Stéphane Pluie D'enfer

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.

"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.

Violinist Stephane Grappelli will forever be remembered as musical partner to the immortal Django Reinhardt - certainly not a bad thing, except that it conveniently overlooks the nearly half-century's worth of music that Grappelli made without the Gypsy guitar great. When this one-hour performance was recorded in 1989, the elegant, urbane Frenchman was already in his 80s, but he had lost none of his exceptional technique and flair. He's joined here by two exceptional guitarists (Martin Taylor and Marc Fosset) and a bassist; the lineup is much like that of the original Reinhardt-Grappelli Hot Club quintet, and they even play some of that group's standard material ("Honeysuckle Rose," "Daphne"), along with more modern fare like Stevie Wonder's "You Are the Sunshine of My Life" and Chick Corea's "Armando's Rhumba"…

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.

From 1739 onward, the publication of the Clavier-Übung III, that imposing corpus essentially focused on the Art of the Chorale heightened to the furthest-developed and most consummate potentiality of the genre, marked a decisive turning point and a change of perspective in Johann Sebastian Bach’s creative process. His music for organ, gradually unmoored from the sole liturgical functionality, henceforth responds more to an inner necessity and within a most perfect balance conjugates ars and scientia. This programme offers an immersion into the heart of these ten last years in the life of Bach that Gilles Cantagrel so appropriately calls the testamentary decade.

Yehudi Menuhin was a dazzling virtuoso from childhood who became a key humanitarian in addition to being a celebrated concert artist.
The legendary violinist Yehudi Menuhin was the eldest child of Russian-born Hebrew scholars who met in Palestine, emigrated to New York City, and moved to San Francisco soon after their son's birth. After just three years of violin study, Yehudi made a legendary debut at age seven with the local symphony. His Carnegie Hall debut three years later, in the Beethoven Violin Concerto, garnered praise that likened him to Mozart as a prodigy, whereupon the family (which now included sisters Hephzibah and Yaltah) lived gypsy-like in hotels wherever Yehudi was engaged at enormous fees…

Reinvented for cello and piano by two artists whose reputation is unequivocal, these Images oubliées paint a timeless portrait of a musical legend.

Stephane Grappelli may have given up standing during concerts late in life as a concession to his health, but at the age of 82, he still swung like mad with the best of them, as heard in this 1990 concert recorded in Tokyo. Accompanied by guitarist Marc Fosset and bassist Jean-Philippe Viret, with the addition of accordion player Marcel Azzola on a few selections, the violinist devotes a good part of his show to the expected standards from the 1930s and 1940s. Highlights include a swinging "Just One of Those Things," a delightful "Honeysuckle Rose" and a loping "Ol' Man River," the latter which adds ripples supplied by Azzola's accordion, until the dam breaks and the second half of the song comes on like a spring flood…

"The man who was Django’s prestigious partner in the first, immortal Quintette du H.C.F. has made an appearance (on wax) for Barclay with a series of recordings in which you can rediscover his pretty sound and abundant, easy ideas; in a word, his style which, though with less of a bite than before, has lost none of its grace." Those were the first lines of the review that a certain Michel Delaroche (in fact Boris Vian) wrote for the November 1955 issue of Jazz Hot; the subject was this album, the first that Stéphane Grappelli ("Grappelly" at the time) had made on violin under his own name since he'd left England.
The violinist had celebrated his definitive return to France at the Club Saint-Germain on the night of April 25th 1954; he would appear there on and off for the next seven years…