Stephane Blet

This Grappelli box set bringing together 37 titles, including 23 previously unreleased, celebrates the violinist's friendship with the pianist, composer, arranger and conductor Gérard Gustin. A first album, entirely unpublished, produced by Sacha Distel in 1970, allows us to hear Stéphane in a “string” context. A setting that perfectly suits this gentleman of the violin. The two quartet sessions brought together in the second volume present another aspect of the discographic collaboration between the two men, which spanned almost ten years. As a bonus, a new unpublished quintet session from 1961, with guitarist Pierre Cullaz.

This Grappelli box set bringing together 37 titles, including 23 previously unreleased, celebrates the violinist's friendship with the pianist, composer, arranger and conductor Gérard Gustin. A first album, entirely unpublished, produced by Sacha Distel in 1970, allows us to hear Stéphane in a “string” context. A setting that perfectly suits this gentleman of the violin. The two quartet sessions brought together in the second volume present another aspect of the discographic collaboration between the two men, which spanned almost ten years. As a bonus, a new unpublished quintet session from 1961, with guitarist Pierre Cullaz.

This Grappelli box set bringing together 37 titles, including 23 previously unreleased, celebrates the violinist's friendship with the pianist, composer, arranger and conductor Gérard Gustin. A first album, entirely unpublished, produced by Sacha Distel in 1970, allows us to hear Stéphane in a “string” context. A setting that perfectly suits this gentleman of the violin. The two quartet sessions brought together in the second volume present another aspect of the discographic collaboration between the two men, which spanned almost ten years. As a bonus, a new unpublished quintet session from 1961, with guitarist Pierre Cullaz.

Vol. 1. One of the nice things about jazz is the cross-pollination of different players in multiple settings. No one would've thought of pairing swing violinist Stéphane Grappelli and bop pianist Oscar Peterson, for instance, but the match works very well. The pair have expanded into a quartet on this reissue with the aid of double bassist Niels-Henning Ørsted Pedersen and drummer Kenny Clarke. The set, recorded in 1973 in Paris, includes a handful of standards, from Pinkard/Tracey/Tauber's "Them There Eyes" to Rodgers & Hart's "Thou Swell." As one might guess, Grappelli is in his own element on upbeat, swinging pieces like "Makin' Whoopee" and "Walkin' My Baby Back Home." Peterson likewise joins in the spirit of these pieces, making them the most interesting interpretations on the album. Other material, like the lingering "Flamingo" and "My One and Only Love," are also enjoyable, but seem rather tepid in comparison…

Vol. 1. One of the nice things about jazz is the cross-pollination of different players in multiple settings. No one would've thought of pairing swing violinist Stéphane Grappelli and bop pianist Oscar Peterson, for instance, but the match works very well. The pair have expanded into a quartet on this reissue with the aid of double bassist Niels-Henning Ørsted Pedersen and drummer Kenny Clarke. The set, recorded in 1973 in Paris, includes a handful of standards, from Pinkard/Tracey/Tauber's "Them There Eyes" to Rodgers & Hart's "Thou Swell." As one might guess, Grappelli is in his own element on upbeat, swinging pieces like "Makin' Whoopee" and "Walkin' My Baby Back Home." Peterson likewise joins in the spirit of these pieces, making them the most interesting interpretations on the album. Other material, like the lingering "Flamingo" and "My One and Only Love," are also enjoyable, but seem rather tepid in comparison…

"Percé jusques au fond du coeur" ("Pierced to my heart's depths") is a tragic proclamation of Le Cid's voice, at last put to music by "Mr Charpentier, famed for a thousand works that charmed all of France". This collection of courtly arias, serious songs and drinking songs, played both at the Court of Louis XV and in the inner circles of the French bourgeoisie, is a marvellous maze on the Map of Tendre developed by Charpentier, a poet-musician whose sophistication vies with an irresistible sense of theatricality! Under the direction of Stéphane Fuget, the cream of French vocalists restores the original aura of these gems, with glittering ornamentation.

These two 1975-1976 LPs reunited on 1 CD are to say the least very enjoyable. This is not the usual songbook devoted to the composer. Grappelli manages to play with those Porter tunes and ends up winning in the process to make them sounds his own with his instrument. It's a good example of the way a musician can pay tribute to a composer and let his personnality express his true musicianship, without losing grip of the general focus of the project.

The fifth in a series of recorded meetings between Stephane Grappelli and Yehudi Menuhin is one of the more disappointing efforts. Although Nelson Riddle was a renowned arranger, the arrangements of memorable songs from the 1930s (most of which were strongly associated with Fred Astaire's performances in films) by the likes of Irving Berlin, George Gershwin, Jerome Kern, and Vincent Youmans lean more toward easy listening and are frequently handicapped by the inclusion of a bland electric piano. The jazz violinist switches to piano for both of his original compositions, which were written to feature Menuhin's violin. There's nothing wrong with the playing of either Grappelli or Menuhin, and bassist Niels Pedersen has several excellent solos, but one hearing is probably enough for even the most ardent fans of Stephane Grappelli.

Violinist Stéphane Grappelli (1908-1997) was honored in 1998 with this 22-track tribute slapped together by the Giants of Jazz label. Covering a time span from September 30, 1935, to January 21, 1943, this pleasant potpourri of classic continental swing sessions samples his early Hot Club of France recordings and follows the fiddler into temporary wartime exile as he collaborated with young George Shearing and a talented array of British jazz musicians. The collection opens with two delicious duets with Django Reinhardt, then shuffles together recordings made in Paris and London that were released under Grappelli's name. The Hot Four (heard performing W.C. Handy's "St. Louis Blues" in 1935) actually added up to a quintet as the violinist interacted with bassist Louis Vola and three guitarists: Django and Joseph Reinhardt and Pierre Ferret…