Hubert Rostaing's clarinet sang elegant musical phrases. Its beautiful sound captivated Django Reinhardt and Rostaing took place in the Quintet of the Hot Club de France in 1940. Accompanist of Yves Montand, arranger and composer of film music, Rostaing recorded a delicious album for Vega records in 1957 in which his composer's talent is emerging. Martial Solal and Michel Hausser interpret his delicate swing music with great finesse, which is presented as a tribute to Benny Goodman. Maurice Meunier succeeded Hubert Rostaing with Django in 1947. Opened at bebop, he adopted the agreements and offered the instrument new perspectives. Now forgotten, Meunier produced a magnificent album for Barclay in 1956. William Boucaya, Raymond Fol, Rene Urtreger, Pierre Michelot, Christian Garros and Jean-Louis Viale support his modern clarinet.
Hippolyte et Aricie was Rameau's first surviving lyric tragedy and is perhaps his most durable, though you wouldn't know it from the decades we had to wait for a modern recording. Now there are two: this one, conducted by Marc Minkowski, and William Christie's version on Erato. Choosing between the two is tough. Minkowski uses a smaller and probably more authentic orchestra, and with the resulting leaner sound, the performance has more of a quicksilver quality accentuated by Minkowski's penchant for swift tempos. His cast is excellent. The central lovers in the title are beautifully sung by two truly French voices, soprano Véronique Gens and especially the light, slightly nasal tenor of Jean-Paul Fourchécourt. In the pivotal role of the jealous Phèdre, Bernarda Fink is perfectly good but not in the exalted league of Christie's Lorraine Hunt. So there's no clear front-runner, but anyone interested in French Baroque opera must have at least one.–David Patrick Stearns
En 1739, Handel saisit l'occasion d'un hommage à sa sainte patronne pour livrer son art poétique : un subtile oscillation entre l'exaltation et la béatitude. A retrouver avec le numéro 684 de Diapason, chez votre marchand de journaux.
Michel de Villers made the beautiful evenings of La Rose Rouge before attending the Trois Mailletz with his accomplices Guy Lafitte and André Persiani. Attached to the swing, the saxophonist worked to demonstrate that good music and entertainment were perfectly reconcilable. A point of view shared by Boris Vian, artistic director of Philips discs. His clientele demanding dance records, Boris supervised the recordings. Entrusted to Villers, arranged by Persiani, these big band faces from 1958 and 1959 - we ignore the staff - instrumental adaptations of fashionable themes, still retain all their charm. In 1961, Jean-Christophe Averty produced a Claude Bolling Special Show for television. The show featured the pianist's nonette, a medium formation that sounded like great. In the absence of images, the music testifies to it.
This 101 track, 4 CD survey reveals the importance of the contribution the accordion made to the history of jazz. Distinguished jazz artists such as George Shearing, Harry James and Bennie Moten either played or included an accordion player in their orchestras.
This 10 CD set offers an exciting overview of some of the most important recordings made by American jazz stars in Paris in the Fifties. They are milestones of Modern Jazz, Bebop and Hard Bop recorded by some of the most important players of the time, including Dizzy Gillespie, Art Blakey & The Jazz Messengers, Lionel Hampton, Chet Baker, Sarah Vaughan, Mary Lou Williams, Lester Young and Donald Byrd. Treated like second class citizens at home, many American jazz stars not only got more recognition and respect in the French capital, but found much better playing conditions as well. From concert-halls like "L'Olympia" to the clubs of the "Latin Quarter" they were appreciated and celebrated, and their music met with a glowing enthusiasm.
Ce livre aborde le point le plus important qui puisse exister dans la vie d'un être humain : la reconnaissance de la Force qui l'habite, celle d'une merveilleuse Lumière. Son but ? L'apaisement de nos angoisses, de nos peurs, de nos errances, de nos souffrances et la découverte, en nous, d'un Espace de Paix que rien ne peut souiller. L'état par lequel cet Espace intérieur se vit porte un nom …
«J’ignore tout de moi, je n’ai jamais compris ni cherché à m’expliquer mon mystère. J’avais six ans à peine et déjà le curé de mon village s’inquiétait de certaines manifestations, dont je n’avais pas encore conscience… J’obtenais des guérisons dès l’âge de 13 ans, alors que j’étais encore incapable de me rendre compte des choses étranges qui s’opéraient en moi». […]