Reinbert de Leeuw/Erik Satie - "Vexations" LP, Album, 1983 (Philips)

Album of the day: "Vexations" written by Erik Satie, and performed by Reinbert de Leauw. There are a few editions of this remarkable piece of music. This is the 40-minute version by de Leauw, but there are at least two other versions that last for 80-minutes on the CD format. Either way, you can't fail with this piece of music. Ambient by design, but in actuality, it's a very demanding listening experience. When times get tough (and it's super-duper tough now) this music doesn't exactly calm me down but makes me think in a deeper mode. It's almost another layer of the brain is used when listening to Vexations. If I was going to hit the streets, this would be the music in my headphone.

Alain Goraguer - "J'irai Cracher sur vos Tombes" OST, Vinyl, 7" 45 rpm EP, 1959 (Philips)

I have a bit of history with Alain Goraguer, in the sense that I published with my press TamTam Books, J'irai cracher sur vos Tombes (I Spit on Your Graves) by Boris Vian.  Vian had a love and hated relationship with this book due that he got into much trouble with the law on this title, as well as loathing the film version of his novel.  Also, the fact that he died during the screening of this film, sort of makes this a cursed book/film.  Still, and even Vian agreed, Alain Goraguer is a fantastic musician and composer.  

I had the music as a download for years but had a hard time finding the original edition of this classic.  Until I found a copy at HMV in Shinjuku Tokyo.   In pretty great condition, and with a price of around $30, I purchased this piece of history.   The EP is approximately 10 minutes long, with six pieces, but an essential work by Goraguer.   

His most famous work in the English speaking world is his electronic soundtrack to the animated film "La Planète Sauvage," but sadly it ends there with most listeners of that work.  Goraguer is a jazz pianist who also played and arranged the early Serge Gainsbourg records of the 50s,  as well as working with  YéYé teenage acts of the 1960s.  Throughout that decade up to the 80s, he worked on with other French artists and wrote and performed various soundtracks, including adult films.  Whenever I see his name on the record label, either as artist, arranger, or his orchestra, I pick it up and never am I disappointed with the music or recording. 

Goraguer also wrote songs with Boris Vian, and it is probably due to this relationship that he composed the score to "I Spit on Your Graves."   A haunting melody, it is a perfect film writing score that shows all of Goraguer's strength as a composer and artist. 

André Hodeir - "L'écume des jours" OST, 45 rpm Vinyl Single, France, 1968 (Philips)

André Hodeir is a fascinating figure in French Jazz.  Think of him as sort of a more adventuresome Gil Evans.  Musician, composer, arranger, and author.  He wrote numerous books on Jazz aesthetics that were published by Grove Books in the 1960s.  Hodeir is also a challenging artist to find record wise.  Even in Paris I had trouble locating his works, but now, with the internet, it's a tad easier, but not a whole lot of recordings are readily available.   One of the hard finds for me, is this record, the soundtrack to Charles Belmont's French film "L'écume des jours."  It's based on a fantastic Boris Vian novel ("Foam of the Daze" which I published through my press TamTam Books).   

Header uses jazz as a foundation, but he also had an interest in Musique Concréte practices as well.  "L'écume des jours" in parts, is almost electronic in that he processes the children's vocals into a hypnotic and haunting sound.   There is nothing on this French EP that is predictable. Incredibly melodic in parts, but also obsessed with the sound process as well.  Hodeir was a genius and very worth while to locate his recordings.  I think I have most of his work in my collection, as well as a huge Boris Vian presence in my sound and book library.  

Barbara - "Madame" Vinyl, LP, Album, 1970 (Philips)

The first seven songs on "Madame" is a seven-song tableaux or suite with lyrics by Remo Forlani, and music by our star, Barbara.   Forlani was a writer, screenwriter, and an actor who worked with Jean-Luc Godard (Made in the U.S.A.") and worked with Chris Marker and Alain Resnais.   Barbara is an iconic French singer/songwriter whose music and singing is very dramatic, and I think unique.   There is only "one" Barbara."  

"Madame" is orchestrated and arranged by Jean-Claude Vannier, who is a visionary musician/composer who worked with Serge Gainsbourg and Brigitte Fontaine among many others.  His work is on the border of the avant-garde and French pop song.  In a fashion, he's the bridge between Musique Concréte and the Yé-Yé.   So, the album has three unique voices, and it's a remarkable cocktail in an album form.    Barbara is the real deal and is considered to be the new version of a chanson singer.  Perhaps due to her songwriting, as well as being an early AIDS activist in France.   For the English speaking world, another avenue to explore through this French iconic singer/writer. 

Manfred Mann - "This Is... Manfred Mann" Vinyl, LP, Compilation, 1970 (Philips)

The Paul Jones era of Manfred Mann is what I know best of this band.  When Mike D'Abo took over as the lead vocalist, I either lost my attention to them, or more to the fact, that they became very European orientated with respect to marketing and didn't follow them just due to that fact. Although they had a massive hit here in the States with Bob Dylan's "Mighty Quinn" it was a one-shot deal for me and my ears.  Alas, there are hidden treasures in the later Mandred Mann world.  

At heart, and what makes Manfred Mann the band interesting is that they are basically blues players with a healthy appreciation for jazz. Mann was always a jazz keyboard player who happened dip his toes into the world of pop.   Paul Jones (to this day) had an organic appreciation of the blues and was once considered to be the lead singer for the Rolling Stones, due to his friendship with Brian Jones.  When D'Abo took over vocal duties, this led the band to a more pop format.   And here on this compilation album is the highlights of the D'Abo years with Manfred Mann.  I, for one, is a huge fan of the song "Ha Ha! Said the Clown."   The Yardbirds (with Jimmy Page) also recorded this song around the same time that Manfred and crew recorded it.  There is not a huge mega difference between the two recordings, except Manfred does have a jazz feel for his material, even if it's a straight ahead pop song. 

Side two is the real deal for me.  For the sole reason, there are three Manfred Mann instrumentals.  I suspect that these were recorded between lead singers, and they had to release something in the meantime.   They do "Sweet Pea" (by Tommy Roe), "Wild Thing" (the Troggs legendary song), and the French classic "Autumn Leaves."  Here we get the hardcore Soho London jazz version of the band, which I suspect is the real Manfred at work and play.  I wrote about their EP that they released in 1968, that was all instrumental.  "Wild Thing" was part of that package, but the other two were not on the EP.   Their version of "Sweet Pea" is essential Manfred listening experience.  Mann is an excellent organist, and the band is having a great time exploring this song up, and then putting it back in its proper pop mode.    The British Invasion Manfred Mann was a great band.  They also had inside track into Bob Dylan songs, and I think that when they handle a Bob piece, it's the best version of that song.    Not the easiest album to find, but worth while, if only for their jazz instrumentals.  And yes, of course, "Ha Ha!, Said The Clown." 

"Henri Salvador Alias Henry Cording and his Original Rock and Roll Boys" CD, Album, France, 2002/1956 (Philips)

The first French Rock n' Roll and it may have been a joke, but alas, it does rock.  Henri Salvador is a jewel in the French music world.  Entertainer, incredible jazz guitarist, songwriter, and humorist.  Also a great pal of Boris Vian, who signed him to Philips, in his later career as an A&R man for a record label, after a career in writing, translating, singing, songwriting, and of course, engineer.  Vian and Salvador wrote what sounds like a parody of rock, played by French jazz musicians.  This originally 10" release (Oh, how I wish I own that version) in 1956, saw the presence of rock entering the French market place.  My guess is that Vian, a total Jazz-head, probably liked the Black American elements of rock n' roll and not that crazy about the commercial push of that genre.  But that's just an educated guess on my part.  Half the album is Salvador/Vian, and the other is Vian/Michel Legrand songs.  Big band, honking horns, excellent cutting electric guitar, and Salvador singing the absurd lyrics by Vian.   Superb music. 

Pierre Henry - "Variations For a Door and a Sigh" Vinyl, LP, Album, 1967 (Philips)

On one level, probably the most 'difficult' album in my collection.  On the other hand, it's everyday life as being interpreted by the great Pierre Henry.    From awakening to death.  All is exposed on this concept album of life being lived on a physical level.  Musique concrète all, or mostly through what sounds like a door being open and closing.  

Musique Concrète is a style of music that I find interesting because it's based on the everyday sounds of a composer who captures that moment and rearranges the sounds for their purpose.  Through either tape manipulations or some other electronic means, it is giving the natural or organic sound another dimension.   "Variations For a Door and a Sigh" is not for everyone, but for those who want to dwell into the inner-world, I recommend this album. And it may be just me, but I find it sexy.  As the statement on the back cover of this album: "This recording should be played at full volume, and listened to in darkness."  Which is an excellent recommendation.    

Michel Legrand - "Play for Dancers" Vinyl LP (Philips) 1964

What I have is the U.S. version that is called "Michel Legrand Plays For Dancers"  It is known in France as "Archi-Cordes" and in other parts of Europe as "Violent Violins."  Which the latter is actually description of this classic Legrand album.   Once you hear "Di-Gue-Ding-Ding" you never forget it.  The song will be grilled in your head till the day you die.  Which, with this particular song, is a very good thing.   The whole album is fantastic, and the U.S. cover is mis-reading the album.  One would think it will be just an album of tunes that one can do the Wobble, or Hully Gully and of course the Shimmy - but in fact, this is a recording made by Legrand that has his best work as an arranger.  The violent strings are biting and the rest of the album is almost electronic in its feel and behavior.  More Joe Meek than Henry Mancini and with a great deal of the Legrand melodies and presence.   Sound - wise it's a witty piece of work as well.  There are arrangments that will make one smile, just by its aural possiblities.  An unique album and one of Michel Legrand's greatest works.