French cafe music artist movie#
Mainstream music hall and movie stars of the day such as Jean Gabin and Damia add an urbane touch, while Edith Piaf's legendary "L'Accordioniste" still sounds as fresh and poignant as the day it was released. Among the other important orchestras on hand are Tony Murena et son Ensemble, Guerino et son Orchestre, Medard Ferrero et ses Clochards, Orchestre Musette Victor, and Gus Viseur et son Orchestre. Emile Vacheur, a much-imitated icon whose precise squeezebox technique featured a trademark quick vibrato, is represented by a delightful pair of melodies. The instrumentals are intensely redolent of an earthier Paris back when it was a festival of intellectual grace, dubious plumbing, and bawdy pleasures, hovering on the perilous brink of war. Although the more cooperative Italian accordion eventually replaced the pipes and fiddles, guitars, and double reeds were later added to the mix, the waltzes and javas retained a defiantly rustic, naïve charm. The performers are barely two generations removed from the homesick Auvergnat (natives of the Auvergne, a mountainous region in southern France) migrant workers who once puffed their imported bagpipes at bar dances. The ambience here is quite different from that of the second set, more like a black-and-white photo by Robert Doisneau than a tourist's color-saturated Polaroid. While the subsequent release, Sound of Paris, concentrates primarily on modern bands, these 18 tracks cover some of the best-known interpreters who were active from 1930 through 1941. : Best of French Cafe Music, : French Cafe Accordion Traditional Music 22:14, 30:25, 1:17. The album might be a little thin for those who are already devotees of the café atmosphere, but it makes for a fine introduction.This was the first of Music Club's two compilations dedicated to the bal-musette, an accordion-based tradition that, to many, is the very soul of Paris. Best of French Cafe Music French Cafe Accordion Traditional Music 22:14, 30:25, 1:17:00. There are certainly some omissions to be had here ( Edith Piaf being perhaps the most notable), but on the whole Putumayo did a fine job in compiling the major styles and figures of the field. It's all implied, but rarely given explicitly, and the music echoes this concept. Vocals are expressive, but not so much that they scream emotion. It's this careful line that the music walks throughout the album. It forces the listener to tap their feet, but not quite hard enough to force any dancing. The album on the whole has a careful little bounce to it that's inherent in much of French contemporary music. Some of the more contemporary innovators on the market also appear here in force, from the jazzy Paris Combo, to the kicked-up string jazz of Sansévérino, to the smoother, half-dance music of Enzo Enzo. Some of the classic performers from the Parisian scene are presented here, from the old Georges Brassens recordings, to a sultry little number from Brigitte Bardot, to the chanson innovator Serge Gainsbourg. Putumayo's first geographically based CD after their tenth anniversary celebrations, French Café covers the narrow concept of café music in an admirable manner, including a number of styles that have made their way through the Parisian café systems and/or are inspired by the work of previous artists among the café elite.
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