Hello to all and all As many I am very sad of the disappearance of this immense artist recognized by the whole world this man with marked more than generation and these melodies and so deep words resounds in our heads with all it will go I hope all right in the paradise of the artists I am on that our national jojo will accomodate it With open arms Hats off Charles We will see you again one day or the other Dan77
3
Replies
Cindou11
02/10/2018
He had to leave composing on his way ♫♫He'll stay down eternally and forever at the top ♫♫
pontiac
02/10/2018
Hello,
Thank you for everything Mr. Charles! Symbol of perseverance and will, a small man with an immense talent recognized late.
The actors and musicians are waiting for you up there!
Thank you for everything Mr. Charles! Symbol of perseverance and will, a small man with an immense talent recognized late.
The actors and musicians are waiting for you up there!
musette27
05/10/2018
Yes Cindou, a great ARTIST is gone; alas! Peace to his soul and sincere condolences to all his family.Musette27
Hello
Preferring to ask and find the scores of the living ...I hurry to deposit a list ...
Thank you in advance to the people who will spend some time to search and find ... and for those who do not find ... they will certainly discover beautiful songs of the time ... even if some have aged badly
Yoyodu77
A BAHIA 1960
A COMPOSTELLE 1952
ACCIDENTE 1960
BOIS LE CHAIM 1967
BON PAPA NOE 1953
C'EST TOI QUE JE PREFERE 1954 (so nothing to do with the one of Lucky
Blondo)
D'ACCORD 1956
DANCE 1958
DINGUE DINGUE (DANG DANG) 1961 so nothing to do with Christophe MAE
TELL IT TELL IT TO ME 1949
TELL ME WHY 1956
DU SOLEIL 1955
GIUSEPPE 1963
J'AI LE PALPITANT 1955
JIMMY 1967
LA BAGARRE 1954
nothing to do with Johnny Hallyday's version
LA PETITE SONNETTE 1953
LA SAMBA D'ALI BABA 1958
THE RUMINANT TANGO 1959
THE TAPIOCA 1967
LES GRENADIERS DU ROIS (Belle botton blues) 1953
MIMI ROYALTIY 1953
MISTER JOHNNY 1956
MON HOMME A MOI 1957
MON P'TIT' POTE 1957
(so nothing to do with the version of Roger Nicolas).
ORANGES TABAC CAFE 1956
YES MISSIE 1946
WHAT'S WRONG WITH YOU MY OLD MAN 1956
QUAND C'EST AUX AUTOS DE PASSER 1953
SAMMY 1955
SI TU BOIS DANS MON VERRE 1960
SUBITISTE 1952
TETE FOLLE 1960
THREE LITTLE APPLES 1953
VALENTINA 1963
Preferring to ask and find the scores of the living ...I hurry to deposit a list ...
Thank you in advance to the people who will spend some time to search and find ... and for those who do not find ... they will certainly discover beautiful songs of the time ... even if some have aged badly
Yoyodu77
A BAHIA 1960
A COMPOSTELLE 1952
ACCIDENTE 1960
BOIS LE CHAIM 1967
BON PAPA NOE 1953
C'EST TOI QUE JE PREFERE 1954 (so nothing to do with the one of Lucky
Blondo)
D'ACCORD 1956
DANCE 1958
DINGUE DINGUE (DANG DANG) 1961 so nothing to do with Christophe MAE
TELL IT TELL IT TO ME 1949
TELL ME WHY 1956
DU SOLEIL 1955
GIUSEPPE 1963
J'AI LE PALPITANT 1955
JIMMY 1967
LA BAGARRE 1954
nothing to do with Johnny Hallyday's version
LA PETITE SONNETTE 1953
LA SAMBA D'ALI BABA 1958
THE RUMINANT TANGO 1959
THE TAPIOCA 1967
LES GRENADIERS DU ROIS (Belle botton blues) 1953
MIMI ROYALTIY 1953
MISTER JOHNNY 1956
MON HOMME A MOI 1957
MON P'TIT' POTE 1957
(so nothing to do with the version of Roger Nicolas).
ORANGES TABAC CAFE 1956
YES MISSIE 1946
WHAT'S WRONG WITH YOU MY OLD MAN 1956
QUAND C'EST AUX AUTOS DE PASSER 1953
SAMMY 1955
SI TU BOIS DANS MON VERRE 1960
SUBITISTE 1952
TETE FOLLE 1960
THREE LITTLE APPLES 1953
VALENTINA 1963
3
Replies
slade
17/09/2018
A little up for yoyo who spends so much time finding everyone's scores. If anyone has this handy, thanks for him.
Vernonait
17/09/2018
Hello Yoyodu77 & Slade
Concerning the tango of the ruminant 1959 sung by Anny Cordy, it is deposited on the site since July 10, 2013: (Cow tango) Tito Fuggi, christian Jollet and noël Roux.Vernonait
https://www.partitions-accordeon.com/partitions/categorie=all/artiste=all/s=ruminant
Concerning the tango of the ruminant 1959 sung by Anny Cordy, it is deposited on the site since July 10, 2013: (Cow tango) Tito Fuggi, christian Jollet and noël Roux.Vernonait
https://www.partitions-accordeon.com/partitions/categorie=all/artiste=all/s=ruminant
yoyodu77
25/09/2018
Hello
Thank you for this information
Yoyodu77
Thank you for this information
Yoyodu77
Article published on this great man :On the accordion planet, everyone knows Dany Maurice. And Dany also knows everyone. A smiling, tireless little man. His age? It doesn't matter. For more than half a century, we have come across him wherever the instrument stretches its bellows. A multi-faceted artist, he has made a career as an entertainer with Charley Bazin, Marcel Azzola and Jacques Hélian. A party in his honorHe even had his own orchestra. And if he doesn't play the "piano à bretelles", he writes thousands of pages relating his career and his encounters in the course of already four books on the theme of the accordion.Dany was last Saturday in the city center where a small friendly party was given in his honor by six of his long-time Maximois friends: Jacques Bordechon, Michel Gobino, Maïté Sbero, Jean Senes, Michel and Roland Warembourg. Because if Dany has, in his youth, been a pepper grinder, a bricklayer, a window washer, he found himself on the stage thanks to his friends, his talent and his legendary good mood. Everyone remembers that "he is a jovial host, with a quick tongue and anecdote on the lips, noisemaker, presenter, comedian, mime ... and also a lover of pistou soup and lasagna. "For his part, the host, who stayed thirty-five years in the city of Preconil, recalls the key moments: " In 1936, I met "for the first time an accordionist, Maurice Alexander. I fell in love with this instrument. In 1947, I became an entertainer and, three years later, I became friends with Daniel Laget, "Monsieur Muscle", who ran the "Paris-Plage". In 1958, he was part of Jacques Hélian's training team for five years, during which he travelled the world. In 1960, at the request of Raymond Ventura, he returned to Barclay's and set up his own orchestra with some very good musicians. The adventure will last until 1970. Then, from 1971 to 1981, he accompanied the accordionist Marcel Azzola. Retirement? A word that he ignores. The proof. He travels the roads of France and Europe presenting accordion festivals, including that of Les Gêts in Haute-Savoie. Today, he manages his own publishing house and has just celebrated the 400th song, "Gentleman en roulette courte", with Pierre Roussat, composer, pianist and bass player in Paris and Ludovic Beïer, great jazzman.In addition, in partnership with Maurice B, a CD has just been released in homage to Claude Nougaro: "Nougalouse". The lyrics are by Monette Gautier and the music is by Christian Coupas and Dany Maurice.about a possible retirement, he exclaims: " Never! No, no, I don't want to stop. Adopted by a plethora of stars, Dany is faithful to his friends. Adopted by a host of stars, Dany is loyal to his friends, and he has just proved it once again by sharing with his fellow Maximians the memories of a time that those under twenty years of age have never known.
0
Reply
Hello to all. I have the great pleasure to welcome Lioyo21, new member of P.A. After a lot of research on both sides, he found me and registered here. Lioyo21 is the son of my late great friend; Marcel Chevrot who composed with the greatest like Primo Corchia; Louis Corchia with among others: (La roulotte, la chineuse); Emile Prud'Homme (his musical godfather) etc......; his orchestra was created in the years 38 under the name of Moderne musette. He composed, without pre-requisite in solfeggio; the music came to him as his; he made his own edition, but did not attach any importance to the signature of his pieces. Lioyo21 (Lionel Chevrot), sends me cds of his father, I will deposit them in listening on (Music); he also inherited the royalties and all the scores of the edition of his father, that he intends to make us share. This one being very close to Louis Corchia, they meet once a year to eat together and revive the memories of Marcel. It is with great happiness that I welcome him ......
4
Replies
Vernonait
25/01/2017
Hello Marceau
Thank you for this so happy information....With you, My Friend, we learn a lot of things concerning the authors or composers and it is as well interesting as to unearth the scores on the site of P.A. that you deposit so kindly; I also wish the welcome to Lioyo 21 among the Members of P.A.AmitiésVernonait
Thank you for this so happy information....With you, My Friend, we learn a lot of things concerning the authors or composers and it is as well interesting as to unearth the scores on the site of P.A. that you deposit so kindly; I also wish the welcome to Lioyo 21 among the Members of P.A.AmitiésVernonait
robin
25/01/2017
hi friend marceau I thank you for the news of this great composer it's interesting, and welcome lioyo.... robin
MARCEAU
26/01/2017
Thank you for your kindness. His memory through his compositions will remain. It is also a tribute, which goes straight to the heart of his son Lionel and his daughter Patricia. Thank you for them.
MARCEAU
26/01/2017
You are definitely my guardian angel ! How can I thank you Cindou; this mark of sympathy and esteem is out of the ordinary; you know how much I loved "Cécel", his heart of gold. It is really nice what you did.
Good evening musicians,
I downloaded this track, I can't read it, the notes don't appear, the chords are noted strangely! Is this coming from my computer, or is it a scanning defect?
Thank you to the one who will be able to inform me and make me benefit from this title
n n Dominique Bellot & Léopold Lhomme & Aurélie Guston n n I love trumpet melody (Slow Rock)n (36.25 kb) n n 30-10-2015n n
I downloaded this track, I can't read it, the notes don't appear, the chords are noted strangely! Is this coming from my computer, or is it a scanning defect?
Thank you to the one who will be able to inform me and make me benefit from this title
n n Dominique Bellot & Léopold Lhomme & Aurélie Guston n n I love trumpet melody (Slow Rock)n (36.25 kb) n n 30-10-2015n n
2
Replies
kalaude
02/11/2015
In fact, it certainly comes from my software, because when you click on "see" it's OK! I just had to start printing from the PA page.
Thanks again to you, congratulations to the composers.
Regards
kalaude
Thanks again to you, congratulations to the composers.
Regards
kalaude
Unknown
03/11/2015
Hello Kalaude. If I can help you, I am at your disposal. I went on your profile and at the sight of this one, it appears to me, finally I put a point of interogation there, that you would be a trumpet player that it would not surprise me. If it is the case I can have your happiness; before playing family of small tuba, I began by the trumpet. Did you download "Some note for Anna" that I have deposited??? it is beautiful !!!!!! if you want in the meantime give me your mail. I have golden trumpet (slow) and will look for something else. Tell me who you are ????? hoping to meet you. Adler
First of all, thank you to those who have created this site, and who do a wonderful job. Being a little novice, in computer science, would be possible to appeal to your kindness to tell me how to put me also scores on this site. I am a fan of old editions, I want to share them with you, for example: Bavarian cuckoo (Emile Decotty) Tyrolean merle (Marcel Chevrot) Snowball (J. Medinger) Savoyard cuckoo ... etc..I am waiting for 300 scores bought via the net. At home they call me Mr. Score, I am a man of sharing, and I intend to be a full part of the benefit of this site, being andicape I have a lot of time to devote.thank you and see you soon HARMOJACK
6
Replies
jodi
27/08/2014
Good evening harmojack,
Welcome to this Super Site where one feels so good as soon as one goes through the different forums of P-A.
Have a nice evening.
Jodi
Welcome to this Super Site where one feels so good as soon as one goes through the different forums of P-A.
Have a nice evening.
Jodi
slade
28/08/2014
Welcome to you Harmojack :)
Cindou said it all! Hope you like it here!
Cindou said it all! Hope you like it here!
Unknown
28/08/2014
Thank you from the bottom of my heart for your welcome. I am handicapped and alone, it does me a lot of good to communicate. Being a tuner, harmonisist and playing in a brass band, I will do everything to be pleasant and to help you.I have the music of Maigret (soap opera with Jean Richard), the music of the Grand Jails (film), some notes for Anna (Vangelis) that I play on chromatic harmonica. I can give them to you if you wish. I wish you all my musical wishes and my friendship HARMOJACK
glop03
29/08/2014
Welcome Harmojack,
I think you will feel good on this site which is a real gold mine, you can find: scores, tips, tutorials, demos, videos, etc..
You will certainly make people happy by putting your scores online.
Musically.
A+ Glop03
I think you will feel good on this site which is a real gold mine, you can find: scores, tips, tutorials, demos, videos, etc..
You will certainly make people happy by putting your scores online.
Musically.
A+ Glop03
Vernonait
29/08/2014
Hello Harmojack,
Welcome among us; indeed, this site is great; a lot of help and advice and of course all kinds of scores, music in various styles ... happiness for those who play one or more instruments; moreover, if in doubt, you can always chat via the forum, we always have an answer to our questions ... Thank you in advance for sharing....Good eveningVernonait
Welcome among us; indeed, this site is great; a lot of help and advice and of course all kinds of scores, music in various styles ... happiness for those who play one or more instruments; moreover, if in doubt, you can always chat via the forum, we always have an answer to our questions ... Thank you in advance for sharing....Good eveningVernonait
Unknown
29/08/2014
thank you very much for your kindness and your welcome, I will have to work with this site but I like it. I have 500 scores and I will receive another 300 without counting the hundred or so that are on deposit with friends.I have just had the phone call with corinne bideaux who holds the editions michel and claude genet, she sent me the list and 3 scores that I asked "perle des neige (beginner level but embroidering on it we have something pretty then "reve de gitan (waltz) and finally picnic at vieux charmont, I will put you all his. soon vernonait and thank you
HELLO MUSICIAN FRIENDS
Tony Muréna has recorded a lot, especially in his last period when, like many others, he devoted himself to the interpretation of variety songs or fashionable tunes. It was necessary to forget everything that recalled the war and therefore also the music of that period; in short, the swing era was over. We have privileged here this golden age of swing musette: that is to say the years 1939-1947, plus some later titles where Muréna still has beautiful accents. If many of these songs have already been re-released on CD, they were most often scattered on various compilations, most of the time mixed with typical or commercial songs, without any indication of date or personnel, and in these times where one product drives out the other, most of these discs are not available anymore (1). Here is for the first time in 3 CDs, and in chronological order, almost all of Tony Muréna's best tracks, (with precise references and indication of personnel when identified), showing his immense talent. THE BEGINNINGS Born in Italy in 1916, Antonio Muréna did not know his father, who died on the field of honor (fallen on the Chemin des Dames). Like many Italians, he arrived in France with his mother, who remarried in 1923 to a fellow countryman, shortly after the First World War. They settled in Nogent-sur-Marne and then in Joinville. An uncle gave his first accordion to the young Tony, who showed a serious aptitude for music and studied with passion and persistence. The autodidact benefits from the advice of the great Médard Ferrero. At the age of twelve, he already performed at his first balls. Then, launched by his cousin Louis Ferrari (1910-1988), also an accordionist, he started in cabarets and guinguettes. He lost his mother and then his stepfather and found himself alone with his sister and three half-sisters. To make boil the pot he puts the double bites, puts himself in the bandoneon and quickly integrates the best orchestras of tango (Rafael Canaro, Eduardo Bianco...). We are in 1932, Muréna is only 16 years old ! His quintet is sufficiently famous to be part of the replacements of the holder of the Balajo. Having to go on tour, Muréna proposes to Jo Privat to replace him at the Balajo; the latter will remain there 50 years! Muréna plays at La Silhouette, La Boule noire, La Java, Le Pré Catelan, Ciro's... The guitarists Didi Duprat, Lucien Gallopin, one or the other of the Ferré, are then its accompanists. SWING MUSETTE It is in France that the first full-fledged jazz accordion develops. Roger Etlens is said to have been one of the first to play jazz on the accordion, followed by Louis Richardet and Charley Bazin. But these precursors did not record much and it is Viseur who will be the first great jazz accordionist, followed immediately by Muréna. In the absence of the American models, who left for the United States after the declaration of war, the pioneers of the French swing accordion developed a style mixing American jazz, French musette and gypsy swing. Viseur, Muréna, and then Jo Privat, renovated the musette genre in depth by eliminating the accordion's vibrating register, introducing more sophisticated harmonies, and embarking on the adventure of what is called im-provisation. According to Mrs. Muréna's testimony (2), whenever they had a moment, Gus (Viseur) and Tony (Muréna) would play together just for them. We have a glimpse of what this could give, with about ten titles recorded around 1948 by the two companions (Matelo Ferret would be on guitar and the double bass player is not identified). These recordings, not very well known, were released under the name of Accordion's Club (cf. here "?Home Trainer?", the magnificent version of "?Body and Soul?", the super acceleration of tempo on "?On The Sunny Side of The Street?" which swings to death, and "?After You've Gone?) They will also play with the whole team of the Hot Club de France, where Muréna joins in 1941, and meet in boeufs, after the concerts, and more regularly thereafter at the Mirliton, a dance hall that Muréna buys in 1949 on the side of the place Clichy, and where all the accordionists come, at least those who like the beautiful chords. Still according to Mrs Muréna, Django and Tony liked to play together... What a pity that no sound trace has reached us! "... We were in Les Sables d'Olonne when Tony learned that Django had died. Tony collapsed. That's the only time I saw my husband cry..." (3) MURÉNA, VEDETTE DES DISQUES ODÉON In 1939, shortly before the declaration of war, Tony met Emile Prud'homme (who was to become his brother-in-law), who had just recorded for the prestigious Odéon record label. He introduced Tony to the artistic director of the label, Edouard Dory, who was truly enthusiastic about his sparkling playing. On May 11, 1939, two swings are recorded, "?Madam's?" co-composed by Muréna with P. Fontaine and "?all is not lost?", a light swing by Louis Richardet. Jacques Petitsigne is on double bass, Matelo and Sarane on guitars, the latter illustrating himself by two remarkably constructed choruses and of course Tony on accordion, who combines in his phrasing beautiful and elegant. From the beginning of the 1940s, Muréna gave a new dimension to the accordion, surrounding himself with the best jazz musicians of the time: the drummers Georges Marion, Jacques Irsa, Roger Paraboschi, Pierre Fouad, the double bassists Jean Merlin, Jacques Petitsigne, René Larguier or Pascal Groffe, the clarinettists Pierre Gossez, Francis Camus, Lucas, Pierre Delhoumeau or Hubert Rostaing, the pianists Michel Ramos or Boris Sarbek, the guitarists Didi Duprat, René Duchaussoir, Lucien Gallopin... Between 1939 and 1943, Muréna drew largely from the gypsy source and more exactly from the gypsy source, by joining, just like Viseur (and a little later Privat) the talents of the Ferret brothers: Baro, Matelo and Sarane. In 1941, Tony becomes the star of the Odeon records and puts 22 titles in the can that year; the accordionist has perhaps never played so brilliantly. If his style is less fiery, less flamboyant than Viseur's, his touch is more sentimental and airy (cf. "?Le paradis perdu?", a magnificent ballad where Muréna combines finesse and feeling, this beautiful version of "?Yeux noirs?" with a long guitar chorus probably by Sarane, or these nervous swings like "?Le jitterbug?", "?Playmates?", "?Express 113?"or "China Town", an "American" jazz theme that the needs of the French production will rename "Chinatown", the opportunity for Muréna to launch some beautiful rockets), these last titles almost all interpreted with a septet with a very Goodmanian spirit: piano, drums and clarinet (excellent chorus of Pierre Delhoumeau). The accordionist treats the instrument like a real orchestra, taking advantage of all its resources: finesse of play, phrasing of a rare elegance, sense of exposition of a theme, constant inspiration. Stylist as there are few, he is never in the clichés: originality, spirit of creation and freshness are at the appointment. For Marcel Azzola, "?when Tony plays, we forget that it is the accordion, he is an authentic genius? Muréna is also the author of some fabulous compositions such as "Swing promenade", "Pacific" (a kind of blues that starts a bit like Django Reinhardt's "Rythm Futur", with an acceleration of the tempo illuminated by a sparkling guitar chorus, probably due to Baro Ferret, and rockets sent by Tony), "Ciro's", on which his suppleness and relaxed phrasing are marvellous, "Milk Bar", one of his most famous swings."one of his most accomplished swings or "?Pré catelan?", a swing recorded on May 30, 1942, a day when grace was undoubtedly upon him, since he also recorded "?Indifference? and "?Passion?", two masterpieces of great melodic beauty, co-composed with Joseph Colombo, charged with sensitivity and emotion, illuminated by Baro's chorus and which have not ceased to be played and replayed since. Muréna is thus, with Viseur and Privat, the singer of the waltz in minor which, imbued with a certain spleen, imposes itself as the masterpiece of jazz musette. MYSTERY AND GUMDROP !
Tony Muréna has recorded a lot, especially in his last period when, like many others, he devoted himself to the interpretation of variety songs or fashionable tunes. It was necessary to forget everything that recalled the war and therefore also the music of that period; in short, the swing era was over. We have privileged here this golden age of swing musette: that is to say the years 1939-1947, plus some later titles where Muréna still has beautiful accents. If many of these songs have already been re-released on CD, they were most often scattered on various compilations, most of the time mixed with typical or commercial songs, without any indication of date or personnel, and in these times where one product drives out the other, most of these discs are not available anymore (1). Here is for the first time in 3 CDs, and in chronological order, almost all of Tony Muréna's best tracks, (with precise references and indication of personnel when identified), showing his immense talent. THE BEGINNINGS Born in Italy in 1916, Antonio Muréna did not know his father, who died on the field of honor (fallen on the Chemin des Dames). Like many Italians, he arrived in France with his mother, who remarried in 1923 to a fellow countryman, shortly after the First World War. They settled in Nogent-sur-Marne and then in Joinville. An uncle gave his first accordion to the young Tony, who showed a serious aptitude for music and studied with passion and persistence. The autodidact benefits from the advice of the great Médard Ferrero. At the age of twelve, he already performed at his first balls. Then, launched by his cousin Louis Ferrari (1910-1988), also an accordionist, he started in cabarets and guinguettes. He lost his mother and then his stepfather and found himself alone with his sister and three half-sisters. To make boil the pot he puts the double bites, puts himself in the bandoneon and quickly integrates the best orchestras of tango (Rafael Canaro, Eduardo Bianco...). We are in 1932, Muréna is only 16 years old ! His quintet is sufficiently famous to be part of the replacements of the holder of the Balajo. Having to go on tour, Muréna proposes to Jo Privat to replace him at the Balajo; the latter will remain there 50 years! Muréna plays at La Silhouette, La Boule noire, La Java, Le Pré Catelan, Ciro's... The guitarists Didi Duprat, Lucien Gallopin, one or the other of the Ferré, are then its accompanists. SWING MUSETTE It is in France that the first full-fledged jazz accordion develops. Roger Etlens is said to have been one of the first to play jazz on the accordion, followed by Louis Richardet and Charley Bazin. But these precursors did not record much and it is Viseur who will be the first great jazz accordionist, followed immediately by Muréna. In the absence of the American models, who left for the United States after the declaration of war, the pioneers of the French swing accordion developed a style mixing American jazz, French musette and gypsy swing. Viseur, Muréna, and then Jo Privat, renovated the musette genre in depth by eliminating the accordion's vibrating register, introducing more sophisticated harmonies, and embarking on the adventure of what is called im-provisation. According to Mrs. Muréna's testimony (2), whenever they had a moment, Gus (Viseur) and Tony (Muréna) would play together just for them. We have a glimpse of what this could give, with about ten titles recorded around 1948 by the two companions (Matelo Ferret would be on guitar and the double bass player is not identified). These recordings, not very well known, were released under the name of Accordion's Club (cf. here "?Home Trainer?", the magnificent version of "?Body and Soul?", the super acceleration of tempo on "?On The Sunny Side of The Street?" which swings to death, and "?After You've Gone?) They will also play with the whole team of the Hot Club de France, where Muréna joins in 1941, and meet in boeufs, after the concerts, and more regularly thereafter at the Mirliton, a dance hall that Muréna buys in 1949 on the side of the place Clichy, and where all the accordionists come, at least those who like the beautiful chords. Still according to Mrs Muréna, Django and Tony liked to play together... What a pity that no sound trace has reached us! "... We were in Les Sables d'Olonne when Tony learned that Django had died. Tony collapsed. That's the only time I saw my husband cry..." (3) MURÉNA, VEDETTE DES DISQUES ODÉON In 1939, shortly before the declaration of war, Tony met Emile Prud'homme (who was to become his brother-in-law), who had just recorded for the prestigious Odéon record label. He introduced Tony to the artistic director of the label, Edouard Dory, who was truly enthusiastic about his sparkling playing. On May 11, 1939, two swings are recorded, "?Madam's?" co-composed by Muréna with P. Fontaine and "?all is not lost?", a light swing by Louis Richardet. Jacques Petitsigne is on double bass, Matelo and Sarane on guitars, the latter illustrating himself by two remarkably constructed choruses and of course Tony on accordion, who combines in his phrasing beautiful and elegant. From the beginning of the 1940s, Muréna gave a new dimension to the accordion, surrounding himself with the best jazz musicians of the time: the drummers Georges Marion, Jacques Irsa, Roger Paraboschi, Pierre Fouad, the double bassists Jean Merlin, Jacques Petitsigne, René Larguier or Pascal Groffe, the clarinettists Pierre Gossez, Francis Camus, Lucas, Pierre Delhoumeau or Hubert Rostaing, the pianists Michel Ramos or Boris Sarbek, the guitarists Didi Duprat, René Duchaussoir, Lucien Gallopin... Between 1939 and 1943, Muréna drew largely from the gypsy source and more exactly from the gypsy source, by joining, just like Viseur (and a little later Privat) the talents of the Ferret brothers: Baro, Matelo and Sarane. In 1941, Tony becomes the star of the Odeon records and puts 22 titles in the can that year; the accordionist has perhaps never played so brilliantly. If his style is less fiery, less flamboyant than Viseur's, his touch is more sentimental and airy (cf. "?Le paradis perdu?", a magnificent ballad where Muréna combines finesse and feeling, this beautiful version of "?Yeux noirs?" with a long guitar chorus probably by Sarane, or these nervous swings like "?Le jitterbug?", "?Playmates?", "?Express 113?"or "China Town", an "American" jazz theme that the needs of the French production will rename "Chinatown", the opportunity for Muréna to launch some beautiful rockets), these last titles almost all interpreted with a septet with a very Goodmanian spirit: piano, drums and clarinet (excellent chorus of Pierre Delhoumeau). The accordionist treats the instrument like a real orchestra, taking advantage of all its resources: finesse of play, phrasing of a rare elegance, sense of exposition of a theme, constant inspiration. Stylist as there are few, he is never in the clichés: originality, spirit of creation and freshness are at the appointment. For Marcel Azzola, "?when Tony plays, we forget that it is the accordion, he is an authentic genius? Muréna is also the author of some fabulous compositions such as "Swing promenade", "Pacific" (a kind of blues that starts a bit like Django Reinhardt's "Rythm Futur", with an acceleration of the tempo illuminated by a sparkling guitar chorus, probably due to Baro Ferret, and rockets sent by Tony), "Ciro's", on which his suppleness and relaxed phrasing are marvellous, "Milk Bar", one of his most famous swings."one of his most accomplished swings or "?Pré catelan?", a swing recorded on May 30, 1942, a day when grace was undoubtedly upon him, since he also recorded "?Indifference? and "?Passion?", two masterpieces of great melodic beauty, co-composed with Joseph Colombo, charged with sensitivity and emotion, illuminated by Baro's chorus and which have not ceased to be played and replayed since. Muréna is thus, with Viseur and Privat, the singer of the waltz in minor which, imbued with a certain spleen, imposes itself as the masterpiece of jazz musette. MYSTERY AND GUMDROP !
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Musician friends Good evening
deposited in the space discoveries " MY MAN" in video-new version MISTINGUETT
I appreciate very much the brass playing in this version
"REGINE" will take back the guinguette style at the BALAJO and in the other cabarets ....
the musette repertoires very soon, rejoices the heart .....Camilla
deposited in the space discoveries " MY MAN" in video-new version MISTINGUETT
I appreciate very much the brass playing in this version
"REGINE" will take back the guinguette style at the BALAJO and in the other cabarets ....
the musette repertoires very soon, rejoices the heart .....Camilla
0
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