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Track Listings
| 1. Utile |
| 2. Ne Quelque Part |
| 3. Mathilde |
| 4. Syracuse |
| 5. La Folle Complainte |
| 6. Avec Le Temps |
| 7. Un Jour Tu Verras |
| 8. Les Amants D'un Jour |
| 9. Volare |
| 10. Les Mains D'or |
| 11. Over The Rainbow |
| 12. La Chanson De Prevert |
Editorial Reviews
Review
Acclaimed French chanteuse Juliette Greco s first album in three years features the creme de la creme of American jazz artists, including orchestral arrangements provided by Gil Goldstein. Moreover, Greco's husband, Gerard Jouannest, performs on piano while also scoring the piano arrangements. Throughout this endeavor she conveys lush sentiment and endearment within the context of each song (chanson). Comprised of works by luminaries Jacques Brel, Leo Ferre and others, Greco embodies the aura of French music rooted in Parisian love etudes, spiced with wistful accordion motifs and Goldstein's eloquent arrangements.
The late, great tenor saxophonist Michael Brecker alternates choruses with Greco during the heartwarming piece titled Ne Quelque Part. At times the music sparks remembrances of classic French cabaret, featuring movements constructed upon regal horns and a festive musical environs. Tenor saxophonist Joe Lovano provides a late-night, bluesy backdrop during Syracuse. Then on Un Jour Tu Verras, Wallace Roney's muted trumpet voicings parallel Greco's whispery vocalizations.
Flirtatious flutes engender a 1960s vibe, fitted with a modern uplift on the tune made famous by Dean Martin and The McGuire Sisters, Volare. Greco sings Over the Rainbow, in English via a seductive and dramatic interpretation, teeming with expressionistic attributes. In sum, it s a wonderfully attractive program that literally touches the heart and stimulates the soul. Greco s latest outing intimates that art in its various forms proclaims the lexis of our humanity.
- Glenn Astarita --allaboutjazz.com
"It is like a beautiful gift for me," said famed chanteuse Juliette Greco on the phone from Paris. She was speaking of the opportunity to record her new album, Le Temps d'une Chanson (Sunnyside), wiuth arrangements and solos by accordionist Gil Goldstein, and contributions from other top-shelf American musicians Joe Lovano, Wallace Roney, Rufus Reid and the late Michael Brecker.
"I am extremely touched that they wanted to make that record with me. I have great respect for them and I am not a jazz singer, not at all."
At 80, Greco is one of the last bright lights of the flowering of French culture that took place in Paris in the years following World War II. At the sidewalk cafes and in the jazz cellars of the Left Bank, among friends like Jean-Paul Sartre, Simone de Beauvoir, Louis Malle and Jean Cocteau, Greco's was the face - and the voice - that came to symbolize the entire era. Her recordings of chansons Francais - the alternately cool and passionate traditional French pop music - and her acting in films such as Cocteau's Orphee made her a star in the 1950s. Her look -black turtleneck, pale skin, enormous dark eyes and raven bangs - created an ideal of bohemian beauty that has never gone away.
It was Sartre who originally encouraged Greco to sing. "Sartre decided that I had a voice and I could sing-and I was furious!" She laughed. "It seemed impossible, but I was quite obedient with Sartre because I respected him very much. So I said, 'Well, I'm going to try.' And I never stopped."
Greco herself was always a devoted jazz fan. In Boris Vian's wry portrait of the era, Manual of Saint Germain-des-Pres, he describes Greco waking up and dropping the phonograph needle on a Coleman Hawkins record before even getting out of bed. And it was during those years that American musicians began to flood the city, bringing with them the modern jazz that had developed in New York during the war.
Among the visitin stars was 22-year-old Miles Davis, whom Greco met in 1949 when he played the Paris Jazz Festival with Tadd Dameron. It was the beginning of an affair that stretched over decades.
"We were in love, that's all. We were young and we fell in love together at the first look. It's a beautiful story. I was able to speak about three of four words in English and he wasn't able to speak any in French. But love is strange. Until the last day of his life, in any country in the world when he was traveling he would leave a little note to me. He came to see me about two or three months before he died. It was his last trip to Paris and he wanted to see me. He came to my home and we spoke for a long time."
If Wallace Roney's muted playing on two tracks on the new CD evokes the memory of Miles for Greco's admirers, the entire album is full of associations for Greco. "It's about certain moments in my life. They are songs I always wanted to sing and didn't." Among tunes made famous by French stars like Serge Gainsbourg, Jacques Brel and Charles Trenet, one that will clearly stand out for American listeners is the classic 1930s ballad of yearning and hard times, "Over the Rainbow."
"That's a strange story. During the war... I was quite young, I was about 16. The Germans - it was forbidden to sing and listen to jazz and to any American music and any English music. I went to jail for a little while-because of [my work with the] Resistance - and when I got out of jail I was living in a little place close to Place Saint-Sulpice and it was late at night, just before the curfew. I went out, and to affirm my freedom, to have the feeling to be free, I started that song - like a political song. That song is so sweet, sugar and lace and blue and pink, and suddenly that song went red like blood."
- David French --JazzTimes - June 2007 --This text refers to an alternate Audio CD edition.
The late, great tenor saxophonist Michael Brecker alternates choruses with Greco during the heartwarming piece titled Ne Quelque Part. At times the music sparks remembrances of classic French cabaret, featuring movements constructed upon regal horns and a festive musical environs. Tenor saxophonist Joe Lovano provides a late-night, bluesy backdrop during Syracuse. Then on Un Jour Tu Verras, Wallace Roney's muted trumpet voicings parallel Greco's whispery vocalizations.
Flirtatious flutes engender a 1960s vibe, fitted with a modern uplift on the tune made famous by Dean Martin and The McGuire Sisters, Volare. Greco sings Over the Rainbow, in English via a seductive and dramatic interpretation, teeming with expressionistic attributes. In sum, it s a wonderfully attractive program that literally touches the heart and stimulates the soul. Greco s latest outing intimates that art in its various forms proclaims the lexis of our humanity.
- Glenn Astarita --allaboutjazz.com
"It is like a beautiful gift for me," said famed chanteuse Juliette Greco on the phone from Paris. She was speaking of the opportunity to record her new album, Le Temps d'une Chanson (Sunnyside), wiuth arrangements and solos by accordionist Gil Goldstein, and contributions from other top-shelf American musicians Joe Lovano, Wallace Roney, Rufus Reid and the late Michael Brecker.
"I am extremely touched that they wanted to make that record with me. I have great respect for them and I am not a jazz singer, not at all."
At 80, Greco is one of the last bright lights of the flowering of French culture that took place in Paris in the years following World War II. At the sidewalk cafes and in the jazz cellars of the Left Bank, among friends like Jean-Paul Sartre, Simone de Beauvoir, Louis Malle and Jean Cocteau, Greco's was the face - and the voice - that came to symbolize the entire era. Her recordings of chansons Francais - the alternately cool and passionate traditional French pop music - and her acting in films such as Cocteau's Orphee made her a star in the 1950s. Her look -black turtleneck, pale skin, enormous dark eyes and raven bangs - created an ideal of bohemian beauty that has never gone away.
It was Sartre who originally encouraged Greco to sing. "Sartre decided that I had a voice and I could sing-and I was furious!" She laughed. "It seemed impossible, but I was quite obedient with Sartre because I respected him very much. So I said, 'Well, I'm going to try.' And I never stopped."
Greco herself was always a devoted jazz fan. In Boris Vian's wry portrait of the era, Manual of Saint Germain-des-Pres, he describes Greco waking up and dropping the phonograph needle on a Coleman Hawkins record before even getting out of bed. And it was during those years that American musicians began to flood the city, bringing with them the modern jazz that had developed in New York during the war.
Among the visitin stars was 22-year-old Miles Davis, whom Greco met in 1949 when he played the Paris Jazz Festival with Tadd Dameron. It was the beginning of an affair that stretched over decades.
"We were in love, that's all. We were young and we fell in love together at the first look. It's a beautiful story. I was able to speak about three of four words in English and he wasn't able to speak any in French. But love is strange. Until the last day of his life, in any country in the world when he was traveling he would leave a little note to me. He came to see me about two or three months before he died. It was his last trip to Paris and he wanted to see me. He came to my home and we spoke for a long time."
If Wallace Roney's muted playing on two tracks on the new CD evokes the memory of Miles for Greco's admirers, the entire album is full of associations for Greco. "It's about certain moments in my life. They are songs I always wanted to sing and didn't." Among tunes made famous by French stars like Serge Gainsbourg, Jacques Brel and Charles Trenet, one that will clearly stand out for American listeners is the classic 1930s ballad of yearning and hard times, "Over the Rainbow."
"That's a strange story. During the war... I was quite young, I was about 16. The Germans - it was forbidden to sing and listen to jazz and to any American music and any English music. I went to jail for a little while-because of [my work with the] Resistance - and when I got out of jail I was living in a little place close to Place Saint-Sulpice and it was late at night, just before the curfew. I went out, and to affirm my freedom, to have the feeling to be free, I started that song - like a political song. That song is so sweet, sugar and lace and blue and pink, and suddenly that song went red like blood."
- David French --JazzTimes - June 2007 --This text refers to an alternate Audio CD edition.
Product Description
Juliette Greco came to be one of the stars of the bohemian "in" crowd of post-war France. She dressed in all black and let her long black hair hang free, creating an Ophelia-like look of having just drowned. A famous description of Juliette Greco is that her voice "encompasses millions of poems." She was the muse of many of the writers and artists working in Saint-Germain-des-Pres, such as Jean-Paul Sartre and Boris Vian. Some of these artists would write songs for her to sing. She fell in love with and almost married Miles Davis when he visited Paris in 1949.
Greco, still the most elegant of brunettes at 79, has chosen to pay tribute to the legendary names of French music, covering time-honored classics by the likes of Jacques Brel, Serge Gainsbourg and Charles Trenet as well as more recent material and two international standards, Volare and Over The Rainbow. --This text refers to an alternate Audio CD edition.
Greco, still the most elegant of brunettes at 79, has chosen to pay tribute to the legendary names of French music, covering time-honored classics by the likes of Jacques Brel, Serge Gainsbourg and Charles Trenet as well as more recent material and two international standards, Volare and Over The Rainbow. --This text refers to an alternate Audio CD edition.
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