Customer Reviews

Jacques Brel Is Alive and Well and Living in Paris (1966 Original Off-Broadway Cast)

5 star:		(43)
4 star:		(5)
3 star:		(1)
2 star:		(4)
1 star:		(2)

 

 

In 1966, an American producer named Nat Shapiro introduced Eric Blau to Mort Shuman. Five years earlier, Mr. Shapiro had introduced Mr. Blau and his wife, Elly Stone, to the songs of Jacques Brel. After hearing a recording of one of Brel's concerts, Elly Stone informed her husband that Brel was the greatest songwriter of the 20th century, and she induced him to be the very first to translate Brel into English. Shortly thereafter, Elly Stone premiered Brel's love song, Ne me quitte pas (Don't Leave Me) to American audiences in the off-Broadway revue, O Oysters, along with the first English Brel translation, Carousel, showcasing Brel's melody for La valse a mille temps (The Waltz A Thousand Times As Fast) and loosely translated lyrics.

Unbeknownst to them, about the same time Elly Stone heard her first Brel recording, Mort Shuman was undergoing something of a revelation across the Atlantic. In the midst of a successful career writing rock and roll songs (including hits for Elvis Presley, and the ubiquitous teenage anthem, Save The last Dance For Me), Mort Shuman had been wandering restlessly around Europe, and came to settle for a time in Paris. There, he became acquainted with Brel's music, and, later, with the man himself, and the two became close friends. Shuman convinced Brel that he should be allowed to translate some of his better-known songs into English, and bring them to America. More on the strength of their friendship than Shuman's reputation as a songwriter, Brel agreed, but a problem soon emerged. Although Shuman had mastered French surprisingly well, he was finding the task of translating Brel's songs quite daunting. After several attempts, Shuman found his English versions sorely lacking. He realized that it was not only that he had become too enraptured with Brel's work to find the objectivity required to do them justice, but it also became apparent that Brel's songs reflected too much of the French philosophy and politics to appeal to an American public largely besotted on syrupy, trite love songs.

Shuman returned to America, vowing to find a way to introduce Brel's songs to an English speaking public. By this time, Nat Shapiro had heard Elly Stone perform Eric Blau's first translations of Brel, and wanted more. In November 1966, Nat Shapiro persuaded Mort Shuman to hear Elly Stone perform at Julius Monk's Plaza 9, despite Shuman's reluctance, which derived from his belief that only a male singer could do Brel justice. At a table with Shapiro and a very nervous Eric Blau, Shuman applauded politely. "She's good", he told Blau, "the translations are real good". It must have rankled him somewhat that it was Blau and not Shuman who first successfully translated Brel to English.

Nat Shapiro also had the idea for the perfect venue to introduce Brel to America - an off-Broadway show. Not exactly a revue, since that implied that the songs had been heard before, what eventually took shape was the first "libretto-less" musical, Jacques Brel Is Alive and Well and Living in Paris. In addition to Elly Stone and Eric Blau's enthusiasm for Brel's music, Elly's amazing talent had won Shuman over and convinced him to work with Blau on the translations. Two years later, their labor of love finally introduced Brel's songs to an American public that was as ready for Brel, as Brel's songs were ready for America.

I am somewhat puzzled by the negative reviews by those who insist that Brel's songs can never be appreciated in anything but the original French. When Eric Blau realized, as Mort Shuman had earlier, that Brel's songs could never be translated exactly to American English (steeped as they were in French life and politics), they agreed to go for the next best thing. They opted to translate Brel's songs as closely as they could, but, when this was not possible, they kept Brel's melodies while attempting to retain the spirit of his writing, if not his actual words. What resulted were often very good translations indeed. One only has to compare the French text of songs that became Jackie, the Old Folks, Brussels, the Middle Class, Madeleine or Amsterdam to realize that, for the most part, the narrative and spirit (and sometimes even the lyrics) closely matched Brel's originals. Two additional translations, Song For Old Lovers and My Childhood, which also resembled the originals, were recorded by Elly Stone on her (now very rare) self-titled Columbia album. Miss Stone also recorded Goodbye My Friends for her second album, which was arguably a superior version of Brel's Le Moribond than the dreadful version by Rod McKuen, Seasons In the Sun.

In other cases, the translations altered Brel's songs in such a way as to make them more palatable to American tastes, while retaining Brel's concept. Thus, Jef, a song in which a man tries to cheer up a drinking buddy who has lost a great love, becomes a love song, in which one partner attempts to bolster the melancholy spirit of their beloved. In fact, some would argue that the beautiful prose of No Love You're Not Alone not only equals the poetic imagery of Brel's original lyrics quite adequately, they are actually an improvement. Conversely, When We Only Have Love was transformed from a love song to an anthem for brotherly love, yet did not destroy Brel's concept or his "poetry", but successfully built on it. Brel, by the way, often pointed out that, in his culture, it would be unforgivably vain for a songwriter to compare himself to a poet. To the French, poetry is not only a much higher art form than songwriting, Brel did not consider songwriting an art at all, but merely "a craft". All told, there are, in fact, only a few songs in this show where the lyrics, content, spirit, tone and / or subject matter were completely altered from Brel's originals.

When the show premiered in Canada, the creators were terrified that they would be taken to task by the French Canadian press for daring to present Brel in English there, as Brel is highly prized in Canada. Instead, it was the English Canadian press who savaged the show. But the French Canadian journalist, Rudel-Tessier (a bi-lingual writer, quite familiar with Brel in French) stated flatly that, although in translating the work, some of Blau / Shuman went in and some of Brel came out, he found it marvelous to have Brel in English at all. And, he gently chided his peers by pointing out that, while Shakespeare is quite popular in French, the Bard will never be quite the same in French as he is in English. So, to those who say you cannot appreciate Brel's songs in anything but French I reply, this show was written for those who never have, and never will, understand a single word of French. Does anyone really think that those who only speak French should be deprived of Shakespeare?

Even if none of this were true, I would like to point out that Jacques Brel himself, armed with exact French translations of the English lyrics, personally approved every song that was written for the show before the decision to produce it was finalized.

Besides, the passion and reverence that these performers feel for Brel and this material is evident in every song, and to those who claim that this show is an insult to Brel, I answer that it's an insult to the efforts of this fine cast to suggest that they had anything but his best interests at heart, and, as someone who is quite familiar with Brel in French, I believe they succeeded brilliantly. And as fine a songwriter as you can argue that Brel is in French, well, Elly Stone is equally as fine a singer in any language, and I bemoan the fact that she virtually squandered the balance of her career championing Brel's work, when she could have made a major name for herself, based solely on her own talent. Having seen Elly Stone perform live many times (in and out of this show), I will attest to the fact that, in her prime, she had the most impressive voice I have ever heard in a concert hall.

And in the end, it was Brel himself who gave the supreme complement to this effort. At one point, Eric Blau fretted when, in order to more closely translate Brel's lyrics to la Mort (My Death), he and Shuman had to alter Brel's melody. When they sent the new song to Brel, he responded, "You have improved it; it's better than mine". A year after the show opened, Brel flew in to New York to see it. That night, he led a standing ovation for the performers, and modestly told Blau and Shuman repeatedly that they had not only exceeded his expectations, in many instances, they had improved his work. He also told Elly Stone that she was, "the finest lady performer" he had ever seen (including Piaf, whom she was often compared to unfairly) and he told her that he wanted to write new songs specifically for her. Unfortunately for us, he never had time, but it was a testament to her talent and artistic integrity that Brel offered.

And if Brel himself was pleased with the translations featured in this glorious production, why should anyone quarrel with that?

On a Sunday afternoon, I was dragged to the Village Gate to see this show for the first time over 35 years ago. Thus began an odyssey for me that changed my life forever. I bought a ginger ale at the bar, sat down and listened for two hours as my life was morphed. I listened to Brel and learned about love, happiness, despair, sorrow, gut-wrenching pain, delight, and in the end, hope. And I cried...oh did I cry. And I myself fell in love. And I would come back to the Village Gate every weekend, sometimes twice a weekend (yes, you're reading this right) until I lost track when I saw the show well over 100 times. And I was there in 1972 at its final performance, when Elly Stone got up and sang once again. And that Fall, I was also at the Royale Theatre on opening night when it was resurected. Elly Stone and Brel have been close to me in many ways since that time and I miss them both. It's my fault I don't see Elly more, but that's another long story. Buy this disc, and experience something you can't get today from the junk that popular music pretends to market to America. This is the soul of music. This is what life is about. Brel understood it all. Blau and Shuman knew how to work it. And Elly Stone will transfix you if you really listen to her. LISTEN to 'Old Folks', 'Marieke', 'I' Loved', 'My Death', and so many more. Amazing.

One of the finest off-Broadway show ever. It ran for three years in the sixties and then returned for several more years later. The music is lovely and memorable and the lyrics are remarkable considering that Brel wrote in Flemish, as evidenced in the song "Marieke," and had to be translated into English and made relevant. The humor is biting and some of the tunes will remain with you forever.

Robert Dennis, Ponte Vedra Beach, FL

Of course, the real Jacques Brel, the gifted French song-writer, no longer remains alive and living in Paris, but the music he created is eternal.

The original score of the show JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS was a cult favorite during the 1960's and 70's, and deservedly so.

The rousing songs in this C.D. seem as fresh and clever as ever, brilliant, actually, in their conceits.

This digitized version of the original cast album probably offers better sound quality than the first one had.

This C.D. is like an escape to Paris in happier times.

Although I've never heard but one Jacques Brel song in French (song by he, himself on the DVD - which is a MUST BUY), I heard this "album" shortly after it came out, in the early 70's. My dad got me turned on to this music and it's stayed with me all these 40+ years. This is very special music to me and I'm thrilled to have both the CD and the DVD.

This heartwarming story of life through music and songs has been around quite a while now. After seeing a revival in NYC last summer, it was a great surprise to find the CD available with the original cast through Amazon.com. Many thanks for having this!

The CD of the original cast is still fresh and still gives Brel's music the most fitting rendition

Introduced to "Alive and well" in a college production in fall 1972, this album has captivated me for years, from young adulthood to middle age. The music is timeless, the energy is magnificent, the translated lyrics are moving, irony-filled, funny, spiteful, insightful and a whole lot more.

With this superb four-person cast, supported by a small number of instruments, the voices and lyrics make this a full-bodied hit. Mort Shuman's "Amsterdam," Brel's dedication to the night life in the port of the Dutch city, haunts and enlivens me. His "Next", a sad memory of his first sexual encounter, provided gratis by the army, makes it clear why he never wants to be "next" ever again. Elly Stone's voice leaves me near tears. Shawn Elliott and Alice Whitfield have slightly smaller roles and receive lesser accolades, but their contributions are memorable and make the production full, rich and well-rounded. The closing, "If we only have love," is a tribute to the author and to the cast. With 23 stylish numbers, this CD is one you can play endlessly, enjoying. Adding "The middle class" to this version is not only a nice 'extra', it is one of the best numbers, a memorable tribute to the terror of first despising the middle class, only to later find you are part of it, and despised as well.

These are 'show tunes' in the best sense of the term, and although there is no linear plot to follow, the music makes the show one worth repeating. Enjoy!

Glory hallelujah and thank you, Sony, the original cast is available again in all its magnificence! I hadn't heard this version in 15 years easily, and was less than enthused about the Amazon downloads I'd heard from the revival of a few years ago, so imagine my glee when the original appeared in my recommendations! This is one of those rare shows that only gets more relevant with the years--the one drawback being that it would take a rare group of singers these days to come close to the original quartet.

... This just released remastered version of the original Off-Broadway cast brings back memories of the first time I heard it on vinyl in the mid-70s, only here the sound is better and an extra song ("The Middle Class") makes this a must-have CD for any fan of show music, Brel and French cabaret torch songs...with that Brel edge of course.