Jacqueline Francois was one of the greatest singers and interpreters of French song. There are so many classic recordings, and some of the repertoire is considered cabaret. She exemplified a certain kind of charming, classy diva and was popular from her very first singles, and a global star a few years later. Born Jacqueline Guillemautot in 1922, she had a very long life in singing, recording countless, mostly French-penned, songs. Her voice, a rich alto with a ton of character and a certain smokiness throughout her range, is one of my favorite voices of all time. The feel of her voice on the microphone is something so soothing but commanding, hypnotic but laid-back.

“Mélancolie” (Melancholy) is a haunting, lesser known number which was written by the famous songwriting duo Al. Romans & Pierre Dudan. Recorded in 1951 for French Polydor, it features Jo Boyer and His Orchestra (who also worked with greats like Dizzy Gillespie and Django Reinhardt) and Francois’ mesmerizing voice singing the lonesome lyric:                              (English translation is below)

Mélancolie un jour s’achève,
Mélancolie on n’y peut rien.
Chaque jour dans la fumée et dans l’alcool, on noie ses
rêves,
Seul, jusqu’au matin…
Et chaque nuit, ça recommence
Pour torturer le coeur trop lourd,
Le cafard dans la fumée et dans l’alcool, mène la danse
Jusqu’au jour.
Demain y aura d’ l’amour et d’ la lumière,
Peut-être bien, ça m’est égal…
Barman jusqu’au matin, remplis mon verre,
Je veux rêver que j’ai moins mal.
Mélancolie… tu nous enchaînes,
Plus fortement qu’un grand amour,
Un beau soir dans la fumée et dans l’alcool, on noie ses
peines

Melancholy one day ends,
Melancholy can’t be helped.
Every day in smoke and alcohol, we drown our
dreams,
Alone, until the morning…
And every night, it starts again
To torture the heavy heart,
The pointless depression in the smoke and in the alcohol, leads the dance
Until the day is over.
Tomorrow there will be love and light,
Maybe I don’t care…
Bartender till morning, fill my drink,
I want to dream that I have less pain.
Melancholy… you chain us,
Stronger than a great love,
One fine evening in the smoke and in the alcohol, we drown its pains

 

 

20191004_091929

Born Alexandra Nicholas Badran in 1924, in Mersin, Turkey, to Lebanese parents, she changed her name to Nour el Houda (“Light of Guidance”) just as she was becoming a famous actress and singing star. During her long career, which began at ten years old, El Houda recorded a huge chunk of classical, religious and popular Arabic songs and is considered one of the greatest Lebanese singers. For her tone, intonation, power and control, she was hailed as “the Girl with the Golden Voice” and was a cultural sensation for almost 30 years.

“Ala Oum el Manadili” is mostly a big, insistent groove and melody which eventually open up into a slow, bare, and moody bridge section that allows you to really hear her incredible vocal talent, before taking it back to the top for a fierce finale. Besides the lead voice and backing singers, the instruments I hear are the mijwiz (a reed clarinet), tablah, the buzuq (strings, long-fretted neck and a tone like a viola), and handclaps. The arrangement and the sounds are pretty typical for middle 1950s, popular Arabic recordings.

This is a song on two sides, so I edited them together in Logic Pro.

 

20191004_090803

This is a Thai luk thung 78 I found in a flea market in Chiang Mai. Luk thung, which translates to “children of the field”, is the name of a folk/country genre of music that developed in the central rural areas of Thailand after WWII. The sound can be described as traditional Siamese/Thai elements combined with Western musical instruments (mostly brass and electronic) and styles emerging in 1940s and 50s America.

I had the great luck of having my friend Oraboon “Taeng” Imchai Bulut from Doisaket, Thailand, translate the writing on this very rare disc. So, the artist is called Fascination and the song is “Love You Girl (Thai folk dance); and it is catalogue number R.H. 2001 on the Hong Barge label, which is one of hundreds of tiny, obscure labels operating at the time. I am guessing this is from around 1959. That’s about all know at this time, unfortunately, wish I knew more…

“Love You, Girl” is a beautiful melody sung in a strong tenor voice on top of a simple arrangement of accordion and percussion. The moody, serpentine slow groove and harmonic flutters from the accordion are all that’s needed to float the lover’s passionate incantation.

 

 

20191004_092145

A legendary side man saxophonist for the likes of Aretha Franklin, Freddie Hubbard, Carl Perkins and Gladys Knights and the Pips, Jimmy Coe already had a previous recording career in the 40s and 50s and got his start playing in Jay McShann’s band sharing seats with the everlasting Charlie “Bird” Parker.

“The Jet,” on the small mid-50s Chicago label States Recording Company, is a great little groovy B3 Hammond organ and saxophone jammy-jam, and a relentless 2-and-a-half-minute flight of fancy. This virtually unknown number makes its way into many of my 78s set out in the wilds of nighttime party gigs and clubs.

Happy New Year 2019!

 

Jimmie Coe - The Jet

Big Bill Broonzy (1893-1958), American blues legend.

Born in Mississippi, he played guitar, piano and bass, and went on to pen many blues standards, and copyrighted over 300 of them. Also, he was one of the founding faculty of Chicago’s Old Town School of Folk Music , in 1953.

His sides on Paramount and Vocalion (where he is sometimes called “Willie Broomzy”) are typically hard to find, they’re expensive, and are almost always pretty beat up from the jukebox joints etc. “I’ll Start Cutting On You”, a 1938 country blues on Vocalion #04095 is no exception – it is roughed-up and scratchy; but I love this tune and it still comes up wonderfully from under the hiss, promise (you could also very easily adjust the treble settings on your EQ for a less lived-in sound, and you would still enjoy the bouncy beauty of this rare pre-war gem)! Happiness.

 

20170830_104751

This gospel quartet caught-on in the U.S. national scene in the 1940s and kept up their popularity & musical quality into the 50s. The great Ray Charles has said that the Pilgrim Travelers, and particularly their baritone Jesse Whitaker, influenced him and his then developing musical style: a brew of blues, gospel and jazz which would eventually come to be known as “soul” music.

This acapella take of “I Was There When the Spirit Came” is vocally tight, light and snappy, especially much of the accompaniment behind the lead.  On the Specialty label out of L.A., which was known for its many excellent black rock & roll and gospel sides, this is a pretty clean copy with plenty of lustre on the shellac, and the voices are clear and really ring out so beautifully.

 

20170830_104306

“Sweet Leilani” was written in 1934 by Harry Owens for his one-day-old daughter, Leilani; her name is Hawaiian for “garland of flowers from heaven”. This song became a standard in many genres, but this Ray Kinney version with its sorta “island country western” feel with the sliding chords & 1920s pop crooner vocal is my favorite so far. The shellac is a bit worn  (from plenty of loving plays I’m sure), but I still love to spin it nonetheless, and the melody is just so charming and a little funny.

 

Ray Kinney - Sweet Leilani