette intégrale réalisée par Olivier Julien met en lumière ses premiers enregistrements sous son nom. Parmi lesquels on retrouve « The Sound » et « Man Bites Harmonica » qui sont ses premiers chefs d’œuvre et qui allaient faire entrer l’artiste dans la légende. <br />Patrick Frémeaux<br /><br />« (…) “Toots” ne joue pas seulement de l’harmonica. Cela, c’est à la portée de tous. Il a intégré le phrasé, la science de l’improvisation et des harmonies qui lui permettent de tenir son rang. Et, croyez-moi, à l’époque, ce n’est pas rien. Il entre chez Dinah Washington comme on entre à la rue d’Ulm, rejoint le quintette du pianiste George Shearing (1953-1959), constitue son propre groupe et revient, tel le fils prodigue, en Europe. » <br />Par Francis Marmande – Le Monde 22-08-2016</p>\n
        <p>CD1 : THAT’S A PLENTY • HARMONICA RAG • TOOT’S BLUES • RED DEVIL BOOGIE • AT THE DARKTOWN STRUTTERS BALL • HAPPY GO LAZY • MICHIGAN • HIGH SCHOOL CADETS MARCH • ON THE ALAMO • DON’T BE THAT WAY• I’M PUTTING ALL MY EGGS IN ONE BASKET • SOPHISTICATED LADY • SCOTCH ON THE ROCKS • I LET A SONG GO OUT OF MY HEART • STARS FELL ON ALABAMA • DIGA DIGA DOO V SO RARE • SKYLARK • SONNY BOY • COCKTAILS FOR TWO.<br /><br />CD 2 : • EAST OF THE SUN • DON’T BLAME ME • 18TH CENTURY BALLROOM • SOUL STATION • FUNDAMENTAL FREQUENCY • STRUTTING WITH SOME BARBECUE • IMAGINATION • ISN’T IT ROMANTIC • THE NEARNESS OF YOU • IN A SENTIMENTAL MOOD • YOU TOOK ADVANTAGE OF ME • COOL AND EASY • BODY AND SOUL • THE CUCKOO IN THE CLOCK • TANGERINE • EARLY AUTUMN • THEM THERE EYES • A HANDFUL OF STARS • CAN’T HELP LOVIN’ DAT MAN • CLAP YO’ HANDS • YOU ARE MY SUNSHINE • NUAGES • FIVE O’CLOCK WHISTLE • SOUL • LONESOME ROAD • MISTY • CONFIRMATION • LES ENFANTS S’ENNUIENT LE DIMANCHE • BROTHER JOHN • WINTER IN MADRID • WILLOW WEEP FOR ME • SATIN DOLL • BAG’S GROOVE • WE’LL BE TOGETHER AGAIN • HOT TODDY • TRY A LITTLE TENDERNESS • TALK TO ME • LE TROTTOIR • HONEYSUCKLE ROSE • FLIRT.<br /><br />CD 4 : ISN’T IT ROMANTIC • HOMESICK THAT’S ALL • PENTHOUSE SERENADE • A PRETTY GIRL IS LIKE A MELODY • THIS IS ALWAYS • STRANGER IN PARADISE • STAIRWAY TO THE STARS • LOVE WALKED IN • LONG AGO AND FAR AWAY • I LOVES YOU, PORGY • YOU STEPPED OUT OF A DREAM • YOU’RE DRIVING ME CRAZY • HI HO - HI HO • SUMMERTIME • BACK BAY SHUFFLE • VEM KAN SEGLA FÖRUTAN VIND • SECRET LOVE • THE BLUES AND I • FJÄRLIN VINGAD SYNS PÅ HAGA • DELAUNAY´S DILEMMA • THE BLACKSMITH BLUES • BLUE AND YELLOW • CARRY ME BACK TO OLD VIRGINIA • WHISTLE WHILE YOU WORK.</p>
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    -language: Language {#40}
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        <p align="justify">Rendre hommage à Django Reinhardt est une chose relativement aisée et attendue lorsque l’on est guitariste de jazz, et plus particulièrement pour Romane, l’un des fers de lance de la scène jazz-manouche.<br />Toutefois pour son album « tribute », Romane prend résolument les choses à contre courant et s’imagine la verdine du Maitre s’arrêtant devant l’enseigne new-yorkaise du label Blue Note au début des années 1960. <br />Comme son titre (qui sonne résolument sixties) l’indique, Romane assaisonne les compositions de Django Reinhardt au groove du jazz-soul émergeant au début des années 1960 de Jimmy Smith, Brother Jack McDuff ou Lonnie Smith.<br />Adieu la pompe, adieu le swing traditionnel, Romane fait appel à l’incontournable duo Benoît Sourisse (orgue hammond) - André Charlier (batterie) et au contrebassiste Marc-Michel Le Bévillon. <br />Un disque qui a rencontré un grand succès à sa sortie et qui annonce l’album « Roots &amp; Groove » (FA537), qui paraitra 9 ans après, dans lequel le guitariste explorera un jazz-funk encore plus tranché et incisif. <br /><strong>Augustin BONDOUX</strong></p>\n
        <p align="justify"><br />Éditeur de l’intégrale discographique de Django Reinhardt de référence (40 CD, 760 pages de livrets), Frémeaux &amp; Associés est aujourd’hui l’un des premiers producteurs indépendants de jazz manouche. <br />Cette musique tant généreuse et accessible, que savante et technique, démontre la richesse culturelle et musicologique de l’apport du genre manouche à la culture occidentale. <br />Romane en est l’un des plus éminents représentants et ses compositions sont devenues de véritables standards. Frémeaux &amp; Associés célèbre l’oeuvre du guitariste en recueillant l’ensemble de sa carrière phonographique afin de la remettre à la disposition du public dans une Intégrale, dont Djangovision est le huitième volume.<br /><strong>Patrick FRÉMEAUX </strong></p>\n
        <p align="justify"><strong></strong><br /><strong>ROMANE (GUITARE) • BENOIT SOURISSE (ORGUE HAMMOND) • ANDRE CHARLIER (BATTERIE) • MARC-MICHEL LE BEVILLON (CONTREBASSE).</strong><br />Romane joue sur une guitare Maurice Dupont modèle « Romane ». </p>\n
        <p align="justify"><strong>PRODUCTION INITIALE : IRIS</strong></p>\n
        <p align="justify"><strong>DROITS / FREMEAUX &amp; ASSOCIES EN ACCORD AVEC ROMANE.</strong><br />LENTEMENT MADEMOISELLE (DJANGO REINHARDT) • RYTHME FUTUR / DJANGO TIGER (DJANGO REINHARDT) • ANOUMAN (DJANGO REINHARDT) • PÊCHE À LA MOUCHE (DJANGO REINHARDT) • PLACE DE BROUCKÈRE (DJANGO REINHARDT) • PORTO CABELLO (DJANGO REINHARDT) • BABIK (DJANGO REINHARDT) • MABEL (DJANGO REINHARDT) • STOCKHOLM (DJANGO REINHARDT).</p>\n
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        <h3>Djangovision FA546</h3>\r\n
        <p><span class="Soustitre"><br />Djangovision<br />Intégrale RomanE Vol.8</span><span class="Texte"><br /></span><span class="Soustitre2"><br />DJANGOVISION – ROMANE</span><span class="Texte"><br /><strong>Lentement Mademoiselle</strong> (Django Reinhardt) (02’42)<br /><strong>Rythme Futur / Django Tiger </strong>(Django Reinhardt) (06’24)<br /><strong>Anouman</strong> (Django Reinhardt) (05’37)<br /><strong>Pêche à la mouche</strong> (Django Reinhardt) (04’59)<br /><strong>Place de Brouckère </strong>(Django Reinhardt) (04’12)<br /><strong>Porto Cabello</strong> (Django Reinhardt) (05’28)<br /><strong>Babik </strong>(Django Reinhardt) (05’36)<br /><strong>Mabel </strong>(Django Reinhardt) (04’18)<br /><strong>Stockholm </strong>(Django Reinhardt) (09’32)<br /><strong>Durée Totale 48’53</strong><br /><strong>ROMANE</strong> : Guitare<br /><strong>BENOIT SOURISSE </strong>: Orgue Hammond<br /><strong>ANDRE CHARLIER</strong> : Batterie<br /><strong>MARC-MICHEL LE BEVILLON </strong>: Contrebasse<br />Romane joue sur une guitare Maurice Dupont modèle « Romane »<br />Enregistré et mixé au studio Big Bone (Monthomé) du 16 au 22 décembre 2002 et du 5 au 7 février 2003<br />Prise de son et mixage : Alexis Blanchart<br />Mastering : DYAM<br />Photo couverture : Gilbert Gibdouny<br />Conception graphique : Christophe Rémy<br />Droits Master : Groupe Frémeaux Colombini SAS<br />Direction réédition Intégrale Romane :<br />Patrick Frémeaux avec Benjamin Goldenstein et Augustin Bondoux<br />Première parution en 2003 chez Iris music production<br />Frémeaux & Associés cessionnaire 2010-2016<br /></span></p>\r\n
        <p align="justify"><span class="Texte">« Notre héritage n’est précédé d’aucun testament » écrivait René Char…</span><br /><span class="Texte">Cet aphorisme réconfortant, que le poète a sans nul doute voulu aussi prometteur que stimulant n’aurait certes pas déplu à notre ami Django, lui qui tout au long de sa courte et prolifique carrière, curieux de tout et sensible aux révolutions, prit un soin méticuleux à constamment se renouveler et faire évoluer sa musique. Et Romane, qui connaît pourtant sa djangologie par cœur et sur le bout des doigts semble, dès le début, l’avoir parfaitement compris.</span><br /><span class="Texte">Car, à l’heure où la parole de Django est révérée comme une sainte écriture et son répertoire consacré comme une Nouvelle Alliance par de zélés et souvent trop appliqués disciples, qu’il est bon de redécouvrir une perle iconoclaste comme « Djangovision » !</span><br /><span class="Texte">Lors de la sortie initiale de l’album, en 2003, le revival manouche battait déjà son plein. Les compilations estampillées « Gipsy Jazz » qui envahissent aujourd’hui nos bacs apparaissaient pour la première fois. De nouveaux artistes surgissaient de nulle part et d’autres, qu’on avait un peu oubliés, étaient subitement redécouverts. La radio passait Sanseverino et même le cinéma américain se prenait soudainement de passion pour cette musique « so warm, and so romantic ». L’heure était à Django... et à son essaim de clones. </span><br /><span class="Texte">Je me souviens alors très bien que dans cette ambiance frénétique et jubilatoire, la sortie de « Djangovision » fût parfois un peu houleuse. Oh, les reproches de certains fanatiques étaient attendus, on connaît la chanson : « il n’y a pas de pompe », « ça ne sent pas le feu de bois », « trop électrique », « pas assez de guitare », « drôle de son », « trop moderne »… Triste réquisitoire qui pouvait donc se tenir en deux mots : trop moderne, la musique à Django ! </span><br /><span class="Texte">Car il faut dire que pour beaucoup d’amateurs de jazz manouche, comme il est convenu aujourd’hui d’appeler la musique inventée par Django Reinhardt, le style se limite à ce que le Quintette du Hot Club de France produisit entre 1934 et 1939 ; c’est à dire entre l’inauguration du quintet historique et le départ de Stéphane Grappelli qui préférera l’exil londonien à une occupation germanique. Période faste et comblée de chefs-d’œuvre, on ne le dira jamais assez, qui culminera avec l’incontournable « Minor Swing » de 1937 : quel guitariste n’a pas usé ses doigts sur ce solo légendaire de Django ? Quel enthousiaste n’a jamais chantonné cet hymne à ce jazz tellement français… ? Mais se limiter à cette période sans tambour ni trompette, c’est hélas se priver des chefs d’œuvres à venir.</span><br /><span class="Texte">Et c’est aussi oublier que Django, éternel amoureux de la musique et qui resta toute sa vie à l’écoute attentive de ses contemporains, n’était pas seulement un phénoménal instrumentiste, un exceptionnel improvisateur, mais également un compositeur de génie. Avait-il alors ce don de prescience que semble lui accorder Romane dans ses « Djangovisions » ? Les gitans ont, paraît-il, le don surnaturel de pouvoir lire l’avenir dans les boules de cristal… Reconnaissons seulement que l’audace harmonique et la modernité rythmique de certaines de ses compositions, notamment celles de la dernière manière, apparaissent aujourd’hui très troublantes. Car enfin, est-il vraiment si insensé d’entendre Duke Ellington dans « Lentement Mademoiselle », Charlie Parker dans « Babik », Dizzy Gillespie dans « Rythme Futur », Thelonious Monk dans « Mabel » et surtout « Stockholm » une de ses compositions les plus ambitieuses, John Coltrane dans « Anouman » (« Naïma » nous tient la main…), Charlie Mingus dans « «Porto Cabello », et osons même, Ornette Coleman dans « Rythme Futur », encore une fois… ? Certes, après-coup, l’exercice est toujours facile. Mais si vous pensez comme moi, alors oui, Django était un visionnaire.</span><br /><span class="Texte">Romane est quant à lui l’un des plus fameux représentant du « jazz manouche » actuel. Tout au long de sa carrière, avec plus d’une quinzaine d’albums et d’illustres collaborations, un journal mythique (« French Guitare »), des publicités, quelques méthodes de guitare et même deux écoles, il n’a jamais ânonné, comme tant d’autres, la musique de Django. Dès les premiers disques (« Swing for Ninine », « Quintet », « Ombre »…) son répertoire privilégiait déjà l’aventure des compositions aux sempiternelles et stériles reprises de standards qui encombrent si souvent les disques et les compils actuels. Son style est parfaitement reconnaissable et sans rien renier du vocabulaire du Maître, il a suivi son propre chemin. Il n’est finalement pas très étonnant qu’un beau jour, ce grand admirateur de Django s’intéressa de près à son répertoire le plus secret et le plus audacieux. Celui des meilleurs amis. </span><br /><span class="Texte">Pour le soutenir, Romane a choisi une formule guitare/hammond/basse/batterie inédite chez Django mais qui a fait ses preuves dans le jazz : parlez-en à Wes Montgomery, à René Thomas et Kenny Burrell ou plus récemment, à David Reinhardt, fils de Babik, lui-même fils de qui vous savez. Marc-Michel Le Bévillon, l’ami de toujours, tient la contrebasse et ne se contente pas de lignes (écoutez bien son solo sur « Babik »), et le couple indissociable Benoît Sourisse (B-3) André Charlier (batterie) formidable d’invention, d’écoute et de soutient a depuis parcouru le chemin que l’on sait, disques à l’appui. C’est donc une rythmique de tout premier ordre qui accompagne le guitariste dans la redécouverte, et la ré-écriture, de ce répertoire d’exception.</span><br /><span class="Texte">Django n’a pas laissé de testament : il n’y a pas de devoir de mémoire, aucune promesse à tenir et son héritage, dirait Hannah Arendt « ne nous assigne pas un passé sans avenir ». Au contraire. Django nous laisse une œuvre qu’il nous appartient de faire vivre dans le mouvement, avec audace et avec imagination. Avec impertinence. Et « Djangovision », en y faisant éclater l’incroyable modernité d’un discours en perpétuelle évolution autant que par son interprétation discrètement irrespectueuse nous invite à relire ce répertoire avec plus de naturel, plus de caractère et plus de liberté. A le regarder d’un peu plus haut. La tête dans les nuages… ? Peut-être.</span><br /><span class="Texte">Ce qui est certain, en revanche, c’est qu’avec Romane, la musique de Django se réveille.</span><br /><span class="Texte"><strong>Sébastien LÉGÉ</strong></span><br /><span class="Texte">Chroniqueur pour www.djangostation.com </span><br /><span class="Texte">© FRÉMEAUX & ASSOCIÉS 2015</span><br /><span class="Texte">“Our legacy has no last will and testament which precedes it,” wrote René Char…</span><br /><span class="Texte">It’s a comforting maxim, one that poet René Char no doubt intended to be as promising as it was stimulating, and Django would have liked it. Throughout his brief yet prolific career, the Gypsy Master was curious of everything, and sensitive to revolutions, taking meticulous care to constantly renew his music and cause it to evolve. And Romane, even though he knows his “Djangology” by heart (all the way to his fingertips), seems to have perfectly understood him from the beginning.</span><br /><span class="Texte">Proof, if needed, now that the word of Django is revered like Holy Scripture, and his repertoire is considered by zealots (and other, often over-industrious disciples) as some “New Alliance”, lies in the fact that any rediscovery of such an iconoclastic gem as Djangovision is an extremely good thing!</span><br /><span class="Texte">When this album was first released (2003), the “gypsy-jazz revival” was already booming. Compilations with the “Gypsy Jazz” banner (which today invade the record-bins) were appearing for the first time; new artists were springing up from nowhere, and others, whom we’d somewhat forgotten, were suddenly being rediscovered. French radio was playing Sanseverino, and even American films were suddenly developing a passion for this music which was, “So warm, and so romantic.” Django was “in”, and so were swarms of clones. </span><br /><span class="Texte">So I well remember that the release of Djangovision, in that ambiance of frenzy and jubilation, had a sometimes turbulent reception. Oh, the reproachful tone of some fanatics was expected, of course: you somehow knew they were going to say, “There’s no pump” or, “You can’t smell the wood-smoke.” They said, “too electric”, “not enough guitar”, “weird sound” and “too modern”… Sad indictments, and they could be resumed in a few words: Django’s music was too modern!</span><br /><span class="Texte">It has to be said that, for many fans of gypsy-jazz—the convenient name today given to the music invented by Django Reinhardt—, the style was limited to the music produced by the “Quintette du Hot Club de France” between 1934 and 1939; in other words, between the inauguration of that historic Quintet and the departure of Stéphane Grappelli, who preferred exile in London to Occupation by Germany. It was a rich period brimming with masterpieces—you can’t say that loud enough—and it reached its apogee with the inescapable title “Minor Swing” in 1937. Can you name one guitarist who hasn’t worn his fingers to the bone over that legendary solo by Django? Or any enthusiast who never hummed that hymn to such a particularly French form of jazz? The fact remains, however: if you confine yourself to that period with “no trumpet, no drums”, you will unfortunately also deprive yourself of masterpieces yet to come.</span><br /><span class="Texte">You’d also be forgetting that Django, a man with an undying love of music who throughout his life listened attentively to his contemporaries, was not only a phenomenal instrumentalist and exceptional improviser, but also a composer of genius. So did he have that gift of premonition which Romane seems to attribute to him in his own “Djangovisions”? Gypsies are said to have a supernatural gift: they can see the future in a crystal ball… Let us just recognize that the harmonic audacity and modern rhythm of some compositions, notably those he played in his later style, today seem quite troubling. Are we really so demented as to hear Duke Ellington in Lentement Mademoiselle, Charlie Parker in Babik, Dizzy Gillespie in Rythme Futur, Thelonious Monk in Mabel, and Stockholm especially (one of his most ambitious works), John Coltrane in Anouman (with Naïma taking us by the hand), Charlie Mingus in Porto Cabello and dare we say Ornette Coleman, in Rythme Futur again?... Of course, such an exercise always comes easily with hindsight. But if you think like I do, then yes, Django was a visionary.</span><br /><span class="Texte">Romane, for his part, is one of the most illustrious representatives of contemporary “gypsy jazz”. Throughout his career—with more than fifteen albums to his credit, illustrious collaborations, a legendary journal (“French Guitare”), adverts, a few guitar manuals, even two schools—Romane has never mumbled his way through Django’s music as so many others have done. By the time he made his first records—Swing for Ninine, Quintet, Ombre—his repertoire was already showing his preference for adventurous compositions, not the never-ending sterile “standard”-versions which so often clutter records and compilations today. His style is perfectly recognizable and, owing nothing to the vocabulary of the Master, Romane has followed his own course. In the end, it doesn’t come as that much of a surprise to see that one day this great admirer of Django took a close interest in the latter’s most secret, most daring compositions. Those preferred by his best friends. </span><br /><span class="Texte">To accomplish this, Romane chose a “guitar/Hammond/bass/drums” format which is unknown in Django’s work but which has proved its worth in jazz: just ask Wes Montgomery, René Thomas and Kenny Burrell or, more recently, David Reinhardt, son of Babik, himself the son of you-know-who. Marc-Michel Le Bévillon, always the friend, plays the double bass (and not merely the bass lines: listen closely to his solo on Babik), while the inseparable pair of Benoît Sourisse (B-3) and André Charlier (drums)—wonderfully inventive, supportive, close listeners—have continued a path which their recordings have made familiar to us all. So, a first-class rhythm-section appears here alongside the guitarist as he rediscovers (and rewrites) this exceptional repertoire.</span><br /><span class="Texte">Django left no “last will and testament”: there is no duty to perpetuate his memory, no promise to be kept, and his legacy, as Hannah Arendt would say, “assigns us no past without a future.” On the contrary, Django has left us a body of work which it is our responsibility to cause to live on in movement, and with boldness and emotion. With impertinence. And Djangovision, by exploding an incredible modernity into view—modern as much in its perpetually evolving discourse as in its discreetly irreverent performance—extends us an invitation to go back over this repertoire with even more naturalness, more character and more freedom. To look at it from a slightly higher perspective… with our head in the clouds? Perhaps.</span><br /><span class="Texte">What remains a certainty, on the other hand, is that with Romane, the music of Django comes awake.</span><br /><span class="Texte"><strong>Sébastien LÉGÉ</strong></span><br /><span class="Texte">Columnist, www.djangostation.com </span><br /><span class="Texte">Adapted into English by <strong>Martin DAVIES</strong></span><br /><span class="Texte">© FRÉMEAUX & ASSOCIÉS 2015</span><br /><span class="Texte">Rendre hommage à Django Reinhardt est une chose relativement aisée et attendue lorsque l’on est guitariste de jazz, et plus particulièrement pour Romane, l’un des fers de lance de la scène jazz-manouche. Toutefois pour son album « tribute », Romane prend résolument les choses à contre courant et s’imagine la verdine du Maitre s’arrêtant devant l’enseigne new-yorkaise du label Blue Note au début des années 1960. Comme son titre (qui sonne résolument sixties) l’indique, Romane assaisonne les compositions de Django Reinhardt au groove du jazz-soul émergeant au début des années 1960 de Jimmy Smith, Brother Jack McDuff ou Lonnie Smith. Adieu la pompe, adieu le swing traditionnel, Romane fait appel à l’incontournable duo Benoît Sourisse (orgue hammond) - André Charlier (batterie) et au contrebassiste Marc-Michel Le Bévillon. Un disque qui a rencontré un grand succès à sa sortie et qui annonce l’album « Roots & Groove » (FA537), qui paraitra 9 ans après, dans lequel le guitariste explorera un jazz-funk encore plus tranché et incisif.    <strong> Augustin BONDOUX</strong></span><br /><span class="Texte">Éditeur de l’intégrale discographique de Django Reinhardt de référence (40 CD, 760 pages de livrets), Frémeaux & Associés est aujourd’hui l’un des premiers producteurs indépendants de jazz manouche. Cette musique tant généreuse et accessible, que savante et technique, démontre la richesse culturelle et musicologique de l’apport du genre manouche à la culture occidentale. Romane en est l’un des plus éminents représentants et ses compositions sont devenues de véritables standards. Frémeaux & Associés célèbre l’oeuvre du guitariste en recueillant l’ensemble de sa carrière phonographique afin de la remettre à la disposition du public dans une Intégrale, dont Djangovision est le huitième volume.     <strong>Patrick FRÉMEAUX</strong></span><br /><span class="Texte">Lentement Mademoiselle (Django Reinhardt) 2’42 • 2. Rythme Futur / Django Tiger (Django Reinhardt) 6’24 • 3. Anouman (Django Reinhardt) 5’37 • 4. Pêche à la mouche (Django Reinhardt) 4’59 • 5. Place de Brouckère (Django Reinhardt) 4’12 • 6. Porto Cabello (Django Reinhardt) 5’28 • 7. Babik (Django Reinhardt) 5’36 • 8. Mabel (Django Reinhardt) 4’18 • 9. Stockholm (Django Reinhardt) 9’32.    Durée Totale 48’53</span><br /><span class="Texte">Romane : guitare • Benoit Sourisse : Orgue Hammond • Andre Charlier : Batterie • Marc-Michel Le Bevillon : Contrebasse. </span><br /><span class="Texte">Romane joue sur une guitare Maurice Dupont modèle « Romane ».</span><br /><span class="Texte">A tribute to Django Reinhardt can be an expected, relatively easy thing to do if you play jazz guitar, especially if your name is Romane, a spearhead on the gypsy-jazz scene. Yet this "tribute album" from Romane deliberately goes against the grain in imagining the Master’s caravan coming to a halt outside the New York label Blue Note’s studios in the early 60’s. As you might guess from its decidedly “Sixties” title, Romane peppers Django’s compositions with the then-nascent jazz-soul groove of musicians like Jimmy Smith, Brother Jack McDuff and Lonnie Smith. Goodbye “pump”, goodbye traditional swing… Here Romane is in the company of an unavoidable duo—Benoît Sourisse (Hammond organ), André Charlier (drums)—and bassist Marc-Michel Le Bévillon. A success when first released, this album heralded “Roots & Groove” which surfaced nine years later (FA537), an album where Romane explored jazz-funk in an even more clear-cut vein.   <strong>  Augustin BONDOUX</strong></span><br /><span class="Texte">As the publisher of the complete recordings of Django Reinhardt — the set is a work of reference with 40CDs and booklets totalling 760 pages — Frémeaux & Associés today counts as one of the premier independent producers of gypsy jazz. This genre, as erudite and technical as it is generous and approachable, demonstrates the cultural and musicological richness of the gypsy contribution to western culture. Romane is one of their most eminent representatives and his compositions have become genuine standards. Frémeaux & Associés celebrates the work of this guitarist in a collection covering his entire career as a recording-artist, available to the public as a “Complete Works” set with Djangovision as its eight volume. <strong>Patrick FRÉMEAUX</strong></span></p>\r\n
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      "description" => "<p>Publi&eacute;s en 1994 et 1996, voici deux enregistrements devenus l&eacute;gendaires qui portent le double estampillage de disques rares et majeurs du courant qu&rsquo;ils incarnent avec perfection. L&rsquo;esprit de Django Reinhardt guide le jeu de Fapy Lafertin, ses chorus d&rsquo;une &eacute;l&eacute;gance et pr&eacute;cision rares, son impulsion rythmique incomparable qui font de lui un continuateur plus qu&rsquo;un simple h&eacute;ritier du ma&icirc;tre. <br />Ressortie en 2012 par Lejazzetal cette version augment&eacute;e et remasteris&eacute;e pr&eacute;sente &laquo; Swing Guitar &raquo; et &laquo; Hungaria &raquo;, enregistr&eacute;s dans les conditions d&rsquo;avant guerre (prise directe en cercle autour d&rsquo;un micro des ann&eacute;es 1930), dans une production sign&eacute;e Dave Kelbie, figure incontournable, guitariste iconoclaste et sans doute plus grand producteur du genre (Evan Christopher&rsquo;s Django &agrave; la Cr&eacute;ole, Tcha Limberger,&hellip;). <br />Indispensable &agrave; la discoth&egrave;que de tout amateur de jazz. <br /><strong>Benjamin GOLDENSTEIN &amp; Augustin BONDOUX </strong><br /><em>First released in 1994 and 1996, these two now-legendary albums have equal reputations as being both rare and major works in the genre they incarnate to perfection. <br />The spirit of Django Reinhardt guides the playing of Fapy Lafertin: his choruses all show a rare elegance and precision together with a rhythmic pulse second to none, which make Lafertin more than a mere heir to the Master. <br />Reissued in 2012 through Lejazzetal, this edition, re-mastered and augmented, presents Swing Guitar and Hungaria, recorded under pre-war conditions (direct sound-takes encircling a Thirties&rsquo; mic) and produced by Dave Kelbie, an unavoidable iconoclast and jazz figure, and probably the genre&rsquo;s greatest producer (with credits including Evan Christopher&rsquo;s Django &agrave; la Cr&eacute;ole, Tcha Limberger etc.) Swing Guitar and Hungaria are indispensible to any jazz fan&rsquo;s collection. </em><br /><strong>DIRECTION ARTISTIQUE : DAVE KELBIE<br />DROITS : JAZZETAL LICENCIE A FREMEAUX &amp; ASSOCIES<br /></strong><p><strong><br /></strong></p><p><strong>FAPY LAFERTIN - GUITARE<br />STEVE ELSWORTH - VIOLON<br />DAVE KELBIE - GUITARE<br />PETE FINCH - GUITARE<br />TONY BEVIR - CONTREBASSE</strong><br /><strong><br />CD 1</strong> - SWING GUITARS 1994 : &bull; I&rsquo;VE HAD MY MOMENTS &bull; I WONDER WHERE MY BABY IS TONIGHT &bull; BESAME MUCHO &bull; VOUS QUI PASSEZ SANS ME VOIR &bull; SWING GUITARS &bull; JE SUIS SEUL CE SOIR &bull; PUTTIN&rsquo; ON THE RITZ &bull; TO EACH HIS OWN &bull; DIMINISHING &bull; MINOR SWING &bull; LA DEFENSE &bull; QUE RESTE T&rsquo;IL DE NOS AMOURS &bull; SWING GUITARS &bull; ANOUMAN &bull; PREVIOUSLY UNISSUED TRACKS : PUTTIN&rsquo; ON THE RITZ &bull; JE SUIS SEUL CE SOIR &bull; I&rsquo;VE HAD MY MOMENTS &bull; MINOR SWING &bull; ANOUMAN &lsquo;LIVE&rsquo;. <br /><strong>CD 2</strong> - HUNGARIA 1996 : MELANCHOLY BABY &bull; 12TH YEAR &bull; SONGE D&rsquo;AUTOMNE* &bull; TIME ON MY HANDS &bull; BILLET DOUX &bull; RUSSIAN LULLABY &bull; STARDUST &bull; HUNGARIA &bull; LIEBESTRAUM NO3 &bull; SWING 42* &bull; STOCKHOLM* &bull; NOTES NOIR &bull; WHAT A DIFFERENCE A DAY MADE &bull; VIPER&rsquo;S DREAM &bull; BLACK AND WHITE &bull; PREVIOUSLY UNISSUED TRACKS : J&rsquo;ATTENDRAI &bull; LOVERMAN &bull; WHAT A DIFFERENCE A DAY MADE. (*FEATURES BOB WILBER ON CLARINET).<br /></p></p><br><br>"
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      "dwf_livret" => "<h3>Lafertin Fa8521</h3><br /><span class=Soustitre2>LAFERTIN<br />LEJAZZ<br />94-96 the recordings</span><span class=Texte><br />The venue was the Concorde Club in Eastleigh near Southampton, recently celebrating its 50th anniversary as a jazz club. The date was 5th October 1987. The hosts were a newly-formed, unknown Hot Club style quartet from the west of England called Quartet Le Jazz. The specially invited guest was the celebrated Manouche guitarist from Holland Fapy Lafertin, already established in the UK as the lead guitarist with the Belgian band Waso and at the time without doubt the most famous European Gypsy musician since the death of Django Reinhardt. &nbsp;<br />What followed was an artistic partnership lasting ten years, hundreds of appearances<br />Europe-wide, a dedicated following of admirers from all over the globe, and an influence which in the early 1990&rsquo;s took this little-performed but widely loved style of music from performances in clubs, pubs and wine bars to captivating concerts on stages throughout the UK and the continent of Europe.<br />Another further achievement of this musical relationship is the creation of arguably two of the most influential albums released in the style in modern times. Viewed by many as the best Gypsy jazz albums since the last recorded releases of Quintet of the Hot Club of France, they reinforced the quintet&rsquo;s reputation and contributed to the resurgence of the style amongst musicians and audience alike. A resurgence well under way since Waso in the 1970&rsquo;s.<br />These two individually released single CDs which make up this double album; &rsquo;Swing Guitars&rsquo; in 1994 and &lsquo;Hungaria&rsquo; in 1996, were the first on the Lejazzetal label and were to define the style of the record company ever since. It now has a global reputation as one specialising in capturing the best &lsquo;live studio&rsquo; performance from some of the world&rsquo;s leading acoustic musicians.<br />Le jazz was formed in the west country of England in 1986 by guitarist Pete Finch and violinist Steve Elsworth. Tony Bevir joined very soon after on double-bass and in early 1987 they became a quartet with the inclusion of Dave Kelbie on rhythm guitar<br />Le lieu, le Concorde Club &agrave; Eastleigh &agrave; c&ocirc;t&eacute; de Southampton, qui c&eacute;l&eacute;brait r&eacute;cemment son cinquanti&egrave;me anniversaire en tant que club de jazz. La date, le 5 octobre 1987. Les tauliers, un quartet de l&rsquo;Ouest de l&rsquo;Angleterre, tout fraichement form&eacute; et encore inconnu, appel&eacute; Le Jazz. L&rsquo;invit&eacute; sp&eacute;cial, le c&eacute;l&egrave;bre guitariste manouche hollandais Fapy Lafertin, qui vivait d&eacute;j&agrave; au Royaume-Uni en tant que guitariste leader de la formation belge Waso et qui &eacute;tait &agrave; cette &eacute;poque le guitariste manouche le plus connu depuis la mort de Django Reinhardt.<br />Il s&rsquo;ensuivit une collaboration artistique de 10 ans, l&rsquo;engouement d&rsquo;admirateurs de par le monde et une ind&eacute;niable contribution dans le fait d&rsquo;avoir, au d&eacute;but des ann&eacute;es 1990, fait passer cette musique alors peu jou&eacute;e, confidentielle mais tr&egrave;s appr&eacute;ci&eacute;e, des petits clubs ou bars &agrave; vins, aux salles de concert du Royaume-Uni et du reste du continent europ&eacute;en.<br />L&rsquo;autre formidable aboutissement de cette histoire musicale r&eacute;side dans la cr&eacute;ation de deux des albums les plus influents de l&rsquo;&eacute;poque dite contemporaine du genre. Beaucoup y voient les meilleurs disques de jazz manouche depuis les derni&egrave;res sessions enregistr&eacute;es par le Quintette du Hot Club de France. Ils ont forg&eacute; la r&eacute;putation du quintet et ont contribu&eacute; &agrave; la r&eacute;surgence du style dans le c&oelig;ur des musiciens et dans celui du public. Une r&eacute;surgence engag&eacute;e depuis &laquo;&thinsp;Waso&thinsp;&raquo; dans les ann&eacute;es 1970.<br />Les deux disques qui forment ce double album : &laquo;&thinsp;Swing Guitars&thinsp;&raquo; (1994) et &laquo;&thinsp;Hungaria&thinsp;&raquo; (1996), furent les premiers &agrave; paraitre sur Lejazzetal dont ils ont depuis, d&eacute;fini la ligne artistique. Le label d&eacute;tient maintenant une r&eacute;putation mondiale en ce qui concerne l&rsquo;enregistrement &laquo;&thinsp;studio dans les conditions du direct&thinsp;&raquo; des plus grands musiciens acoustiques. Quant au groupe &laquo;&thinsp;Le jazz&thinsp;&raquo;, il s&rsquo;est form&eacute; dans les contr&eacute;es Ouest de l&rsquo;Angleterre sous l&rsquo;impulsion du guitariste Pete Finch et du violoniste Steve Elsworth. Le contrebassiste Tony Bevir les joignit rapidement et ils devinrent ensuite un quartet lorsque Dave Kelbie s&rsquo;ajouta &agrave; la guitare rythmique. <br /></span><span class=Soustitre><br />Fapy Lafertin - guitar<br />Steve Elsworth - violin<br />Dave Kelbie - guitar<br />Pete Finch - guitar<br />Tony Bevir - double bass</span><span class=Texte><br /></span><span class=Source><br />all arrangements by the Quartet<br />P 1994-1996-2012 Lejazzetal Records &copy; 2016 Groupe Fr&eacute;meaux Colombini under license from Lejazzetal<br />produced by Lejazzetal London<br />engineered by Lance Andrews &amp; Andrew Stacey<br />remastered by Dave Kelbie, Dylan Fowler at Stiwdio Felin Fach www.taithrecords.co.uk<br />on 28/29 March 2012<br />design and artwork by Dave Kelbie<br />assisted by Kathryn at Prestset<br />photos by Marilyn Du Mars: Front cover, booklet pages 1, 7, 9, 10, 11, centre pages, 16, 18, 19, 20, 22<br />page 5 photo of the quartet by Bob Whitfield<br />manufactured by Fr&eacute;meaux &amp; Associ&eacute;s<br />thanks to all the enthusiastic and dedicated followers of this style, musicians and audience alike, who have continued stubbonly to pressure me into rereleasing these albums. Your patience has finally been rewarded.<br />Contact :<br />Lejazzetal Records London UK&nbsp;&nbsp; &nbsp;Fr&eacute;meaux &amp; Associ&eacute;s<br />Dave Kelbie&nbsp;&nbsp; &nbsp;Coordination: Augustin Bondoux / Benjamin Goldenstein<br />dave.kelbie@gmail.com&nbsp;&nbsp; &nbsp;info@fremeaux.com<br />for CDs, tour dates and more...&nbsp;&nbsp; &nbsp;full catalogue<br />www.lejazzetal.com&nbsp;&nbsp; &nbsp;preprod.fremeaux.com<br /></span><span class=Texte><br /></span><span class=Soustitre2><br />swing guitars1994</span><span class=Texte><br /></span><span class=Soustitre>original liner notes</span><span class=Texte><br />Recorded at Dumpers House, Chew Magna, Avon 11-14 November 1994<br />Recording engineers - Lance Andrews &amp; Andrew Stacey<br />Additional sound processing - Fapy Lafertin<br />Sleeve photographs - Marilyn Du Mars<br />Back cover photograph - Bob Whitfield<br />Special thanks to: Marilyn Du Mars, Garry Bradey, Lance Andrews, Andrew Stacey, Joy Corbett, Denis Holland<br />The original recordings of the Quintet of The Hot Club of France have made the virtuosity of Django Reinhardt and Stephane Grappelly legendary. Django had a remarkable talent for improvising extremely melodic lines over banal songs, or embellishing a simple harmonic sequence with near dissonances more associated with early twentieth century classical music.<br />These 1930&rsquo;s recordings - using a single microphone - allow us to hear the sound as if in a live performance. Dozens of attempts to record Hot Club jazz with high fidelity contemporary recording methods have failed to match these originals. A key component of this style is the dense, clipped, engine-like and compulsive two-beat rhythm. Somehow this rhythm is lost in the perfection of modern sound reproduction which highlights each instrument individually.<br />The solution is clear: record it as did the Quintet. So we used a single, retired pre-war BBC ribbon microphone with a retired BBC sound engineer to drive it, hung it up in a barn somewhere in the West of England and adjusted the mix by moving our chairs. Only then did the monophonic sound with it&rsquo;s flat dynamic range, poor frequency response and absence of harmonics seem good enough to invite Fapy Lafertin to join us.<br />Les premiers enregistrements du Quintette du Hot Club de France ont rendu la virtuosit&eacute; <br />de Django Reinhardt et St&eacute;phane Grappelli l&eacute;gendaires. Django avait un talent remarquable lorsqu&rsquo;il s&rsquo;agissait d&rsquo;improviser des phras&eacute;s extr&ecirc;mement m&eacute;lodiques sur des chansons communes, ou pour embellir une s&eacute;quence harmonique simple avec des dissonances proches, une pratique plus souvent associ&eacute;e &agrave; la musique classique du d&eacute;but du XXe si&egrave;cle. <br />Ces titres r&eacute;alis&eacute;s dans les conditions des ann&eacute;es 1930 (en utilisant un seul micro), nous permettent d&rsquo;entendre le son comme s&rsquo;il s&rsquo;agissait d&rsquo;une performance live. <br />Il y a eu des douzaines d&rsquo;essais pour enregistrer du jazz &laquo;&thinsp;Hot Club&thinsp;&raquo; avec des m&eacute;thodes modernes d&rsquo;enregistrement haute-fid&eacute;lit&eacute;, elles ont toutes &eacute;chou&eacute;es dans leurs tentatives d&rsquo;&eacute;galer les originaux. La cl&eacute; pour comprendre ce style, r&eacute;side dans la pompe, ce rythme m&eacute;canique compulsif en deux temps. D&rsquo;une certaine mani&egrave;re on peut dire qu&rsquo;avec la recherche de la perfection de la reproduction sonore moderne, que ce rythme, qui met en valeur chaque instrument individuel, s&rsquo;est perdu.<br />La solution est simple : enregistrer dans la m&ecirc;me configuration que le fit le Quintette. Nous avons donc utilis&eacute; un ancien micro de la BBC d&rsquo;avant guerre (et mis aux manettes un ing&eacute;nieur du son retrait&eacute; de la BBC) que nous avons accroch&eacute; au fin fond d&rsquo;une grange quelque part dans le Nord de l&rsquo;Angleterre. Nous ajustions le mix en d&eacute;pla&ccedil;ant nos chaises. C&rsquo;est seulement lorsque nous avions r&eacute;ussi &agrave; avoir un son monophonique avec une dynamique aplatie, une restriction des fr&eacute;quences et une absence d&rsquo;harmoniques, que nous pouvions inviter Fapy &agrave; nous rejoindre.<br /></span><span class=Soustitre2>hungaria1996</span><span class=Texte><br /></span><span class=Soustitre>original liner notes</span><span class=Texte><br />Recorded at Dumpers House, Chew Magna, Avon 19-25 August 1996<br />Recording engineers - Lance Andrews<br />Sleeve photographs - Marilyn Du Mars<br />Back cover photograph - Bob Whitfield<br />Special thanks to: Marilyn Du Mars, Bob Wilber<br />As with our first CD &ldquo;Swing Guitars&rdquo; we recorded &ldquo;Hungaria&rdquo; in a fashion similar to that used by Django Reinhardt and Stephanne Grappelly and their quintet in the mid 1930&rsquo;s. A very few photographic references, and a little experimentation pointed towards using one principal microphone (BBC circa 1938 in our case) for the whole band, and one or two ambience mics to highlight different dynamics.<br />As our intention was to record each track as a live performance, ie, no drop-ins, clean ups or overdubs, any performance imperfections in an otherwise perfect &lsquo;take&rsquo; would remain. Lastly we adjusted our the mix by simply moving our chairs, the slightest movement greatly altering both the tonality of each instrument and the volume.<br />Our objective was simple; somehow to capture the spirit of the early recordings of the Quintet of the Hot Club of France and hopefully to get a little closer to the heart of a style that remains Europe&rsquo;s greatest contribution to the world of jazz.<br />Our method was two fold; to get the style of the sound right, as well as the quality of sound. <br />The collaboration between the most celebrated Gypsy guitarist in the style and Le Jazz, and their combined enthusiasm for the music naturally determined the style of sound. The quality of sound, strictly monophonic, with flat dynamic range, poor frequency response and absence of harmonics we found merely to be a bi-product of playing and recording in a style long forgotten by most, and longed for by others.<br />Comme pour &laquo;&thinsp;Swing Guitars&thinsp;&raquo;, notre premier CD, nous avons enregistr&eacute; ce disque avec le m&ecirc;me proc&eacute;d&eacute; que celui employ&eacute; par Django Reinhardt, St&eacute;phane Grappelli et leur quintet dans le milieu des ann&eacute;es 1930. Quelques r&eacute;f&eacute;rences photographiques et un peu d&rsquo;exp&eacute;rimentation nous ont men&eacute; &agrave; utiliser un micro principal (un micro de la BBC de 1938) pour prendre le son de l&rsquo;ensemble du groupe, ainsi que deux micros d&rsquo;ambiances pour mettre en valeur les diff&eacute;rentes dynamiques. <br />Comme notre intention &eacute;tait d&rsquo;enregistrer chaque piste dans des conditions live, &agrave; savoir sans drop in, nettoyage ou overdub, toutes les imperfections durant une prise, que nous consid&eacute;rerions n&eacute;anmoins parfaite, resteraient. A la fin nous ajustions le mixage en positionnant nos chaises, le moindre mouvement modifiant tant la tonalit&eacute; que le volume de chaque instrument. <br />Notre objectif &eacute;tait simple, r&eacute;ussir en quelque sorte &agrave; capturer l&rsquo;esprit des premiers enregistrements du Quintette du Hot Club de France en esp&eacute;rant nous approcher au plus pr&egrave;s du c&oelig;ur de ce style, qui reste &agrave; ce jour la plus grande contribution de l&rsquo;Europe dans le monde du jazz.<br />La m&eacute;thode &eacute;tait double, &agrave; savoir obtenir &laquo; le bon son &raquo; et le conjuguer avec&nbsp; une bonne qualit&eacute; sonore. C&rsquo;est la collaboration entre le plus c&eacute;l&egrave;bre guitariste manouche dans cette veine et &laquo;&thinsp;Le Jazz&thinsp;&raquo;, ainsi que l&rsquo;enthousiasme commun pour la musique, qui ont naturellement d&eacute;termin&eacute; le style de son. Nous avons trouv&eacute; que la qualit&eacute; du son, strictement monophonique, avec une dynamique aplatie, une restriction des fr&eacute;quences et une absence d&rsquo;harmoniques, allait de paire avec la mani&egrave;re de jouer et d&rsquo;enregistrer un style longtemps oubli&eacute; par les uns et inatteignable pour les autres. <br /></span><span class=Soustitre2><br />swing guitars1994</span><span class=Texte><br /></span><span class=Soustitre>11-14/11/94</span><span class=Texte><br />01&nbsp;&nbsp; I&rsquo;ve had my moments&nbsp;&nbsp; 03:04<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec11/11/94 (Donaldson Kahn)<br />02&nbsp;&nbsp; I wonder where my baby is tonight&nbsp;&nbsp; 02:48<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec11/11/94 (Donaldson Kahn)<br />03&nbsp;&nbsp; Besame mucho&nbsp;&nbsp; 05:26<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec11/11/94 (Velazquez/Skylar)<br />04&nbsp;&nbsp; Vous qui passez sans me voir&nbsp;&nbsp; 04:02<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec11/11/94 (Hess/Misraki/Trenet)<br />05&nbsp;&nbsp; Swing guitars&nbsp;&nbsp; 02:23<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec12/11/94 (Reinhardt/Grappelly)<br />06&nbsp;&nbsp; Je suis seul ce soir&nbsp;&nbsp; 03:29<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec12/11/94 (Durand/Casanova/Grosjean)<br />07&nbsp;&nbsp; Puttin&rsquo; on the Ritz&nbsp;&nbsp; 03:04<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec11/11/94 (Berlin)<br />08&nbsp;&nbsp; To each his own&nbsp;&nbsp; 05:05<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec12/11/94 (Livingston/Evans)<br />09&nbsp;&nbsp; Diminishing&nbsp;&nbsp; 03:09<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec11/11/94 (Reinhardt)<br />10&nbsp;&nbsp; Minor Swing&nbsp;&nbsp; 03:03<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec11/11/94 (Reinhardt/Grappelly)<br />11&nbsp;&nbsp; La Defense&nbsp;&nbsp; 03:31<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec13/11/94 (Sharpe)<br />12&nbsp;&nbsp; Que reste t&rsquo;il de nos amours&nbsp;&nbsp; 04:30<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec12/11/94 (Trenet)<br />13&nbsp;&nbsp; Swing Guitars&nbsp;&nbsp; 02:47<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec12/11/94 (Reinhardt/Grappelly)<br />14&nbsp;&nbsp; Anouman&nbsp;&nbsp; 05:55<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec11/11/94 (Reinhardt)<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; previously unissued tracks<br />15&nbsp;&nbsp; Puttin&rsquo; on the Ritz&nbsp; rec11/11/94&nbsp; 03:11<br />16&nbsp;&nbsp; Je suis seul ce soir&nbsp; rec13/11/94&nbsp; 04:38&nbsp;&nbsp; &nbsp;<br />17&nbsp;&nbsp; I&rsquo;ve had my moments&nbsp; 03:34<br />18&nbsp;&nbsp; Minor Swing&nbsp; rec11/11/94&nbsp; 03:06<br />19&nbsp;&nbsp; Anouman &lsquo;live&rsquo;&nbsp; rec02/07/95&nbsp; 06.23<br /></span><span class=Soustitre2><br />hungaria1996</span><span class=Texte><br /></span><span class=Soustitre>19-25/08/96</span><span class=Texte><br />01&nbsp;&nbsp; Melancholy baby&nbsp;&nbsp; 03:06<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec23/08/96 (Burnett/Norton/Watson)<br />02&nbsp;&nbsp; 12th year&nbsp;&nbsp; 03:03<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec21/08/96 (Reinhardt/Grappelly)<br />03&nbsp;&nbsp; Songe D&rsquo;Automne&nbsp;&nbsp; 03:34&nbsp; Bob Wilber on clarinet<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec19/08/96 (Joyce)<br />04&nbsp;&nbsp; Time on my hands&nbsp;&nbsp; 03:37<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec22/08/96 (Youmans/Gordon/Adamson)<br />05&nbsp;&nbsp; Billet Doux&nbsp;&nbsp; 02:35<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec21/08/96 (Reinhardt/Grappelly/Yvain/Jouve)<br />06&nbsp;&nbsp; Russian lullaby&nbsp;&nbsp; 02:52&nbsp; &nbsp;<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec24/08/96 (Berlin)<br />07&nbsp;&nbsp; Stardust&nbsp;&nbsp; 04:16<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec24/08/96 (Carmichael/Parish)<br />08&nbsp;&nbsp; Hungaria&nbsp;&nbsp; 03:23<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec20/08/96 (Reinhardt)<br />09&nbsp;&nbsp; Liebestraum No3&nbsp;&nbsp; 03:10<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec24/08/96 (Reinhardt)<br />10&nbsp;&nbsp; Swing 42&nbsp;&nbsp; 03:58&nbsp; Bob Wilber on clarinet<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec19/08/96 (Reinhardt)<br />11&nbsp;&nbsp; Stockholm&nbsp;&nbsp; 03:40&nbsp; Bob Wilber on clarinet<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec19/08/96 (Reinhardt)<br />12&nbsp;&nbsp; Notes noir&nbsp;&nbsp; 02:18&nbsp; &nbsp;<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec21/08/96 (Lafertin)<br />13&nbsp;&nbsp; What a difference a day made&nbsp;&nbsp; 03:41<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec20/08/96 (Grever/Adams)<br />14&nbsp;&nbsp; Viper&rsquo;s dream&nbsp;&nbsp; 03:13<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec24/08/96 (Allen)<br />15&nbsp;&nbsp; Black and white&nbsp;&nbsp; 02:53<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; rec24/08/96 (Reinhardt)<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />previously unissued tracks<br />16&nbsp;&nbsp; J&rsquo;attendrai&nbsp;&nbsp; rec21/08/96&nbsp; 02:36<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (Olivieri/Rastelli/Poterat)<br />17&nbsp;&nbsp; Loverman&nbsp;&nbsp; rec20/08/96&nbsp; 04:46<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; (Davis/Ramirez/Sherman)<br />18&nbsp;&nbsp; What a difference a day made&nbsp; rec20/08/96&nbsp; 03:45<br /></span><span class=Soustitre>bob wilber1996</span><span class=Texte><br />Bob Wilber has been recording as one of the world&rsquo;s greatest reed players for nearly seventy years and needs little introduction.<br />A pupil of Bechet, he was a member of the Goodman and Condon bands and worked with every great name from the mid-period of jazz, including the World&rsquo;s<br />Greatest Jazzband. His participation in this golden era has made him an eloquent champion of the cause for the continuation of the earlier jazz forms in the face of the misplaced search for continuous change. <br />The success of his Bechet legacy, the Goodman re-creation and the triumph of his Ellington soundtrack for &lsquo;The Cotton Club&rsquo; are all testaments to his sound judgement.<br />In his earlier career he shared the stage twice with Django Reinhardt, at a private party in New York on New Year&rsquo;s Eve in 1947 and at the Nice jazz festival in February 1948. Django&rsquo;s entire instructions to the band on the former occasion were &ldquo;play oompah&rdquo;.<br />With these elements in his background it was a delight, but no surprise, when Bob agreed without hesitation to record with Le Jazz and Fapy Lafertin, whom he identifies as the legitimate heir of Django. The primitive recording technique was an added attraction. The three exquisite tracks speak for themselves.<br />Bob Wilber fait partie des plus grands souffleurs de la plan&egrave;te depuis pr&egrave;s de 70 ans et n&rsquo;a pas besoin d&rsquo;&ecirc;tre pr&eacute;sent&eacute;. &nbsp;<br />Eleve de B&eacute;chet, il a jou&eacute; notamment dans les orchestres de Benny Goodman et Eddie Condon, et a collabor&eacute; avec tous les grands noms de la p&eacute;riode dite m&eacute;diane du jazz, dont The World&rsquo;s Greatest Jazz Band. <br />Sa contribution durant cette p&eacute;riode dor&eacute;e a fait de lui le chantre de la pr&eacute;servation des formes traditionnelles du jazz face &agrave; la recherche de perp&eacute;tuelle de changement. Les succ&egrave;s de son groupe &laquo;&thinsp;The Bechet Legacy Band&thinsp;&raquo;, de sa re-cr&eacute;ation des &oelig;uvres de Benny Goodman, comme de sa bande-originale ellingtonienne du film &laquo;&thinsp;The Cotton Club&thinsp;&raquo;, sont des t&eacute;moignages de la primaut&eacute; de son apport musical. Dans sa prime jeunesse il a pu partager la sc&egrave;ne deux fois avec Django Reinhardt, lors d&rsquo;une f&ecirc;te priv&eacute;e &agrave; New-York pour le r&eacute;veillon 1947 et au Nice Jazz festival en f&eacute;vrier 1948. Les seules instructions donn&eacute;es au groupe par Django &eacute;taient de faire la pompe. <br />Avec tous ses &eacute;l&eacute;ments dans sa cahute, bien que ce soit sans surprise, c&rsquo;&eacute;tait une joie d&rsquo;apprendre que Bob enregistrerait sans h&eacute;sitation avec Le Jazz et Fapy Lafertin, qu&rsquo;il identifie comme l&rsquo;h&eacute;ritier l&eacute;gitime de Django. La mani&egrave;re primitive d&rsquo;enregistrer a &eacute;galement aid&eacute; &agrave; susciter son int&eacute;r&ecirc;t. Les trois pistes sublimes parlent d&rsquo;elles-m&ecirc;mes. <br /></span><span class=Soustitre><br />lance andrews1996</span><span class=Texte><br />Lance Andrews, our engineer, smiling after seven days creating a sound he&rsquo;s spent his professional life trying to avoid.<br />Lance Andrews, notre ing&eacute;nieur du son, souriant apr&egrave;s avoir pass&eacute; sept jours &agrave; cr&eacute;er un son qu&rsquo;il a essay&eacute; d&rsquo;&eacute;viter pendant toute sa vie professionnelle.<br />Publi&eacute;s en 1994 et 1996, voici deux enregistrements devenus l&eacute;gendaires qui portent le double estampillage de disques rares et majeurs du courant qu&rsquo;ils incarnent avec perfection. L&rsquo;esprit de Django Reinhardt guide le jeu de Fapy Lafertin, ses chorus d&rsquo;une &eacute;l&eacute;gance et pr&eacute;cision rares, son impulsion rythmique incomparable qui font de lui un continuateur plus qu&rsquo;un simple h&eacute;ritier du ma&icirc;tre. Ressortie en 2012 par Lejazzetal cette version augment&eacute;e et remasteris&eacute;e pr&eacute;sente &laquo;&thinsp;Swing Guitar&thinsp;&raquo; et &laquo;&thinsp;Hungaria&thinsp;&raquo;, enregistr&eacute;s dans les conditions d&rsquo;avant guerre (prise directe en cercle autour d&rsquo;un micro des ann&eacute;es 1930), dans une production sign&eacute;e Dave Kelbie, figure incontournable, guitariste iconoclaste et sans doute plus grand producteur du genre (Evan Christopher&rsquo;s Django &agrave; la Cr&eacute;ole, Tcha Limberger,&hellip;). Indispensable &agrave; la discoth&egrave;que de tout amateur de jazz. &nbsp;&nbsp;&nbsp; <br /><strong>Benjamin GOLDENSTEIN &amp; Augustin BONDOUX</strong><br />First released in 1994 and 1996, these two now-legendary albums have equal reputations as being both rare and major works in the genre they incarnate to perfection. The spirit of Django Reinhardt guides the playing of Fapy Lafertin: his choruses all show a rare elegance and precision together with a rhythmic pulse second to none, which make Lafertin more than a mere heir to the Master. Reissued in 2012 through Lejazzetal, this edition, re-mastered and augmented, presents Swing Guitar and Hungaria, recorded under pre-war conditions (direct sound-takes encircling a Thirties&rsquo; mic) and produced by Dave Kelbie, an unavoidable iconoclast and jazz figure, and probably the genre&rsquo;s greatest producer (with credits including Evan Christopher&rsquo;s Django &agrave; la Cr&eacute;ole, Tcha Limberger etc.) Swing Guitar and Hungaria are indispensible to any jazz fan&rsquo;s collection.&nbsp;&nbsp;&nbsp; <br /><strong>Benjamin GOLDENSTEIN &amp; Augustin BONDOUX</strong><br /></span><span class=Soustitre2><br />swing guitars1994</span><span class=Texte><br />I&rsquo;ve had my moments<br />I wonder where my baby is tonight<br />Besame mucho<br />Vous qui passez sans me voir<br />Swing guitars<br />Je suis seul ce soir<br />Puttin&rsquo; on the Ritz<br />To each his own<br />Diminishing<br />Minor swing<br />La Defense<br />Que reste t&rsquo;il de nos amours<br />Swing guitars<br />Anouman<br />previously unissued tracks<br />Puttin&rsquo; on the Ritz<br />Je suis seul ce soir<br />I&rsquo;ve had my moments<br />Minor swing<br />Anouman &lsquo;live&rsquo;<br /></span><span class=Soustitre2>hungaria1996</span><span class=Texte><br />Melancholy baby<br />12th year<br />Songe D&rsquo;Automne *<br />Time on my hands<br />Billet doux<br />Russian lullaby<br />Stardust<br />Hungaria<br />Liebestraum No3<br />Swing 42 *<br />Stockholm *<br />Notes noir<br />What a difference a day made<br />Viper&rsquo;s dream<br />Black and white<br />previously unissued tracks<br />J&rsquo;attendrai<br />Loverman<br />What a difference a day made<br />* features Bob Wilber on clarinet<br /></span>"
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      "description" => "<p><p align=justify>La r&eacute;union de Babik Reinhardt et de Romane, conjointe &agrave; l&rsquo;&eacute;closion de l&rsquo;irr&eacute;sistible talent du violoniste Florin Niculescu, ont fait du New Quintette du Hot-Club de France une v&eacute;ritable r&eacute;f&eacute;rence du jazz fran&ccedil;ais. <br />Leur disque, peaufin&eacute; dans&nbsp; le Studio de Didier Lockwood, est plus qu&rsquo;un hommage ou une r&eacute;f&eacute;rence au pass&eacute; mais bel et bien l&rsquo;actualisation, cinquanteans plus tard, du patrimoine ayant enfant&eacute; leur art. Bien avant le grand ph&eacute;nom&egrave;ne de mode du &ldquo;swingmanouche&rdquo;, le fils de Django Reinhardt, Babik, et l&rsquo;un des plus grands &eacute;mules du ma&icirc;tre de la guitare jazz, Romane, choisissaient dans le New Quintette du Hot-Club de France des chemins r&eacute;solument modernes pour inscrire l&rsquo;h&eacute;ritage du ma&icirc;tre tut&eacute;laire dans la modernit&eacute; du jazz.<br /></p><p><strong>Benjamin Goldenstein &amp; Patrick Fr&eacute;meaux<br /></strong><em>Babik Reinhardt&rsquo;s reunion with Romane, together with the irresistible talent of new-arrival Florin Niculescu on violin, made the New Quintette du Hot Club de France a genuine reference in French jazz. Their record, polished in Didier Lockwood&rsquo;s studio, was more than a tribute or a reference to the past: fifty years on, it brought right up to date the heritage that had given birth to their art. Long before the Gypsy Swing phenomenon, Babik Reinhardt, the son of Django, and Romane, one of the greatest disciples of the jazz guitar Maestro, created the New Quintette du Hot-Club de France; they also created a resolutely modern approach which stamped the pages of contemporary jazz with the heritage of the Master.<br /></em>BABIK REINHARDT :Guitare solo<br />ROMANE : Guitare solo <br />FLORIN NICULESCU : Violon <br />PHILIPPE &ldquo;DOUDOU&rdquo; CUILLERIER : Guitare rythmique<br />GILLES NATUREL : Contrebasse</p><br /><p>MINOR SWING &bull; NEW FOR ME &bull; TRIBUTE TO MINGUS &bull; MICRO &bull; MÉLODIE POUR STÉPHANE &bull; VALSE SENTIMENTALE &bull; NUAGES &bull; CHEYENNE &bull; A LA LÉG&Egrave;RE &bull; CORAIL &bull; PRÉTEXTE &bull; BELLEVILLE.</p><br /><p><strong>Initialement paru chez Iris Music. Fr&eacute;meaux &amp; Associ&eacute;s cessionnaire 2010.<br />Partenariat avec Jazz radio.<br />Droits : Fr&eacute;meaux &amp; Associ&eacute;s en accord avec Boris Kurtz.<br /></strong></p></p><br><br>"
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      "dwf_livret" => "<h3>new quintette du hot club de france</h3><p align=justify><span class=Soustitre>Babik Reinhardt - Romane - Florin Niculescu </span><span class=Texte><br /></span><span class=Soustitre2>new quintette du hot club de france </span><span class=Texte><br /><strong>Gilles Naturel - Philippe &ldquo;Doudou&rdquo; Cuillerier&nbsp; </strong><br /><strong>1. Minor Swing</strong> (Django Reinhardt- St&eacute;phane Grappelli)&nbsp;&nbsp; &nbsp;2&rsquo;48 <br /><strong>2. New for Me</strong> (Romane)&nbsp;&nbsp; &nbsp;4&rsquo;46 <br /><strong>3. Tribute to Mingus</strong>&nbsp; (Babik Reinhardt)&nbsp;&nbsp; &nbsp;3&rsquo;58 <br /><strong>4. Micro</strong> (Django Reinhardt)&nbsp;&nbsp; &nbsp;4&rsquo;09 <br /><strong>5. M&eacute;lodie pour St&eacute;phane</strong> (Romane)&nbsp; (violons : F. Niculescu &amp; D. Lockwood)&nbsp;&nbsp; &nbsp;4&rsquo;02 &nbsp;&nbsp;&nbsp; <br /><strong>6. Valse sentimentale</strong>&nbsp; (Florin Niculescu)&nbsp;&nbsp; &nbsp;3&rsquo;29 &nbsp;&nbsp;&nbsp; <br /><strong>7. Nuages</strong> (Django Reinhardt)&nbsp;&nbsp; &nbsp;3&rsquo;50 &nbsp;&nbsp;&nbsp; <br /><strong>8. Cheyenne</strong> (Babik Reinhardt)&nbsp;&nbsp; &nbsp;5&rsquo;15 &nbsp;&nbsp;&nbsp; <br /><strong>9. A la l&eacute;g&egrave;re</strong> (Florin Niculescu)&nbsp;&nbsp; &nbsp;3&rsquo;57 <br /><strong>10. Corail </strong>(Romane)&nbsp;&nbsp; &nbsp;4&rsquo;17 <br /><strong>11. Pr&eacute;texte</strong> (Babik Reinhardt)&nbsp;&nbsp; &nbsp;5&rsquo;19 <br /><strong>12. Belleville </strong>(Django Reinhardt)&nbsp;&nbsp; &nbsp;4&rsquo;37&nbsp;&nbsp; <br /><em>Babik Reinhardt* :</em> Guitare sur canal gauche (chorus) <br /><em>Romane :</em> Guitare sur canal droit (chorus) <br /><em>Philippe &ldquo;Doudou&rdquo; Cuillerier :</em> Guitare rythmique <br /><em>Florin Niculescu : </em>Violon <br /><em>Didier Lockwood** :</em> Violon dans &ldquo;M&eacute;lodie pour St&eacute;phane&rdquo; <br /><em>Gilles Naturel :</em> Contrebasse <br /></span><span class=Source>* Avec l&rsquo;aimable autorisation de RDC Records <br />** Avec l&rsquo;aimable autorisation de Dreyfus Jazz </span><span class=Texte><br />Romane joue sur Guitare Maurice Dupont et ampli AER Babik Reinhardt joue sur guitare Gibson <br />Enregistr&eacute; en Juillet 1998 au Studio de la For&ecirc;t &ndash; Didier Lockwood Prise de son &amp; mix : Didier Lockwood <br />Production : Babik Reinhardt, Romane, Iris Music et Ar(t)mada <br /><em>Album d&eacute;di&eacute; par les producteurs &agrave; la m&eacute;moire de Babik Reinhardt. </em><br />Pour la nouvelle parution chez Fr&eacute;meaux &amp; Associ&eacute;s : Remerciements &agrave; Boris Kurts, Jo&euml;l Leibovitz, Jean-Baptiste Ambroggiani Hommage &agrave; Franck Hag&egrave;ge et Babik Reinhardt <br />(P) 1998 Iris Music 2011 Fr&eacute;meaux &amp; Associ&eacute;s <br />&copy; 2011 Groupe Fr&eacute;meaux Colombini SAS&nbsp;&nbsp; <br />C&rsquo;est Babik Reinhardt qui a eu l&rsquo;id&eacute;e du New Quintette du Hot club de France. Il faut dire que depuis pas mal d&rsquo;ann&eacute;es, on pressait le fils de Django de recr&eacute;er le mythique quintette : &ldquo;j&rsquo;ai attendu qu&rsquo;on ne me le demande plus pour le faire ; je ne voulais pas travailler sous la pression, refaire la musique qui avait &eacute;t&eacute; jou&eacute;e par mon p&egrave;re. J&rsquo;ai toujours jou&eacute; ma musique (...)*.&rdquo; Si au milieu des ann&eacute;es 1990, ce qu&rsquo;il est convenu d&rsquo;appeler swing manouche est sorti de l&rsquo;audience confidentielle qui fut la sienne pendant des ann&eacute;es, on est encore loin de la djangomania &agrave; venir. Parmi les h&eacute;ritiers de Django, Romane (qui a alors 4 disques &agrave; son actif) est l&rsquo;un de rares &agrave; avoir compris que si l&rsquo;illustre manouche avait montr&eacute; la direction, chacun devait, avec ses moyens, trouver une voie personnelle. Remarquable compositeur, Romane &eacute;crit ses propres m&eacute;lodies sans trahir l&rsquo;esth&eacute;tique dans laquelle il s&rsquo;exprime, prolongeant et renouvelant le style tout en y imprimant sa marque. C&rsquo;est sans doute ce que Babik a appr&eacute;ci&eacute; chez ce gadjo, lui-m&ecirc;me s&rsquo;&eacute;tant toujours refus&eacute; &agrave; faire le perroquet ; et puis, &agrave; cette &eacute;poque, ils habitent tous deux &agrave; Samois-sur-Seine, cela les rapproche et ils aiment jouer ensemble. Passionn&eacute; par l&rsquo;&eacute;cole am&eacute;ricaine de guitare (Jimmy Raney, Tal Farlow...) Babik a tout de suite opt&eacute; pour la guitare &eacute;lectrique, faisant ses classes avec Ren&eacute; Mailhes et Laro Sollero. Babik est un romantique qui exprime par le son (toucher sensuel, phras&eacute; a&eacute;rien combinant lyrisme et sens m&eacute;lodique) une musique qui sort du c&oelig;ur. Dans son jeu reconnaissable d&egrave;s les premi&egrave;res mesures, spontan&eacute;it&eacute; et &eacute;motion priment sur l&rsquo;intellect. Sa Gibson amplifi&eacute;e tr&egrave;s pr&egrave;s des cordes et du bois &eacute;pouse parfaitement l&rsquo;amplification &eacute;lectro-acoustique de la guitare de Romane, dont les interventions inspir&eacute;es conjuguent&nbsp; musicalit&eacute; et sens de la construction du chorus. Babik et Romane ont eu l&rsquo;id&eacute;e judicieuse de faire venir Florin Niculescu, immense violoniste qui n&rsquo;est alors pas tr&egrave;s connu. S&rsquo;il a bien s&ucirc;r &eacute;cout&eacute; St&eacute;phane Grappelli, le roumain poss&egrave;de une fa&ccedil;on bien &agrave; lui d&rsquo;&eacute;tinceler la musique sur tous les tempos, combinant dans son phras&eacute; incisif virtuosit&eacute;, swing et &eacute;l&eacute;gance. Si le nouveau quintette se pr&eacute;sente avec la m&ecirc;me formule instrumentale que l&rsquo;ancien (trois guitares, un violon, une contrebasse), il se veut moderne ; il s&rsquo;agit de s&rsquo;abreuver &agrave; la source sans s&rsquo;y noyer. <br />On n&rsquo;a plus un guitariste soliste mais deux ; &Ccedil;a change pas mal de choses au niveau du r&ocirc;le et du son des guitares. Doudou Cuillerier assurant seul l&rsquo;accompagnement &agrave; la guitare, on attend de lui l&rsquo;&eacute;quivalent d&rsquo;un jeu de balais. Il s&rsquo;agit de retrouver le groove du quintette original mais en l&rsquo;actualisant, avec davantage d&rsquo;interaction et d&rsquo;harmonie ; d&rsquo;o&ugrave; le choix capital de Gilles Naturel &agrave; la contrebasse ; la pulsation et la stabilit&eacute; assur&eacute;es par cette rythmique qui tourne, permet aux trois solistes de s&rsquo;exprimer avec davantage de libert&eacute; et de combinaisons dans une esth&eacute;tique moins manouche et plus jazz : dialogue, questions-r&eacute;ponses, placements d&rsquo;accents, superposition des deux guitares avec de subtiles variations m&eacute;lodiques (cf. sur &ldquo;Valse sentimentale&rdquo;)... La dur&eacute;e des morceaux n&rsquo;exc&eacute;dant pas quatre ou cinq minutes, concision et &eacute;quilibre sont au rendez-vous.&nbsp; Le groupe a su trouver la voie &eacute;troite entre respect pour la tradition et engagement dans la modernit&eacute; ; tout d&rsquo;abord en insufflant &agrave; la relecture de quatre compositions de Django des influences puis&eacute;es &agrave; d&rsquo;autres sources (cf. le chorus de Babik sur &ldquo;Micro&rdquo;), mais aussi par l&rsquo;apport de huit compositions originales ambitieuses n&rsquo;oubliant jamais la belle m&eacute;lodie, contribuant avec intelligence et humilit&eacute; &agrave; l&rsquo;&eacute;volution de ce style musical : trois de Romane dont un hommage tr&egrave;s sensible &agrave; St&eacute;phane Grappelli, sur lequel Didier Lockwood, invit&eacute;, m&ecirc;le avec toute sa classe son violon &agrave; celui de Florin, trois de Babik (cf. le tr&egrave;s convaincant &ldquo;Tribute to Mingus&rdquo;) et deux de Florin (cf. la jolie &ldquo;Valse sentimentale&rdquo; o&ugrave; le lyrisme du violon alterne avec la dentelle des guitares). Treize ans apr&egrave;s sa parution, ce disque plein de fraicheur (on sent les musiciens heureux et d&eacute;tendus) n&rsquo;a pas pris une ride.&nbsp;&nbsp;&nbsp; <br /><em>Francis Couvreux&nbsp;</em> chroniqueur pour www.djangostation.com&nbsp; <br />* Jazzman n&deg;38, Juillet-ao&ucirc;t 1998&nbsp; <br /></span><span class=Source>&copy; 2011 FRÉMEAUX &amp; ASSOCIÉS&nbsp; <br /></span><em><span class=Soustitre>english notes</span></em><span class=Source><br /></span><span class=Texte>The name was Babik Reinhardt&rsquo;s idea. In fairness, people had been pressing Django&rsquo;s son for years, urging him to revive the legendary &laquo;Quintette du Hot Club de France&raquo;. &laquo;I waited until people stopped asking, and then did it. I didn&rsquo;t want to work under pressure, or play the same music as my father. I&rsquo;ve always played my music...*&raquo;&nbsp; In the mid-Nineties, the music they usually called &laquo;Gypsy Swing&raquo; came out of the confidential circle to which it had been restricted for decades. But it was still a long way from the Django-mania to come. Of all Django&rsquo;s heirs, Romane was one of the rare musicians to understand that, if the famous gypsy-guitarist had indeed shown the way, it was now up to everyone to find a personal approach. Romane, a remarkable composer, wrote his own melodies without betraying the aesthetic that provided his expression; he extended and renewed that aesthetic, and left his own imprint. That, no doubt, is what Babik appreciated in Romane the gadjo &ndash; the gypsy-term used to refer to non-gypsies &ndash;, as Babik, too, had always refused to be a mimic. In those days, the two of them lived in Samois-sur-Seine; they were neighbours, and they played together. Babik had a passion for the American guitar-school &ndash; Jimmy Raney, Tal Farlow &ndash; and he learned the guitar with Ren&eacute; Mailhes and Laro Sollero. Babik is also a Romantic; he expresses his feelings in sound, with a sensual touch and airy phrasing that combine lyricism with his feeling for melody. You can recognise his playing in the very first bars: spontaneity and emotion prevail over intellect. His Gibson is amplified close to the strings and body, perfectly matching the electro-acoustic amplification of Romane, whose inspired interventions combine musicality with his &laquo;feel&raquo; for the construction of a chorus. Babik and Romane had an idea, and it turned out to be extremely judicious: they brought in Florin Niculescu, an immense violinist (born in Bucharest) who was then still an unknown. He&rsquo;d listened to St&eacute;phane Grappelli of course, but he had his own way of making music sparkle whatever the tempo, and his incisive, virtuosic phrasing swung with elegance. Even if the New Quintette used the same instrumental format as the original &ndash; three guitars, a violin and a contrabass &ndash; its aim was resolutely modern: &laquo;drink at the well, but don&rsquo;t drown in it.&raquo; There was no longer one soloist playing guitar, but two; it makes a great difference to the role and sound of the instruments. With Doudou Cuillerier the only accompanying guitarist, what was expected from him was the equivalent of &laquo;brushwork&raquo;. They would reproduce the groove of the original Quintette, but bring it right up to date at the same time, with more interaction and harmony; hence the capital choice of bassist Gilles Naturel. The stable pulse provided by this highly-efficient rhythm-section allowed the three soloists much more freedom in the way they interacted, and the approach was less &laquo;gypsy&raquo;, more &laquo;jazz&raquo;: dialogue, call-and-response, accentuation, two-guitar-overlays with subtle melodic variations (cf. Valse sentimentale)...&nbsp; The group found the narrow road separating respect for tradition and commitment to modernity: first of all, by breathing influences drawn from other sources into a rereading of four Django compositions (note Babik&rsquo;s chorus on Micro); but they also brought in eight, ambitious, original tunes whose melodies are beautiful, and these contributed to make the music evolve with intelligence and discretion: three by Romane, including an extremely sensitive tribute to St&eacute;phane Grappelli (guest artist Didier Lockwood adds the class of his violin to that of Florin Niculescu); three titles by Babik (cf. the highly convincing Tribute to Mingus), and two pieces written by Florin (cf. the pretty Valse Sentimentale). Thirteen years after its original release, the freshness of this recording hasn&rsquo;t aged a bit.&nbsp;&nbsp; &nbsp; <br />Adapted by Martin Davies, from the French text of&nbsp; Francis Couvreux, contributor to www.djangostation.com&nbsp; <br />* Jazzman n&deg;38, July-August 1998&nbsp; <br />&copy; 2011 FRÉMEAUX &amp; ASSOCIÉS&nbsp;&nbsp; <br /></span><span class=Source>CD Babik Reinhardt - Romane - Florin Niculescu new quintette du hot club de france &copy; Fr&eacute;meaux &amp; Associ&eacute;s (fr&eacute;meaux, fr&eacute;maux, fr&eacute;mau, fr&eacute;maud, fr&eacute;mault, fr&eacute;mo, fr&eacute;mont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont, CD audio, 78 tours, disques anciens, CD &agrave; acheter, &eacute;couter des vieux enregistrements, albums, r&eacute;&eacute;ditions, anthologies ou int&eacute;grales sont disponibles sous forme de CD et par t&eacute;l&eacute;chargement.)<br /></span></p>"
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      "description" => "<p><p align=justify>Les clarinettistes Jean-Marc Folz, Sylvain Kassap et Armand Angster se sont r&eacute;unis sous l'&eacute;gide des productions Accroche Note - Evidence en un v&eacute;ritable laboratoire de la cr&eacute;ation. Le concept de Trio de Clarinettes de ces trois musiciens chevronn&eacute;s r&eacute;affirme avec vigueur leur vocation de b&acirc;tisseur de structures artistiques au service d'un credo d'artiste contemporain : l'improvisation et le dialogue entre les instrumentistes. Fr&eacute;meaux &amp; Associ&eacute;s offre une distribution mondiale &agrave; ces d&eacute;fricheurs de musicalit&eacute; et &agrave; leur manifeste pour la diffusion d'une utopie sonore. <br /><strong>Patrick Fr&eacute;meaux &amp; Ma&iuml;t&eacute; Dh&eacute;lin</strong><br /><em>Clarinettists Jean-Marc Folz, Sylvain Kassap and Armand Angster convened for Accroche Note productions giving way to a veritable laboratory of creation.&nbsp;The Trio de Clarinettes concept of these three seasoned musicians again proves their calling for artistic structures for the creed of contemporary artists:&nbsp; improvisation and dialogue between instrumentalists. Through Fr&eacute;meaux &amp; Associ&eacute;s, we can all now appreciate these musical pioneers and their desire to share their melodic Utopia.<br /></em><strong>Patrick Fr&eacute;meaux &amp; Ma&iuml;t&eacute; Dh&eacute;lin</strong><br />Armand ANGSTER : clarinette, clarinette basse, clarinette contrebasse &bull; Sylvain KASSAP : petite clarinette, clarinette, clarinette basse &bull; Jean-Marc FOLTZ : clarinette, clarinette basse<br />Ploc &bull; Ramdam &bull; Cloches-tubes &bull; Loops &bull; Dune de Glaces &bull; D&eacute;sert &bull; Choral &bull; Firmin &bull; No no no &bull; Yu-bin-ha-ga-ki &bull; Épilogue<br /><strong>Droits : Groupe Fr&eacute;meaux Colombini - EVIDENCE (propri&eacute;t&eacute; de LMD) en accord avec Accroche note et le soutien du MFA (Musiques Fran&ccedil;aises d'Aujourd'hui - aide &agrave; la musique de cr&eacute;ation jazz, classique et contemporaine).</strong></p></p><br><br>"
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      "dwf_livret" => "<h3>le Trio de Clarinettes</h3><p align=justify><p><span class=Soustitre>le Trio de Clarinettes</span></p><p><span class=Texte><strong>Armand ANGSTER •  Sylvain KASSAP •  Jean-Marc FOLTZ</strong></span></p><br /><p><span class=Texte><br />Remerciements à Marie-Claude Segard, Philippe Ochem, Patrick Selmer.</span></p><p><span class=Texte>Le Trio de Clarinettes joue des instruments Selmer.</span></p><br /><p><span class=Texte><strong>le Trio de Clarinettes  -  r a m d a m</strong></span></p><p><span class=Texte><strong>Armand ANGSTER, Sylvain KASSAP, Jean-Marc FOLTZ</strong> </span></p><p><span class=Texte>1• Ploc ( Armand Angster )    4’51<br /> 2• Ramdam ( Armand Ansgter )    5’25<br /> 3• Cloches-tubes ( Armand  Angster - Sylvain Kassap -  Jean-Marc Foltz  )   2’19<br /> 4• Loops ( Jean-Marc Foltz )   7’39<br /> 5• Dune de Glaces ( Jean-Marc Foltz )   3’08<br /> 6• Désert ( Sylvain Kassap )   4’56<br /> 7• Choral ( Armand  Angster - Sylvain Kassap -  Jean-Marc Foltz  )   3’30<br /> 8• Firmin ( Armand Ansgter )   4’00<br /> 9• No no no ( Jean-Marc Foltz )   8’12<br />10• Yu-bin-ha-ga-ki ( Sylvain Kassap )   8’16<br />11• Épilogue ( Armand  Angster - Sylvain Kassap -  Jean-Marc Foltz  )   5’11</span></p><p><span class=Texte><br />Armand ANGSTER : clarinette, clarinette basse, clarinette contrebasse</span></p><p><span class=Texte>Sylvain KASSAP : petite clarinette , clarinette, clarinette basse</span></p><p><span class=Texte>Jean-Marc FOLTZ : clarinette, clarinette basse</span></p><p><span class=Texte><br /></span></p><p><span class=Source>CD Le Trio de Clarinettes, Armand ANGSTER, Sylvain KASSAP,  Jean-Marc FOLTZ © Frémeaux &amp; Associés. (frémeaux, frémaux, frémau, frémaud, frémault, frémo, frémont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont, CD audio, 78 tours, disques anciens, CD à acheter, écouter des vieux enregistrements, albums, rééditions, anthologies ou intégrales sont disponibles sous forme de CD et par téléchargement.)</span></p></p>"
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      "dwf_livret" => "<h3>Claude Bolling plays Ray Charles FA596</h3><span class=Soustitre2>Claude Bolling BIG PIANO ORCHESTRA plays Ray Charles</span><span class=Texte><br /></span><p align=justify><span class=Texte>Enregistr&eacute; en 1962, cet album est d&eacute;tonnant de vitalit&eacute;. A l&rsquo;heure o&ugrave; la jeunesse d&eacute;couvre le twist par l&rsquo;interm&eacute;diaire des musiques anglo-saxonne, Claude Bolling ne tombe pas dans le pi&egrave;ge du simple cover, mais arrange en jazz un r&eacute;pertoire rhythm &amp; blues. La qualit&eacute; du Big Band coordonn&eacute;e par G&eacute;rard Badini et le swing de Claude Bolling subjuguent l&rsquo;auditeur. Ce disque est remis &agrave; la disposition du public en 2013 par Fr&eacute;meaux &amp; Associ&eacute;s en accord avec Claude Bolling, il avait re&ccedil;u &agrave; l&rsquo;&eacute;poque le prix de l&rsquo;Acad&eacute;mie Charles Cros dans la cat&eacute;gorie &laquo;&thinsp;Danse&thinsp;&raquo;. La syncope de la rythmique, l&rsquo;efficacit&eacute; des cuivres, la mise en place du ch&oelig;ur et le jeu de piano parfait de Claude Bolling l&eacute;gi-timent pleinement cette distinction. &nbsp;&nbsp;&nbsp; <br /><strong>Patrick FRÉMEAUX</strong></span><br /><span class=Texte>Recorded in 1962, this album explodes with vitality. Just when teenagers were discovering the Twist on English and American records, pianist Claude Bolling avoided the trap of playing cover-versions and began writing jazz arrangements of rhythm &amp; blues songs&hellip; and those who listened to the quality of Claude Bolling&rsquo;s swinging piano in this Big Band fronted by G&eacute;rard Badini immediately fell under its spell. Now reissued by Fr&eacute;meaux &amp; Associ&eacute;s in agreement with Claude Bolling, this is the dance-album which originally received the Charles Cros Academy Prize. 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Carmichael - S. Gorrell - J. Plante)</span><br /><span class=Texte>Piano : Claude Bolling &bull; Sax solo : G&eacute;rard Badini &bull; and the Big Piano Orchestra</span><br /><span class=Texte>- What I&rsquo;d say</span><br /><span class=Texte>- Yes indeed</span><br /><span class=Texte>- Hit the road Jack</span><br /><span class=Texte>- Georgia on my mind</span><br /><span class=Texte>(enregistr&eacute;s &agrave; Bruxelles, le 26 d&eacute;cembre 1961)</span><br /><span class=Texte>- You be my baby</span><br /><span class=Texte>- Tell all the world about you</span><br /><span class=Texte>- Tell the truth</span><br /><span class=Texte>- Tell me how do you fell</span><br /><span class=Texte>(enregistr&eacute;s &agrave; Bruxelles, le 26 janvier 1962)</span><br /><span class=Texte>- Raggin&rsquo; the twist</span><br /><span class=Texte>- I&rsquo;m movin&rsquo; on</span><br /><span class=Texte>- That&rsquo;s enough</span><br /><span class=Texte>- One mint julep</span><br /><span class=Texte>- Unchain my heart</span><br /><span class=Texte>- Preachin&rsquo; Charles</span><br /><span class=Texte>(enregistr&eacute;s &agrave; Bruxelles, les 7 &amp; 8 f&eacute;vrier 1962)</span><br /><span class=Texte>Big Piano Orchestra (Formation et personnel inconnus), Claude Bolling (piano) G&eacute;rard Badini (tous les solos de saxophone)</span><br /><span class=Texte>&laquo;&thinsp;L&rsquo;acad&eacute;mie Charles Cros vient de d&eacute;cerner ses prix annuel et, dans son palmar&egrave;s, trois distinctions nous int&eacute;ressent plus particuli&egrave;rement [&hellip;]</span><br /><span class=Texte>Cat&eacute;gorie Danse, Claude Bolling l&rsquo;emporte avec le volume intitul&eacute; &laquo;&thinsp;Claude Bolling joue Ray Charles&thinsp;&raquo; (30 cm, Philips 77152). Bravo pour ce choix, il n&rsquo;y a, en effet, aucun sacrifice &agrave; la mode dans ce disque consacr&eacute; certes &agrave; la danse, mais aussi au jazz.&thinsp;&raquo;</span><br /><strong><span class=Texte>COMBAT 11 mars 1963</span></strong><br /><span class=Texte>Remasteris&eacute; au Studio Art &amp; Son (Paris) en f&eacute;vrier 2013.</span><br /><span class=Texte>Dessin de couverture : &laquo;&thinsp;Claude Bolling Big Piano Orchestra&thinsp;&raquo; par Sin&eacute;</span><br /><span class=Source>&copy; Fr&eacute;meaux &amp; Associ&eacute;s</span><br /><span class=Texte>Booking Claude Bolling/Ca&iuml;d Music : Manuelle Pefferkorn Mazerand</span><br /><span class=Texte>Direction de collection : Patrick Fr&eacute;meaux &amp; Claude Colombini</span><br /><span class=Texte>Coordination &eacute;ditoriale : Augustin Bondoux assist&eacute; de Julie Rochette </span><br /><span class=Texte>pour Fr&eacute;meaux &amp; Associ&eacute;s</span><br /><span class=Texte>Photos livret : </span><span class=Source>&copy; collection Claude Bolling</span><br /><span class=Texte>La carri&egrave;re phonographique de Claude Bolling est enti&egrave;rement disponible dans le monde entier au catalogue Fr&eacute;meaux &amp; Associ&eacute;s, avec d&eacute;j&agrave; 50 CDs et 3 films DVD.</span><br /></p><br /><span class=Source>CD Claude Bolling plays Ray Charles &copy; Fr&eacute;meaux &amp; Associ&eacute;s 2013.</span><br />"
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      "description" => "<p><p align=justify>Quand on parle &agrave; C&eacute;sarius Alvim ou qu&rsquo;on entend sa musique, on sait tout de suite que l&rsquo;on a affaire &agrave; quelqu&rsquo;un d&rsquo;une tr&egrave;s grande sensibilit&eacute;. <br />Sensibilit&eacute; qui transpara&icirc;t imm&eacute;diatement dans son approche instrumentale et dans ses compositions. <br />Multi-instrumentiste, le piano semble &ecirc;tre pour lui le plus bel instrument du monde et ce n&rsquo;est pas moi qui dirais le contraire. Il en tire de magnifiques sonorit&eacute;s qui rendent sa musique tr&egrave;s &eacute;mouvante. <br />Je suis heureux de saluer un v&eacute;ritable artiste. Continue, Cesarius, &agrave; fabriquer de la belle musique.&nbsp;<br /><strong>Martial&nbsp;Solal<br />&nbsp;<br /></strong><em>Cesarius Alvim&rsquo;s new cd is gorgeous. It goes for your heart, from beginning to end, full of sweet and tender melodies that sing and shine. The illusion of two separate musicians is beautifully done. I am honored to have this music dedicated to me and Martial Solal&hellip; Bravo Cesarius</em>!<br /><strong>Eddie Gomez<br /></strong></p><p align=justify><strong><br /></strong></p><strong>DIRECTION ÉDITORIALE : AUGUSTIN BONDOUX<br />EDITION : EDITION MUSICALE FREMEAUX &amp; ASSOCIES<br />PRODUCTION : CESARIUS ALVIM<br />DROITS : FREMEAUX &amp; ASSOCIES<br /><br /></strong>SOLARIS &bull; QUASI FUGA &bull; MARA, LA BELLE &bull; LA BALAN&Ccedil;OIRE &bull; STRATUS &bull; HART DANCING &bull; I REMEMBER THE POET &bull; ÉTOILE FILANTE &bull; AMENÉE PAR LE VENT &bull; GLACIAL PAYSAGE &bull; PO&Egrave;ME POUR UN R&Ecirc;VE &bull; LE SEIGNEUR DE RIO &bull; THE WINE (FRANCE HOMMAGE) &bull; LIM&Atilde;O VERDE &bull; THE MESSAGE</p><br><br>"
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      "dwf_livret" => "<h3>Césarius Alvim Contrapunctus LLL334</h3><p class=MsoNormal><span class=Soustitre2>Cesarius Alvim</span></p><p class=MsoNormal><span class=Soustitre2>CONTRAPUNCTUS</span></p><p> </p><p><br /><p><span class=Texte><br /></span> </p><br /><p class=MsoNormal><span class=Soustitre>Le Contrepoint et L’Arbre</span></p><p align=justify><p class=MsoNormal><span class=Texte>Maintenant le temps passé se fait présent et je me souviens de cet arbre, seul, au milieu d’une petite place.<br /></span></p><br /><p class=MsoNormal>Affaiblit par la pollution de la ville, il dépassait sa fragilité et dansait avec une élégance et un sens rythmique me rappelant «?L’Art de la Fugue?» de J.S. Bach.</p><p class=MsoNormal><span class=Texte>Ses branches dessinaient de majestueux mouvements contraires, parallèles, comme dans une partition d’orchestre dont les différentes voix, entrelacées par une parfaite harmonie, font entendre un ensemble équilibré, vivant, coloré, issu de la pensée du compositeur.<br /></span></p><br /><p class=MsoNormal><span class=Texte>A l’origine de cette danse unique l’on pouvait voir l’œuvre du vent.<br /></span></p><br /><p class=MsoNormal><span class=Texte>L’arbre nous montre le contraire d’une appro­che intellectuelle, laissant par son image, cet important message de simplicité et de liberté.<br /></span></p><br /><p class=MsoNormal><span class=Texte>A ce moment précis me voilà éclairé.   <br /></span></p><span class=Texte><strong>Cesarius Alvim</strong></span></p><p align=justify><p><br /><p class=MsoNormal><span class=Texte>Cette musique est un hommage à Martial Solal, pianiste unique parmi les plus grands, ainsi qu’à Eddie Gomez, l’un des bassistes les plus importants de l’histoire du Jazz, avec lesquels j’ai eu l’honneur de partager de nombreux concerts et enregistrements, à la contrebasse et au piano respec­tivement. </span></p><br /><p class=MsoNormal>Cet Album est dédié à William Jones, «?Le Seigneur de Rio?», ami d’enfance, philosophe et mélomane averti, c’est à lui que revient l’idée de ce projet.</p><p class=MsoNormal><span class=Texte>Un grand merci, <strong>Cesarius Alvim </strong></span></p></p><p><p class=MsoNormal><span class=Texte>Quand on parle à Césarius Alvim ou qu’on entend sa musique, on sait tout de suite que l’on a affaire à quelqu’un d’une très grande sensibilité.<br /></span></p><br /><p align=justify><p class=MsoNormal><span class=Texte>Sensibilité qui transparaît immédiatement dans son approche instrumentale et dans ses compositions. Multi-instrumentiste, le piano semble être pour lui le plus bel instrument du monde et ce n’est pas moi qui dirais le contraire. Il en tire de magnifiques sonorités qui rendent sa musique très émouvante. Je suis heureux de saluer un véritable artiste. Continue, Cesarius, à fabriquer de la belle musique.?</span></p><p class=MsoNormal><span class=Texte>Avec mon amitié, <strong>Martial Solal<br /></strong></span></p></p><p><p class=MsoNormal><p align=justify><p class=MsoNormal><span class=Texte>Cesarius Alvim’s new cd is gorgeous. It goes for your heart, from beginning to end, full of sweet and tender melodies that sing and shine. The illusion of two separate musicians is beautifully done. I am honored to have this music dedicated to me and Martial Solal.</span></p></p><span class=Texte>Bravo Cesarius! <strong>Eddie Gomez</strong></span></p><br /><p><br /><p class=Texte><p align=justify><p class=MsoNormal><strong>1 SOLARIS</strong> 3’59</p><br /><p class=MsoNormal><strong>2 QUASI FUGA</strong> 3’03</p><br /><p class=MsoNormal><strong>3 MARA, LA BELLE </strong>4’06</p><br /><p class=MsoNormal><strong>4 LA BALANÇOIRE</strong>  3’23</p><br /><p class=MsoNormal><strong>5 STRATUS</strong>  3’38</p><br /><p class=MsoNormal><strong>6 HART DANCING</strong>  3’26</p><br /><p class=MsoNormal><strong>7 I REMEMBER THE POET</strong> 3’42</p><br /><p class=MsoNormal><strong>8 ÉTOILE FILANTE</strong> 3’58</p><br /><p class=MsoNormal>9<strong> AMENÉE PAR LE VENT</strong> 3’52</p><br /><p class=MsoNormal><span class=Texte><strong>10 GLACIAL PAYSAGE</strong>  2’50</span></p><br /><p class=MsoNormal><span class=Texte><strong>11 POÈME POUR UN RÊVE</strong>  3’33</span></p><br /><p class=MsoNormal><span class=Texte><strong>12 LE SEIGNEUR DE RIO</strong>    3’53</span></p><br /><p class=MsoNormal><span class=Texte><strong>13 THE WINE </strong>France Hommage   4’10</span></p><br /><p class=MsoNormal><span class=Texte>d’après LA MARSEILLAISE</span></p><br /><p class=MsoNormal><span class=Texte><strong>14 LIMÃO VERDE</strong>     3’02</span></p><br /><p class=MsoNormal><span class=Texte><strong>15 THE MESSAGE</strong>    4’13</span></p><br /><p class=MsoNormal><span class=Texte>Featuring Ruth Alvim, </span><span class=Texte>d’après BUI DA CARA PRÊTA (Dorival Caymmi)<br /></span></p><p><p class=MsoNormal><span class=Texte>Total Time : 50’45</span></p><br /><span class=Texte>All Titles composed by Cesarius Alvim (except N° 15, Bui da cara prêta by Dorival Caymmi).</span></p><p><br /><p class=MsoNormal><span class=Soustitre>Remerciements </span></p><p class=MsoNormal>A Ruth Alvim, ma mère, ancienne pianiste et chanteuse, soliste dans l’ensemble de Villa Lobos dirigé par le compositeur à Rio de Janeiro, qui a bien voulu, à 83 ans, chanter un titre «?The Message». Témoignage spontané d’un moment inoubliable.</p><br /><p class=MsoNormal><span class=Texte>Au Dr. Aubert Roullier, pour les sorties en bateaux à la découverte de paysages bretons, sujets actuels d’une série de peintures (La baie de Saint-Jacut, paysages d’hiver) et de compositions musicales (Importée par le vent, L’Étoile filante, Stratus).</span></p><br /><p class=MsoNormal><span class=Texte>A Gérard Hirsch, supervision technique «Son» &amp; Carline Cramesnil.</span></p><p><p><p><p><p><p><p><br /><p class=MsoNormal>«?Quand on parle à Césarius Alvim ou qu’on entend sa musique, on sait tout de suite que l’on a affaire à quelqu’un d’une très grande sensibilité.</p><br /><p class=MsoNormal>Sensibilité qui transparaît immédiatement dans son approche instrumentale et dans ses compositions. Multi-instrumentiste, le piano semble être pour lui le plus bel instrument du monde et ce n’est pas moi qui dirais le contraire. Il en tire de magnifiques sonorités qui rendent sa musique très émouvante. Je suis heureux de saluer un véritable artiste. Continue, Cesarius, à fabriquer de la belle musique.?»  </p><p class=MsoNormal><span class=Texte><strong>Martial SOLAL</strong></span></p><p><br /><p class=MsoNormal><span class=Texte>“Cesarius Alvim’s new cd is gorgeous. It goes for your heart, from beginning to end, full of sweet and tender melodies that sing and shine. The illusion of two separate musicians is beautifully done. I am honored to have this music dedicated to me and Martial Solal… Bravo Cesarius!”    <br /><strong>Eddie GOMEZ</strong></span></p><p><br /><p class=MsoNormal><span class=Texte>Si Cesarius Alvim est sans doute l’un des plus grands contrebassistes de sa génération, ce dernier a aussi réussi à s’affirmer depuis la fin des années 1980, comme l’un des pianistes de référence du jazz. Une maison de disque propose pour la première fois à l’artiste de réunir ses deux carrières en re-recording sur un disque. Une rencontre unique et intime, dédiée à ses amis et partenaires de toujours Martial Solal et Eddie Gomez, entre le Cesarius Alvim pianiste et le Cesarius Alvim contrebassiste.          <br /><strong>Patrick FRÉMEAUX</strong></span></p><br /><p><span class=Source>CD CONTRAPUNCTUS, CESARIUS ALVIM © Frémeaux &amp; Associés 2012 (frémeaux, frémaux, frémau, frémaud, frémault, frémo, frémont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont, CD audio, 78 tours, disques anciens, CD à acheter, écouter des vieux enregistrements, albums, rééditions, anthologies ou intégrales sont disponibles sous forme de CD et par téléchargement.)</span></p></p></p></p></p></p></p></p></p></p></p></p></p></p></p></p></p></p>"
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