Musette With Lammy Bruyns Combo

People, who visit Paris, France with time on their hands, probably will take a break at one of the city's many cafés, have a glass of wine and enjoy the ambiance of the place that may include musical entertainment and performance by an accordionist and ensemble playing the kind of music, which the locals will identify as musette.

The musette accordion has had a revival in contemporary entertainment. The influence of the great players of the past lives on and the music is also well taken care of by the Dutch accordionist and singer Lammy Bruyns and her combo that excells in both traditional musette, swing-musette and French chansons.

Lammy Bruyns

 Accordionist Lammy Bruyns has won several prizes in Holland and other countries. After her classical training she played in the “Dutch Accordion Ensemble”, but was later also active in the entertainment sector e.g. in “The Fourengo’s”, made recordings with pop singer Linda Ronstedt and founded the group Pardouce”. In 2011 she came into contact with Georg Lankester – guitarist in the Django quartet named  “Quatre Tickets de Swing” and with him and two other musicians she formed a new group which se called “Lammy Bruyns Combo”. This combo has specialised in the French Musette as well as the Gypsy Swing as created by the legendary guitarist Django Reinhardt (1930/40).

Lammy Bruyns combo

Georg Lankester, a regular contributor to this blog, is a Django-style guitarist and brings next to his swing rhythm some solos.  Recently the rhythm group changed, since rhythm guitarist Arthur Siero now replaces Martin Ackermann. Jan Miedendorp de Bie the excellent bass player is, like Arthur, experienced in the Gypsy Swing. In March 2014 some first recordings were made in a Deventer studio – since two rhythm men were unable to attend, the four tracks were recorded with Lammy, Georg and bass player (and studio owner) Joris Bijleveld. The complete combo will make more recordings in the course of 2014.

To end this small presentation of Lammy Bruyns and her combo, here's a live-performance of the quartet recorded a couple of years ago - Enjoy this 'film noir' of the Lammy Bruyns Combo on stage

 
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Jo
keepswinging@live.nl

The French musette originated at the dawn of the 20th Century in Paris, where numerous accordionists of local fame made this style of music popular in the dance halls of the city (- named 'bals-musette'). The influence of jazz and swing in the 1930s and 1940s had a profound importance on the development of the musette and a hybrid genre often named 'swing-musette' evolved with the contributions by Gypsy string wizards like Django Reinhardt a.o. Today musette is still associated with the accordion, and a modern example of the vitality of this music is well demonstrated by the Dutch accordionist Lammy Bruyns and her combo.



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1 X 0

There has always been a tight association between music and soccer in Brazil, to this day Brazilian soccer is often referred to as 'samba football' in the media, although it was a choro music celebrity, who linked the association of soccer and music from the start. The popular media never are too accurate in their record of what really is the case, unfortunately. Thus, to redress the undeserved oblivion of the association of choro and soccer in Brazil, below follows the documentation of the first registered Brazilian composition that celebrates soccer and its players.

Benedito Lacerda (flute), Pixinguinha (saxophone), c. 1946

"1X0" (Um a zero) is a well known and popular choro composed by Pixinguinha and recorded for the first time in 1946 as a co-work with Benedito Lacerda on a 78 rpm disc (Victor 800442A). Lacerda plays the melody part on flute, Pixinguinha contributes second voice and fill-ins on tenor saxophone accompanied by Lacerda's conjunto regional.

The title of this choro has a special background, the music was composed as a tribute to the Brazilian soccer team that won the 1919 South American championship and its first international soccer title in a match with Uruguay with the result 1-0 in favour of the Brazilian team (- thus the title, which in Portuguese reads 'um a zero').

The 1919 Brazilian soccer team

The single goal which secured the Brazilian team victory and the championship was scored by Arthur Friedenreich, the first character in a line of famous Brazilian soccer players.

Arthur Friedenreich (source: Wikipedia)

Arthur Friedenreich (1892-1969) was the son of a German immigrant and his wife, the daughter of a black freed slave. Due to his dark tan Arthur Friedenreich became the first black professional soccer player in Brazil. He started his career influenced by his father, playing for SC Germania, a Brazilian soccer team in São Paulo composed of German immigrants. After playing with a succession of São Paulo club sides from 1910 onwards, Friedenreich made his debut with the national team in 1914. He played twenty-two internationals, including wins in the 1919 and 1922 editions of the Copa América, scoring ten goals. On Brazil's 1925 tour of Europe, he was feted as the King of soccer (- and nicknamed 'The Tiger'). He also has a claim to the highest scoring record, but FIFA cannot prove these goals because of faulty record-keeping.

Arthur Friedenreich secures the victory of 1-0, 1919

As mentioned, Friedenreich was the first black professional soccer player in Brazil. He had to fight for his career both inside and outside the arena, because at that time soccer was dominated by whites and blacks were generally not accepted. He faced many barriers because of racism, and he could not always attend the same places where white players were. However, his scoring of the single goal in the 1919 match was a turning point that secured him accept and a  deserved place in the Brazilian soccer's Hall of Fame. And it was to honor this first black star in a line of legendary Brazilian soccer players that Pixinguinha composed his 'choro vivo', "Um a zero" (1x0).

Multi string virtuoso Garoto (Anibal Augusto Sardinha)

As a prelude to the alleged repeated success of the soccer World Cup 1950 in Brazil, where Brazil again was to meet Uruguay in the decisive final, Garoto (Anibal Augusto Sardinha, 1915-55) recorded his version of "Um a Zero" as a tribute to the Brazilian team. Unfortunately, this time Brazil lost the championship with the result 2-1 in favour of Uruguay. However, the music recorded by Garoto forever stands out as one of the best recorded versions of Pixinguinha's choro

Pixinguinha's "Um a Zero" is the first registered musical composition that celebrates soccer in Brazil and honors its players. Although the music wasn't recorded before 1946 and copyrighted 1947, the score was composed at the time of the event it celebrates - Pixinguinha is said to have attended the audience at the legendary 1919 match between Brazil and Uruguay, and to express his enthusiasm for the result he went straight home and composed the music.
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NB!
The photos documenting the 1919 match betwen Brazil and Uruguay inserted above are copied from this source. The story of Arthur Friedenreich and inspiration for this entry owes thanks to this source.
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Jo
keepswinging@live.nl

There has always been a tight association between music and soccer in Brazil, to this day Brazilian soccer is often referred to as 'samba football' in the media, although it was a choro music celebrity, who linked the association of soccer and music from the start. Pixinguinha's choro " Um a Zero" is the first registered Brazilian composition that celebrates soccer and its players. The background of the title is documented in this entry that also celbrates the first Brazilian star in a line of legendary Brazilian soccer players, Arthur Friedenreich.


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Ray Ventura (1908-1979) – piano player and band Leader - part 2

The Frenchman who combined Jazz with Entertainment

The War-Years in South America and the Post-War Era
by
Georg Lankester

In my publications on famous European band leaders from the Thirties/Forties of last century, Ray Ventura should certainly be mentioned. Going deeply into the French jazz scene, I discovered how many important French and Belgian jazzmen joined his orchestra. He was a great organiser and always managed to engage the best musicians of his time.In a previous blog I gave an account of Ventura's career before WW2 - below follows the second part of my article focusing on the War-years and the post-War period.

Away from the war scene

In 1940 when France was more and more occupied by the Germans,  thousands of people moved away from Paris in order to find free areas. Ray was among them and after a lot of trouble he ended up in Lyon, still free from Germans. He happened to find there several of his band members and decided to form an occasional orchestra, again under the name “Ray Ventura & The Collegians”. His first band was established 10 years before and had given him a lot of popularity, an advantage.

Ray Ventura  (source: unknown)

And again the excellent musicians and showmen like Coco Aslan and Paul Misraki.were gathered around him. Moreover he recruted players such as Pierre Allier, André Ekyan and Adrien Terme. I can add to this that Micheline Day, Paul’s girlfriend was singing in the his orchestra as well.

They performed frequently in the South of France and sometimes in Switzerland. However, the occupation was ongoing and the anti-Jewish propaganda became more and more stronger. In Marseille they experienced serious incidents so that Ray and some of his fellow-musicians of Jewish origin in secret decided to leave France. But how?

Micheline Day and Coco Aslan ( source: Les grands orchestres de Music Hall en France) 

Thanks to a miraculous inspiration and with financial support of a benefactor, a certain Mathalon, Ray got visa for all to leave the country. Singer Micheline, who worked in Nice, was - despite the ban to bring English text - still singing in this language. She was then no longer allowed to perform in the ‘Alpes Maritimes’ and pursued till Cannes. Threathened she finally accepted the advice of her friend Paul and took the decision  to join the others and also  to leave for Rio de Janeiro.

Ray Ventura and his orchestra in Casino de la Urca ( Rio de Janeiro) (1942) ( source: Les grands orchestres de Music Hall en France)

In November 1941 after a last performance in the Cahors, the almost complete band went to Madrid via Toulouse. At the end of the month they boarded on a Spanish ship on its way to Brazil (35 days sailing). First there was some fear for German submarines, but they safely arrived in Rio.

Ray now formed a ‘war orchestra’ (which included singer/guitarist Henri Salvador) and he soon got  successful performances in the most important Brasilian towns. Then in 1942 the band travelled to Urugay where they presented a big show in the Grand Theatre of Montevideo followed by other theatres and cabarets. Since the inhabitants of this country were very fond of the French culture, the band met a lot of enthusiasm.

Ray Ventura and his orchestra arrive in Buenos Aires ( juli 1942)  ( source: Les grands orchestres de Music Hall en France)

Then the orchestra left for Argentina where it arrived in July 1942. This country was neutral, there was plenty of food and no shortage of money. The band could take advantage of these circumstances and was soon playing in the popular cabaret “Tabaris”. Although the audience was crazy about the Tango, produced by many artists – in fact competitors -  they yet met a lot of interest in their kind of music. They were playing month after month and Ventura even concluded a contract with Odeon, which company made a lot of band records.

Ray Ventura and band members with guitarist Henri Salvador ( Buenos Aires) ( 1943)  ( source: Les grands orchestres de Music Hall en France)

Apart from this other activities took place. Bass player Louis Vola, who formed part of the famous Hot Club quintet with Django Reinhardt and Stéphane Grappelli, founded a similar group and even recorded for Victor Argentina. 

Below a recording by Ray Ventura and his orchestra,  Ménilmontant, recorded in Argentinië (1942) with Coco Aslan ( Odeon 45812)

The Ventura band switched now from Odeon to a smaller record company called “Syncopa e Ritmo”. Further other small formations (the band within a band) held sessions with musicians like Henri Salvador, Pierre d’Hellèmmes, Pierre Allier and Max Mirlirot. 

All were at ease and successful. And as to Micheline, she married  an Argentinian which fact was in favour of the band too. Misraki created lots of songs and also worked for the film industry. He became a celebrity,  admired in all South American countries.Though the band members played with diferent groups, the complete Ventura band remained active and still had many performances. It was only around 1954 that the band broke up.

The new Ray Ventura orchestra ( December 1945)  ( source: Les grands orchestres de Music Hall en France)

The last episode

After the liberation Ray and Paul travelled to the United States. Paul was soon  involved in the film industry and would stay in Hollywood for a long time. Ray went back to Europe, first to Belgium and then on to his native country. Once back in France he formed a new band again which included several dedicated band members like Henri Salvador, Guy Paquinet, Gérard Lévèque, Marcel Croustier, Max Hugot and Max Elroy.

Although the taste of the audience had changed a bit, Ray was yet successful in his performances; several film recordings were made as well. His orchestra can be seen in the following movies: “Mademoiselle s’amuse”(1947), “Nous irons à Paris” (1949) and “Nous irons à Monte Carlo”(1951) – all these produced by Ray himelf.

The next years he was more and more passionated by films and starting from 1954 he left all music behind him. Only once in a while he played with an occasional band and recorded for his own label “Versailles”. However, new successes failed to occur and gradually all was in decline. His enthousiasm and his role was over! A few years later he left France and settled in Palma de Mallorca where he eventually died on March 30, 1979.

Les Collégiens, post-war period, undated  ( source: Les grands orchestres de Music Hall en France)

Summary

Ray Ventura did not invent “Jazz en scène” himself. An American, an Englishman and Grégor in Paris succeeded long before. But during the Thirties he perfectionated this kind of music considerably, which is proven by many of his records and film recordings. Other band leaders such as Fred Adison, Jo Bouillon and Jacques Hélian never have been able to match the Ray Ventura band.

Some examples of his recordings: I’m afraid of you (1928), Good for you (1930), St. James infirmary & Saint Louis Blues (1932), Just an idea (1933), La-mi-re-sol (1937), I got rhythm (1938) and Louise (1939). 

Previous: Ray Ventura (1908-1979) - piano player and band leader - part 1
Nederlands: part 1 - here              part 2 - here     

Georg Lankester 
keepswinging@live.nl

Ray Ventura: One of the most important European bandleaders of the last century. During World War II he triumphed in South America, and when the war was over, he threw himself into the film business .... its heyday of the thirties had already passed (Georg Lankester) 

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Ray Ventura (1908-1979) – piano player and band leader, Part 1

The Frenchman who combined Jazz with Entertainment

The Pre-War Years

by Georg Lankester

In my publications on famous European band leaders from the Thirties/Forties of last century, Ray Ventura should certainly be mentioned. Going deeply into the French jazz scene, I discovered how many important French and Belgian jazzmen joined his orchestra. He was a great organiser and always managed to engage the best musicians of his time.

Trip to New York; Le salon du "Paris"  Ray Ventura featured on bassax (1929) (source: Les Grands Orchestres de Music-Hall en France - Jacques Helian)

A fast career

Ray Ventura - usually called ‘Ray” - was born in Paris on April 10, 1908. He grew up in comfortable circumstances and already, as a youngster, showed interest in new music styles. In 1924 he discovered jazz music in the casino of Biarritz where he heard the band of Léo Poll. Being well-off he soon bought American jazz records as well as scores. By 1926 the enterprising boy, backed up by fellow students of his high school, founded a band called “The Collegians”, more or less in the style of Paul Whiteman and Jack Hylton. But also musicians such as Louis Armstrong & Duke Ellington and their bands inspired him

The Collegians on board the ship to New York (1930) (source: Les Grands Orchestres de Music-Hall en France - Jacques Helian)

The next year Ray’s formation could be heard at the so-called ‘surprise parties’ which were frequently organised, particularly in the Parisian quarter “Passy”. These were lively sessions with guest players like Guy Paquinet, Gérard Léveque, Max Hugot, Max Ellroy and others. Gradually American musicians joined them, stimulated by the newly founded ‘Hot Club de France’ of which the organisers invited American stars to perform in Paris. Clarinettist/saxophonist Danny Polo was one of the first and many others would follow.

It should be stated that earlier, in 1928, “The Collegians” already made their first record for Columbia – those were followed by recordings for the record company Odéon. The line-up of those days included trumpet player Ray Binder and saxophonist Edouard-Stanton Foy. A few years later the band switched for their recordings to the Decca company and this cooperation would last till 1935. In 1929 Ray and his fellow musicians – without any contract – travelled to the States in order to promote their beloved music and to take advantage of the possibility to play for the radio. Once back in France Ray was absorbed in jazz entertainment and started to write and publish about it in the Grégor magazine. In those days Grégor was a successful band leader in Paris (NOTE his band included Stéphane Grappelli for some time).

Paul Misraki (source: Les Grands Orchestres de Music-Hall en France - Jacques Helian)

Around 1932 several new musicians came to join “The Collegians” such as trombone player André Couzard, violinist George Effrosse and piano player/composer Paul Misraki. But also the Arslanian brothers formed now part of Ray’s orchestra, of which Krikor acting as “Coco Aslan” would become quite known. However, difficult times arrived because of the economic crisis with lots of consequences.

Ray Ventura et ses Collegiens in Geneve (oktober 1931) (source: Les Grands Orchestres de Music-Hall en France - Jacques Helian)

Financial problems and a solution

Since most people could no longer afford to visit jazzclubs the musicians had less income. That’s why Ray had to look for a different audience. Stan Foy, who had been a member of the Jack Hylton orchestra, suggested that the Ray Ventura band should adopt the same approach. This opinion was not commonly shared. Was the Hylton band not too commercial? Ray hesitated, but at the same time he realised that a concession undoubtedly was the only solution to survive. So it was finally decided to use the French approach since this was now  not evident for the audience. So far the band had mainly produced some background music in cabarets next to its jazz repertoire.

Coco Aslan (source: Les Grands Orchestres de Music-Hall en France - Jacques Helian)

They now wanted to act as ‘eye catchers’ and bring their own show. Doing so a new sort of entertainment was born called “Jazz en scène” in which Coco Aslan played an important role as a showman and Paul Misraki composed new French songs.

(source: Les Grands Orchestres de Music-Hall en France - Jacques Helian)

Already in July 1930 the renewed orchestra of Ray Ventura made some recordings of French songs, very successfully. Later the band was invited to perform in the London “Palladium”. Even in ’33, when Hitler was about to seize power, they made a tour through Eastern Europa and Italy. And with saxophonist Noël Chiboust on board and a special repertoire managed by their communicative leader the formation balanced in an elegant way between jazz and show whereby the musicians became real stars.

l' Empire ( juni 1931) (source: Les Grands Orchestres de Music-Hall en France - Jacques Helian)

In February 1934 their posters could be seen in the Casino of Paris. But Ray’s band with several star soloists experienced that they were too expensive which fact resulted in serious financial problems. However, a solution was found by the exceptional creativity of Misraki.

He composed a song called “Tout va bien, Madame la marquise” and this song became a top hit in France so that Ray’s financial situation changed to the better.

The fact that the band was much more professional became evident in its presentation. The repertoire included now more French songs and sketches in order to entertain the audience. Next to domestic tours the band travelled to Belgium, Holland, England and even Spain. They participated in cabarets, radio broadcasts and films like e.g. “L’amour à la Américaine’(1932),”Feux de joie”(1938) and “Tourbillon de Paris”(1939). All these special performances made Ray a celebrity.

Ray Ventura et ses Collégiens in the film: Feux de joie (source: Les Grands Orchestres de Music-Hall en France - Jacques Helian)

Sometimes during the Thirties some fellow band leaders were invited such as Fred Adison and Jo Bouillon (the latter was Josephine Baker’s husband.). The shows of the orchestra included some acts which had to do with the threats of the war like e.g.’The band is going to strike’ (in those times  people and companies sometimes did strike against the occupiers).

Further excellent jazz musicians from France and Belgium joined the orchestra. In 1936 Gus Deloof, Philippe Brun, Alix Combelle, André Ekyan, Loulou Gasté (husband of singer Line Renaud), Louis Vola, Jerry Mengo, Josse Breyre and Guy Paquinet formed part of the Ventura band.

The successful leader even established his own publishing house, however, through the war he unfortunately had to end this activity.

(To be continued)

MY JAZZ LINKS:

Ray Ventura

Ray Ventura (1908-1979) : pianist en orkestleider del 1 (nederlands)

Georg Lankester
keepswinging@live.nl

One of the biggest French band leaders of the twentieth century was undoubtedly Ray Ventura, who in the thirties with his collégiens  scored hit after hit with his orchestra and made ​​a big show around each occurrence. In two parts Georg Lankester gives an account of his career. The Frenchman who combined jazz and entertainment in the thirties is set in the spotlight.

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Bring It Back

CD JV579001
Jazz Village Music

This entry is not meant to be a review of the latest, great CD by Catherine Russell, as you'll find many exhaustive descriptions and reviews of this album by notable jazzcritics in jazzmagazines and by following the links to reviews at Catherine Russell's official website, here 

This entry is meant to be a celebration of solid, well performed jazz reviving the true virtues of this musical artform when it is performed by a great artist and her confident playmates. Further, the blog is also meant to be a kind nod to the originator of the keep(it)swinging blogspot, my dear friend, the main editor and head of this indispensable resource for lovers of the real thing - Hans Koert, who introduced me to Catherine Russell a couple of years ago  - you can still read his enthusiastic articles following the  Catherine Russell links listed in the side panel on your right. Faithful readers of the keep(it)swining blog already know that Hans Koert is going through a very difficult period, as he is seriously ill from lung cancer, so I think it would be appropiate to enter a blog that celebrates his birthday on June 1st with some music featuring a magnificient artist he likes and is keen on following. If you like, place a comment to forward Hans a cheer-up and a Happy Birthday greeting too, thanks in advance. - Now, let the party begin here.

Catherine Russell's new CD Bring It Back was released earlier this year by Jazz Village Music and has thirteen tracks of delightful but not so often heard tunes from both the swing era and the late 1940s and 1950s rhythm blues repertoire. The title track - a hit for r&b singer Wynonie Harris in 1952 - opens the CD with a ten piece big band accompaniment and is of course also featured in the video teaser announcing the CD release inserted here with clips from a live performance



After the Light Go Down Low was a hit in 1956 for Al Hibbler and Catherine Russell's version at the CD accompanied by Hammond B-3 organ, guitar, bass, and drums is a slow and soulful blues showing off the singer's full control of vocal dynamics - here uploaded at YouTube as an audio-video only



Among the featured swing tunes on the CD is Harold Arlen’s Public Melody Number One inserted here from another audio-video uploaded at YouTube



Another great swing tune made famous by Fats Waller in 1937, You've Got Me Under Your Thumb, is also featured on the CD , here it is performed live in concert featuring Russell with Mark Shane (p), Matt Munister (g), Tal Ronen (b)



On the Bring It Back CD Catherine Russell is accompanied by the following musicians: Mark Shane, piano; Matt Munisteri, guitar; Jon-Erik Kellso, trumpet; John Allred, trombone; Andy Farber, Dan Block, Mark Lopeman, reeds; Lee Hudson, string bass; Mark McLean, drums; Brian Pareschi, trumpet; Nicki Parrott, string bass; Glenn Patscha, Hammond B-3 organ. Arangements are by Andy Farber and Matt Munisteri.

Tracklist featured: Bring it Back; I’m Shooting High; I Let A Song Go out of My Heart; You Got To Swing and Sway; Aged and Mellow; the Darktown Strutters’ Ball; Lucille; You’ve Got Me Under Your Thumb; After the Lights Go Down Low; I’m Sticking With You Baby; Strange As It Seems; Public Melody Number One; I Cover The Waterfront.
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To end this, here's a lengthy video recorded last year at a festival in France - enjoy this live performance featuring Catherine Russell and her trio


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Jo
keepswinging@live.nl

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