Jazz in Paris, Vol 3 -"Saint-Germain-Des-Prés (1946-1956) 3 x CD, Compilation, 2004 (Gitanes Jazz Productions )

I love everything French ever since I was a tot and my dad took me to see a Bardot movie in Larkspur  California.  Over decades my love of Parisian aesthetic came to fruition with the music of Serge Gainsbourg, Boris Vian, Les Rita Mitsuko, and many others.  I also love French Jazz, which sometime sounds like American Jazz, but with a French twist to the sound.  In 2004, they released a "Jazz in Paris" series that is excellent.  Eventually, they then made CD boxsets with an additional book in the package.   One can't go wrong with the quality of the book as well as the music of course.  Volume 3 is "Saint-Germain-Des-Prés (1946-1956), and it's a compilation that goes beyond excellence.

Saint-Germain was the focal point of those years for writing and music-making.  Think of it as Liverpool in the early 1960s or Height Asbury in the Psychedelic Era, or NYC from the 1930s to 1970s.  It seems that brilliance was from the air and landed on the grand boulevard of Saint-Germain.

Boris Vian and some others introduce American Jazz into Paris, by releasing recordings as well as arranging tours for various Jazz artists such as Miles Davis, Duke Ellington, and others.  This collection mostly focuses on French jazz musicians like Django Reinhardt, René Urtreger Trio, and including my hero Boris Vian. 

There are also Americans such as Sidney Bechet And His Feetwarmers,  Don Byas, and so forth. Still, the magnificence of the playing and the communication between the two cultures are breathtaking. Beautiful moments of time and this boxset takes you to ground zero of French greatness.  

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. 

Serge Gainsbourg - "Théâtre des Capucines" Vinyl, LP, Album, Reissue, 2018 (Jeanne Dielman)

A very important, and therefore a priceless document of Serge Gainsbourg's French nightclub performance in the year 1963.   Gainsbourg never had that awkward moment when he wasn't a genius.   Backed by a stand-up bass and an electric guitar, Gainsbourg covers his iconic 'jazz-like' songs, such as "Intoxicated Man," "Maxim's," and the ultimate ballad of all-time, "La Javanaise." In my opinion, there are better eras for Gainsbourg than others, and I think most of the listeners who live outside of France, probably prefer the Jane Birkin/Bardot recordings.  Which is understandable, because they are great songs, but I tend to fancy the jazz-era Serge.   I feel he was at the height of his songwriting skills, and he knew how to convey complex feelings into what seems to be like a love song.  In truth, he is expanding those emotions to express a world-view of the landscape that humorous, but also deadly serious at the same time. 

This was the tour before he released his album "Confidentiel," which this live album is a reflection of that official studio recording.  The sound is not that different due to the simple set-up of the guitar (Elek Bacsik), bass (Michel Gaudry), and voice.   Gainsbourg is not known as a great singer, but the truth is, he's unique, which makes him a superb vocalist, especially in the early years of his music career.   For me, this live album is like listening to The Beatles at the Cavern, or The Heartbreakers at CBGB's.  Not only is the band of great importance, but even more so, the theater or concert all.  Gainsbourg didn't tour much.  He did tour during the late 50s to early 1960s, and then again, in the 1980s.  One gathers that he preferred to be in the studio or composing than being in front of an audience.  Still, he never lost his iconic cool, and "Thêâtre des Capucines" captures an important moment in the Serge Gainsbourg world. 

Like the mysterious record label Doxy, Jeanne Dielman seems to be a European record label that specializes in re-issues of recordings that somehow fell between the cracks of copyright laws.  Therefore many of their releases are in limited editions.   I gather that the sound source came from digital or the medium of the CD.  Still, the packaging and sound are good.  

Serge Gainsbourg - "Théâtre des Capucines 1963" Vinyl, LP, Album, 2018 (Jeanne Dielman)

Serge Gainsbourg at his most jazzy, as well as the height of his brilliance as a songwriter.  This is a live recording that he did at Théâtre des Capucines in Paris.  For a short time in his life, Gainsbourg did a tour, and eventually start up touring or performing again in the 1980s.  What makes this live recording so essential is that it captures Gainsbourg with just an electric guitarist Elek Bacisk, and contrabassist Michel Gaudry.  Smokey, profound and very straightforward in the manner of delivery of the songs.  All the tunes on this album came from Gainsbourg's "Confidentiel" which again is backed only by Bacisk and Gaudry.  

There is not a major 'oh wow' difference between the live recording and the studio work, but it does capture an era and time when Gainsbourg worked in what sounds like a nightclub.  There is no small-talk from Serge to the audience.  What is impressive is that Gainsbourg rarely looked back. Like David Bowie, he consistently re-invented himself and his music.  Lyrically it is always Serge, but he wasn't afraid to explore new sounds, and like capturing a young Bob Dylan in a live recording, it is more of a testament of his worth at the time.   Essential for the hardcore Serge collector, and a great listening experience for the casual fan as well.  Jeanne Dielman is a label that I suspect specializes in releasing records that are in public domain but only for only a short period of time.  Like Doxy, they are a label of excellent curating.  But, I suspect that they are not here to exist forever. 

Thelonious Monk Trio - "Bemsha Swing" Vinyl, 7", EP, 45 RPM, France, 1960 (Barclay)

I found this slightly battered copy of this French 7" EP at Rockaway Records this evening.   These are four songs that were selected from his 1952 recording with the great drummer Max Roach and bassist Gary Mapp.   This is 7" of magic.  Offhand, I'm having dirty sexual thoughts tying this, but alas, I'm talking about the aural pleasure that comes with the name Thelonious Monk.  

There are four songs on this EP, and they are "Bemsha Swing," Reflections" and then go to side two, for "Trinkle Tinkle" and classic beautiful "These Foolish Things" written by Strackey and Link.  Monk wrote the other three and they are brilliant.   There are three great pianists that I'm aware of, one is Glenn Gould, the other is Ron Mael from Sparks, and then there is Monk.   This is an artist who sees music as a piece of sculpture, and what he does is gently trace the melody as if it was on thin rice paper.   I never heard another pianist who had this approach to melody and treating it like a beautiful lover.   

I'm imaging that this EP was once owned by someone like Juliette Gréco, who played it while drinking wine in a juice glass and looking outside her window and watching the leaves fall from trees.  I imagine a lot of things, but I always have a soundtrack to my fantasies.  Here's one of many. 

Serge Gainsbourg - "Du Jazz Dans Le Ravin" CD, Compilation, Remastered, 1996 (Mercury)

In the year 1996, Philips/Mercury organized a series of releases focusing on a specific time and music style of Serge Gainsbourg.   For me, it was my first real introduction to Gainsbourg's music and his world.   So, for the last 21 years, I have been obsessing about this man's music, which led me to publish a full biography of Serge as well as releasing a fictional work by him as well, with my press TamTam Books.   

"du jazz dans le ravin" is a collection of Gainsbourg's early recordings, that are mostly jazz-based, but still in a pop song format.  Lyrically, he was on the button of greatness.  Like most English speaking people I sort of knew Gainsbourg through his recordings with Brigitte Bardot and of course, Jane Birkin.  Beyond that, I knew very little till I bought this CD compilation.   Compared to his pop and Latin-based pop music, I love his jazz period.  At this time, he was singing in a croon, that conveyed wickedness and someone who can give great advice.   The music is very seductive,  but not always in the physical, sexual sense.  He was a writer that could convey a world and make it into a "Gainsbourgian" landscape, and us listeners are just passing through the neighborhood.  

His partner-in-crime was the great arranger/songwriter/jazz player Alain Goraguer.  Gainsbourg throughout his career depended on these sort of musical characters, and Goraguer was the jazz guy for him.   It's either Goraguer's jazz arrangements or the great recordings with electric guitarist Elek Bacsik and double bass player Michel Gaudry.  A Minimal arrangement with Gainsbourg's voice floating over these two instruments.  Yet, the songs are incredible. "Chez Les Yé-Yé" and others are Serge's most excellent commentary on the Paris world at that time (the late 1950s/early 1960s).  

Often I'm overwhelmed when someone asks me what's the entrance to Serge Gainsbourg's music.  For me, I'm one of those who gets one,  I must have everything.   To properly understand his work, you have to dive in with head and body - and head first!

Michel Legrand & Emil Stern - "Twenty Moods for Pianos" Vinyl, LP, Album,

In one word to describe this album: charm.  There is something about Michel Legrand that rings out all the ugly emotion within me and turn it all into pure bliss.  Hearing his music throughout the years just makes me happy.  I love his soundtrack work (especially with the legendary Jacques Demy), pop songs, elevator music, and his jazz playing with such as Miles Davis.  Even his vocals are fantastic, and the album he did with Jack Jones, superb! 

The beauty of Michel Legrand is that he masters all sorts of music, yet, he remains French sounding.  Even his recordings with American Be-Bop legendary greats sounds like a French man playing with the dudes from New York City - and yet, it's incredible.  And then on top of that, he did a whole album of just him playing on the piano, Erik Satie music.   What is there not to like about him?  Here he teams up with another French pianist/musician Emil Stern.  There are 20 songs on this album that goes by quickly and incredibly enjoyable.  Backed by a stand-up bass and drums, this is a dynamic adventure into the Left as well as the Right Bank of Paris culture.  There are songs by Gilbert Becaud, and oddly enough Eddie Constantine, who was the leading actor in Godard's "Alphaville."  He was an American who somehow got himself in France and became a massive European star.  I knew he sang (they all do you know) but he also wrote two pieces on this album.  There's also a pair of Cole Porter songs -of course, dealing with Pariee.   

As mentioned, like all of Legrand's work, there is a charm to its music or performance. It's not a sickly cute charm, but one of great character and Legrand strikes me as a professional and artist who always gives his best.  So yeah, in essence, this is music to have a drink to before dinner.  The only darkness on this album is the color of the vinyl.   A great find for me at Rockaway Records a few years ago.  Researching this record, it came from South Africa, but not sure of its release date.  I guess that the release date is in the early 50s before Legrand really got huge.  His dad was a very successful orchestrational leader, and his sister, Christiane Legrand is a God-given talent as a singer.  A great family that's full of beautiful music.  I'm happy. 

Sacha Distel - "La La Song" 7" 45rpm EP, French, 1964 (RCA)

The Last of the International Playboys, if that were a social club, then surely French singer/guitarist Sacha Distel would have been a member.   I discovered him through my obsession with the world that surrounded Boris Vian, the author I published with my press TamTam Books.  Distel was a guy who was in the right place, Paris, and to be specific, at the Saint-Germain des Prés nightclubs and had an obsession with be-bop jazz.   Studied under and pal with the great Henri Salvador, Distel played guitar with artists like The Modern Jazz Quartet, Dizzy Gillespie, as well as with top French jazz musicians.  In the late 1950s, he became internationally famous for being Brigitte Bardot's lover, which in turn introduced himself into a favourite vocalist.

When I think of Sacha Distel, it is in two separate compartments.  One as a massive French pop singer star, and the other as a great jazz guitarist.  Rarely did the two forms of music met on his recordings.  For the casual fan, he is probably thought of as an entertainer who sings.   It's much harder to locate his work on vinyl/CD of his Jazz-leaning guitar work.  I went to Amoeba yesterday and found this French issued 7" EP, of Sacha singing  "La La Song," which is not fantastic, but nevertheless a good French pop song.  The other three songs on the EP are based on Amerian songs with French lyrics written by Maurice Tézé, who worked a lot as a lyricist with Distel.   The best song on this EP is J'aimerais Être Là (I Wanna Be Around) which is based on a Johnny Mercer tune.   The real stars of these recordings are the arrangers.  Three songs are arranged by the Boris Vian/Serge Gainsbourg associate Alain Gorgaguer (as well as doing the futuristic soundtrack to the animated "La Planète Sauvage) and Michel Colombier, another artist who worked with Gainsbourg.  For those in the know, when you see those names attached to a recording, it is usually a good sign that they're good.