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Vandoren. 56, rue Lepic 75018 Paris - Tel : 00 (+33) 1 53 41 83 00 - Fax : 00 (+33) 1 53 41 83 01 - www.vandoren.fr - Mail : info@vandoren.fr

PARIS-JAZZ

Rue , s d r a b m o des L Paris

56 rue Lepic - Paris. Where jazz is not just a legend.

Vandojazz

Not ready for a ring ?

CHC Consulting - La Maison, 37 rue des Mathurins 75008 Paris.

Vandojazz

Creation and realization : La Maison, 37 rue des Mathurins 75008 Paris. Telephone : 01 44 90 02 20. E-mail : christophe@la-maison.net - Photos : Nicolas Roux-dit-Buisson, Laurent Bourgeno, Christophe Hauser. Dpot lgal : october 2004.

news

FROM THE OUTSET ...

editorial THE VANDOREN WEBSITE
The Vandoren website is being rebuilt. You will soon be able to access a large amount of information about artists, the links to their personal sites and upcoming concerts > http://www.vandoren.com

NEW RELEASES COMPACT DISCS

For new scores and CDs, a specialized website has been created: http://www.vandobase.com, with the possibility of searches by composer, title or category. Meanwhile, here are a few CDs that were recently received at the Espace Partitions Vandoren: David El Malek, Talking Cure (2SA378). Information, review of the press on the artists website (French/English): http://www.davidelmalek.com/ Sylvain Del Campo. Derrire le soleil (2SA387). Sylvain Del Campo, alto and soprano sax, personal compositions, accompanied by a rhythm trio. Jeff Sicard, Tropismes (2CS88). Soprano and alto saxophones, clarinets, conches, bells. Review of the press: http://www.jazzmagazine.com/Musique/DisqEmoi/ Archives/0304.htm. Sax Paris Jazz (2SA385). A tribute to "Supersax" by a quintet of French saxophonists: Pascal Thouvenin, lead alto; Yves Guicherd alto; Dominique Mansion, tenor; Franois Vernay, tenor, Jean-Luc Rocher, baritone, accompanied by Franois Guicherd, piano and bass and Jean-Yves Caillet, drums; with guests Franois Chassagne, trumpet and Denis Leloup, trombone. Double-CD: the first devoted to Charlie Parker, the second to standards reinterpreted (Laura, Stardust, My Funny Valentine, etc.) ESPACE PARTITIONS 56 RUE LEPIC 75018 PARIS COME IN AND LOOK AROUND! E-MAIL : partitions@vandoren.fr

BY ANNE-SOPHIE VAN DOREN

After focusing on those involved in jazz in the first issue, lets turn the spotlight on the places that make us swing, that make us bop until dawn in the capitals clubs and cellars. However, to avoid the pitfall of superficiality, weve chosen to concentrate essentially on Rue des Lombards, a mythical address in Paris nightlife unavoidable from a jazz point of view for fear of being has-been or squareand proud of it The clubs there are recognized, the styles mixed, experiments welcome and the ambience that emanates from this musical crossroads has firmly established the streets reputation. So then, is Paris the capital of jazz? Without pretending to be able to answer that question, we invite you, just for a few pages, into the Parisianbut above all, the Lombardiancellar clubs, to see, or rather hear what the City of Light has to offer.

IN MEMORIAM
June 7: Steve Lacy (USA, 69). July 22: Illinois Jacquet (USA, 81). Less well-known, American clarinetistsaxophonist John LaPorta (84) died on May12, 2004 in Florida. He had taught for more than 30 years at the Berklee School of Music and written numerous pedagogical works.

LA DFENSE NATIONAL JAZZ COMPETITION

Sextet Paradigm: 1st prize band and 1st prize in composition: saxophonist Luis Vina. Sextet of saxophonist Sbastien Jarousse: 1st Prize in composition, 2nd Prize band. 2nd prize soloist: saxophonist Nacim Brahimi. 1st prize soloist: saxophonist Adrien Amey of TTPKC and Le Marin.

SUNSIDE TROPHIES
2nd Prize went to saxophonist Boris Pokora. Winners concerts at the Sunside on September 22.

history of ...

JAZZ CLUBBING
hen I left, I was sort of out of it. I go down into the jazz club, just to forget the course of my life for a while The clip with this really shy guy, scared to death as he approaches the stage. If this is the chance of my life then Im just gonna do it, and too bad!* And the pros who cant get over hearing what hes putting out for them at the Hammond that hed been eyeing for quite a while. He had understood everything, Michel Jonasz, the little dude who worked all alone, he feels it without wanting too much to tell himself that he could do something, but hell never have the opportunity and then, one day, it happens, and Bang! Ready to go in for the corrosive, might as well get right down to it: the corridor-clubs without a real piano, beat it! The bar on one side, a row of stools on the other, a passageway a meter wide down the middle; at the back, a platform of sorts, a bass player upstairs with the keyboard, drummer and sax on the ground floor, cheers! Musicians are self-respectingthe public, too. It was one summer at Soulac, a kind of oldfashioned little summer resort, full of charm, at the end of the northern point of the Mdoc in southwest France, very close to the mouth of the Gironde. A long, out-of-the-way path into the night, through the sand and pines, lit only by a few bulbs hanging from a wire there it was: my very own club. Just in case, I had brought my Noblet clarinet, bought from an antique dealer, and the old horn very indulgently let itself be played. Id barely gotten inside the door and couldnt believe my ears! There were four of them onstageit was the year the Fab Four had released Sergeant Peppers, and these guys were playing the songs from the record, with the sound system and

, LOUIS TAINTURIER S

COLUMN

Its on the other side of life (Louis-Ferdinand Cline)

* Translation of lyrics by the popular french singer Michel Jonasz

amps adjusted just rightthose were still the days when they knew how to adapt the volume to the hall, the prime objective not necessarily being to blast out your eardrums Things were still musical. I ended up going forward do I go or dont I? a bit like Two Socks in Dances with Wolves, and we agreed to play something that might seem vaguely like a blues. I dont want to give the impression of interfering too much, but Jazz-Rock was invented on that night precisely. Afterwards, if Miles rushed to swipe this good thing from us, Im not going to make a whole big deal of it. (and just as well he didnt try to filch a tune or two as he was used to doing that was fortunate cause we didnt have any!) It was Rhythm and Blues that led me to the tenor, with prompters so as not to look like youre pretending, like Junior Walker and King Curtis. In clubs, I was always impatiently waiting for the moment when one would start this great introduction of Otis Reddings Try A Little Tenderness, a slow descending counter-melody behind the very simple melody played by the trumpet. The voice came next, quickly followed by a little intervention on the tenor, introducing the start of the rhythmic pattern, then came back at the end for the final fireworks. Shortly after Ray Charles died, I felt the desire to contact his saxophonist from the early days, David Fathead Newman, whom Id discovered on the occasion of that concert recorded in 1959 in Atlanta, to my knowledge, the Best of the Genius (with The Night Time is the Right Time, Yes, Indeed, Tell the Truth, Drown in My Own Tears, this fabulous version of Whatd I Say). Newman plays it for keeps, bringing out his hot sound, a little dirty and rasping, combined with authentic Bop phrasing: Jazz in its pure state. Ray did not always sing, leaving a large instrumental place to his band. Its Karen, Mr. Newmans wife,

who was nice enough to answer meshe felt it important to tell me that her husband was still playing, and as a bandleader. Along with the fact that he had put all his heart into the interpretation of Precious Lord at Rays funeral (It was so heartfelt.) To go no further than this happy blend of Jazz, Blues and Soul, Ray Charles made two records with Milt Jackson, this frail little guy who was the first to manage to give soul to the cold bars of gilded metal, and I remember this concert of the Timeless All-Stars in this club that has since disappeared, in the center of Bordeaux, with Harold Land, that other tenor at the top in the 50s, and, among others Bobby Hutcherson on vibraphone. It made you dizzy to see the latter playing in a club, his mallets became invisible, and a torrential rain poured down on the bars to the point of being hypnotic. And to think that that evening, particularly-inspired percussionists of the city had not even bothered going, on the pretext that he played only with two mallets and not four! As Getz would have said: They cant even tell their ass from their elbow! Another evening at the same place, hed fallen asleep on his chair right in the middle of a number. Im not talking about a spectator in the hall, no, one of the guys up on stage! He had put a simple study instrument on his crossed legs, and his emaciated face was more wrinkled than a prehistoric apple. Wed gone to see him at the end of the set. Once standing, he would have gone between the wall and the poster, a little joint, nothing more The rest is no one elses business. At the end of the concert, we asked him and his quartet to come have a drink at one of our places. The musicians suggested we play a few pieces with them; we didnt even have to ask themit was a present. Prosthe real ones often have their heart on their hand. The lessreal and the amateurs should take a leaf out of their book. The man collapsed into a sofa and slept through the whole evening. He had eaten practically nothing since morning and accepted just a drop of whisky and a glass of bordeaux. A few months later, in Amsterdam, he made his last flight: out the window of his hotel but without a parachute. When one of my buddies said to him perfidiously that he had Louis Getz alias Stan Tainturier in person in front of him, he preferred kicking the ball into touch, while advising me as he went past to listen to Al Cohn. That mans name was Chet Baker. In that early autumn, wispy pink clouds were stretching faintly in the setting sun. The TGV Atlantique - the high-speed train linking western

France to Paris - was taking ages throughout its whole length at the approach of the Montparnasse station, forced to slow down reluctantly. For himhe knew itthe trip ended there. He would probably never be given permission to go stroll around the heart of Paris a bit. He would have seen it from the Orsay station, his terminus. Not a single taxi to take me to the jazz quarters too risky, according to them. Id have to go directly from the train car to the subway train. In the hall of the Mtro, a guy was in the process of beating the hell out of a wall-mounted wastepaper bin. Like every time, fear rose in my chest, with a huge desire to shout louder than him so he would stop right away. I remembered one of those incredible phrases of which Cline alone had the secret: If people are so nasty, maybe its only because theyre suffering. And everyone just walked by as if nothing was wrong. Where to go What were the names of the clubs again? The white tiles flashed past, and I was telling myself I could do all of Paris on a single ticket, or at least see the name of streets, squares, monuments I was trapped like a rat a cellar rat. Anne-Sophie and Jean-Paul had offered to come get me, but Id answered that I wouldnt come, and then, it just so happened Id left at the last minute without telling anyone, just to be sure of what I was doing, sure to mess everything up. But when I vaguely heard that tune in the distance, I felt myself come back to life a bit. That music, I knew nothing but it, it wasnt being played by the person I knewthe tessitura was lower, maybe a trombone Yes, as a matter of fact, theres a club just above. Go in the small blue door at the end of the hall, the entrance isnt very well known, but youll find yourself directly in the room. I think its Xavier Richardeau whos playing tonight. He had an old Mark VI without a low A, one of those that let you see the left hand, a sort of big tenor. You really had to have some nerve bringing out those tunes. Inside me, I was wondering if you even had the right. Dont touch my recordits the most beautiful one I know! Do you see yourself going up with your paintbrush to touch up a canvas like Munchs The Scream? I have to admit, he was coping pretty well, even though the beginning of his solos were the replica of the one I consider to be the best alto player after Parker, and when I say after I dont mean behind. After all, he had the right to quote him on his bari, but only if it was to pay him tribute. The Connection, a play in which junkies have the place of honor, was being put on at the Living

Theater in 1959 played in all senses of the term: the musicians, including Freddie Redd on piano and Jackie McLean on alto were part of the cast and spilled their guts on the table. Jazz played in the tradition of Charlie Parker, those were Jack Gelbers very words regarding the music he wanted for his play. All the tunes of that studio session were by Freddie Redd and played by McLean in a really emotional way. A record like that, they dont make every day. For me, THE record of so-called modern jazz, I mean after bop and before all the rest. You hear the voice of the alto player throughout his wrenching improvisations, the voice not the growl, which comes from the back of your throat, the voice from the heart, the guts and the soul. Very few produce that kind of moanyou can also notice it in certain solos by Getz. His powerful sound, particularly open for an alto, unmistakable, going so far as to take on the timbre like a tenor. I think thats what Jackie wanted very early on: playing tenor on the alto, like one of his heroes, Dexter Gordon. His phrasings superb, his alone and free of clichs. These are times of anguish, and it doesnt let go of us throughout the whole recording, Freddies compositions also being responsible for a lot of that. The last song is sufficiently evocative: O.D. A fabulous rhythm, with Michael Mattos on bass and Larry Ritchie on drums. The finest record I know. I saw Mr. Jackie in a club, once in Paris and another time in Bordeaux, at the Thelonious, which is now the Satin Doll. He dedicated this original thick LP , with all the young musicians around him looking at the handsome blackish-brown jacket: Your name? He wrote to Louie. From then on, I too was one of the Thespians, those dramatic actors like Jackie and Freddie. The Thespian, another superb composition by Freddie Redd, also played by Richardeau, and originally in the studio by Jackie McLean and Tina Brooks on tenor. I finally went out into the free, cool air of dawn. See Paris again, a little one-month stay and I walkedwalked so long in this city I loved to the point of no longer being able to come here. Why, all of a sudden, was she on my arm, her cheek against mine, this woman I knew in existence only from afar? She was adorably cheerful, her eyes laughing. Mon Dieu quelle tait belle ** as Piaf said. If this was a dream, Id have to keep it to myselfthey send you to a shrink for less than that! Its a shame in a way or at least that depends for whom but then its not in real life. Bird? He could have played with a tin can!
** God how beautiful she was

Jazz is playing ...

Rue des Lomb Paris

Rue des Lombards Right in the center of Paris, near Les Halles, the little Rue des Lombards has made a name for itself and become an amazing, essential address book for jazz. Both legendary and trendy, the Duc, Le Baiser Sal and the Sunset-Sunside, so different yet inseparable, match and complement each other, presenting the whole palette of current jazz: World, Fusion, Bop This little bit of sidewalk offers us an explosive musical cocktail until dawn. Rue des Lombards is awesome. Rue des Lombards swings. Rue des Lombards goes wild. Rue des Lombards: just follow the guide!

ards,

c u D

des Lombards

A well-deserved throne.

DUC DES LOMBARDS

PARIS-JAZZ

BY ANNE-SOPHIE VAN DOREN

The beginnings
About 20 years ago, the Ducs history began in a hallway. But it wasnt long before this narrow spot, where barely a handful of musicians could gather round the bar, was getting talked about. Indeed, from the very outset, you could find hot live music there, and quite quickly, the club expanded along with its success. After acquiring the jewelers on the corner, Didier Nouyrigat bought and annexed a bit of sidewalk in November 1989. This rather anecdotal history reflects well the slow evolution that made Rue des Lombards a major axis of Paris jazz. In 2002, the establishment was taken over by Vronique Bossong and Gilles Thvenet. (The Ducs 20th anniversary was celebrated in March 2004.)

up-to-date but rather rigorous

However, true to its fame, the Duc is forced to make drastic choices. Indeed, programming, centered essentially on French and European artists, is somewhat litist. Aside from an occasional carte blanche, where a big name or even a label decides on the programming for a whole week, the Duc does a lot of album releases. Nonetheless, unknowns can slip through the net if their demo meets the criteria of the houses clientele or if they are co-opted by habitus of the place. In those cases, bonds are gradually forged between the club and the artist, the latter being granted a weekday evening, then a second, and finally a Saturday We can mention Benjamin Moussay, Olivier Temime, Youn Sun Nah, Fabien Mary(Simon Goubert has been a recognized musician for a number of yearsits better to talk about the rising generation, those barely in their 30s, supplemented below). But while this kind of process may seem long, once the musician is accepted and recognized, he becomes, in a way, part of the familylike pianist Baptiste Trotignon, for example, who played for the first time at the Duc for the filming of a scene from Alain Corneaus The New World, released in 1995. He has since come back

Programming that is a driving force

The house style aims at being sensitive to modern jazz while granting great importance to lyricism and song. But although programming depends on whats going on, it also makes news by creating events and using them to spotlight such and such a musician. Indeed, the Duc does its utmost to get media coverage for its artists without trampling on intimacy and conviviality, which are still highly important.

inion p o s ' ian music

anecdotes? itnessed ncert Any co st fir ell, yeah, Ive w ur Anecdotes W What was yo y, sad, nn fu : es table scen some unforget at the Duc? s t the de Bu . uc nt D sa ea e pl ert at th , and very un nt sa ea pl My first conc t peare pianis dotes arent in a quartet with t powerful anec os m Lombards? 1991 one, z lla u yo Cu going to tell bass player Alby ble!!! Still, Im ta Michel Graillier, and b ed clu e nc Th rie that I expe orges Brown. very moving, and drummer Ge as a ius life m y m of in lot r a get to know remain foreve ill w ch hi w let me hear and shoulders nalities and rub ician: cians of all natio was a es, whe- mus liti na rso pe ry clearly: it t en fer dif of lot remember ve I with a n the re te he (Ive forgot of music or elsew nday evening Su ther in the field ichel n M te of ith of t w as playing And then the fac year), and I w the media, too. ght lni he at o als Th ce . rs pla he prestigious er among ot illi ra G iplaying in such a gu s ou z. t, son of the fam d progress in jaz Babik Reinhard vi ped me evolve an Ra d Reinhardt, an tarist Django phonist it? the great saxo el of fe Coltrane, son How do you k or w e W . came in. is really good John Coltrane, The ambience playing rtable condifo m d found myself co an ry ve em th ed vit in I and play in didnt to ed . They clearly club has manag them on stage ith w tions, and the idea z no jaz of and I still have t and tradition ow each other, kn keep the spiri her e ot th ch of ea ever ran into g the musicality whether they while respectin e. perform ther musicians who

U A E D R A H C I R R E I XAV

DUC DES LOMBARDS

PARIS-JAZZ

BY ANNE-SOPHIE VAN DOREN

regularly, and success and recognition have followed.

which has gained a trademark

Thus, the Duc is known and recognized for the quality of its programming, its acoustics and muffled ambiance. It has profited from it to dub a sextet: the Duc des Lombards Jazz Affair, directed by Xavier

Richardeau. That way, once or twice a month (last season, the first and third Wednesday of the month), the Duc can fully identify with and live through this sextet with its accents of American jazz of the 50s and 60s.

ink of the do you th t ha W k bi Ba ly, at. Unfortunate ence? again after th an was really audi it t bu could be called , ay aw ed ss pa ral, this is what ce ne sin ge s ha In e to th y or of em t m os forgettable diencem movingan un e informed au d an sid e ng er alo th en re be ey ith and know why th le op have played w pe us ar. do he men they ve come to o geniuses, tre the sons of tw especially whom ose who th s ay alw e ar e z. creators of jaz Of course, ther welcome, g and theyre rin ve co dis e ar s de uc vers, and lo D ic on the ese are mus A few words but in general th n see all ? ca e r w ai azz Aff azing is that am ts ha Lombards J w e th is r" mbards Jazz Affai s great!!! The "Duc des Lo ge, and agesit ar ch in Im . nd ba se ou h s b clu ry 2004. ther since Janua weve been toge nesday ed W ird first and th We play every Fabien : us of six e ere ar of the month. Th (piano), Alain Jean-Marie Mary (trumpet), Rageau (guitar), Nicolas Yves Brouqui s) and m ru (d Benhammou (bass), Mourad . x) sa o an and sopr myself (baritone mposifrom original co es ng ra ic The mus ar e range ndards that w tion to jazz sta e sextet. and adapt for th

rdeau Xavier Richa n3 al Vandoren uses tradition soprano baritone and eds. saxophone re altz, , Everlastin'W D C h rt u fo is H for release is scheduled ring in France du f November. the month o

t e s n u S e d i s n u &S
CLUBS

SUNSET&SUNSIDE

PARIS-JAZZ

BY ANNE-SOPHIE VAN DOREN

The sun shines on Rue des Lombards.

The beginnings
The Sunset is the oldest club on Rue des Lombards But in 1981, it was still a night bar where musicians came to finish their evening, staying up until dawn to solve all the worlds problems. And gradually this concentration of artists gave the creators the idea of putting in a drum set, a piano, a bass ampIt started very simply with the group Panam Fusion, and gradually the programming was structured under the direction of David Michel or Jean Marie Balzano, Dee Dee Bridgewaters husband, and, for the past 13 years, Stphane Porte. The creation of the Sunside, in 2000, made it a complex completely unique in Europe. Thanks to its two listening areas, it covers a fairly broad spectrum of jazz, the Sunsets vocation being to defend World Jazz, Fusion Jazz and electronic music, the Sunside being more the temple of acoustic jazz.

Programming that is handpicked but open and dynamic

The Sunset-Sunside features fairly dynamic programming, punctuated by numerous events and thematic evenings organized according to a very precise grid: there are the Sundays devoted to vocal jazz, discovery T uesdays at the Sunside, where young musicians who are still unknown can express themselves and benefit from the fame of the place to launch them and possibly make contacts. Moreover, the Sunside T rophy, which rewards the six most promising groups, can be a springboard that is by no means insignificant. In addition to programming that is devoted 60% to foreigners and especially musicians from the other side of the Atlantic, it has also given rise to events like the American Jazz Festival, which is celebrating its 11th edition this year. That contributes to mixing numerous influences and confirms the status of Paris as one of the great capitals of jazz.

The hidden side of highly-envied programming An unusual spot

This is a place where one tries to keep up with current trends, working in conviviality while respecting the spirit of jazz. This fairly intimate spacethe Sunset and the Sunside having 120 and 100 seats respectivelyis highly appreciated by musicians, in particular for the very emotional interaction with the audience. Indeed, far from coming to have a good time with some vague, somewhat jazzy music in the background, the audience is a real music audience, listening almost religiously. According to the owner, some evenings you can barely make noise at the barno question of disturbing the communion, a strange alchemy that is then created with the musicians. Yet this particular atmosphere, sought by many artists, is also explained by the fact that there are no dressing rooms and so they stay with their listeners during the breaks. Every evening is unique, and it would be quite difficult to repeat all the anecdotes and magic moments that have also contributed to the legend of the place. Such as, for example, an evening when Wynton Marsalis arrived in the middle of a concert by the Belmondo brothers and asked for a brandy. Both charismatic and impressive, hes not someone who could go unnoticed. Finally, the Belmondo brothers invited him to play, and he stayed onstage 2 hours. That night, the club closed at 6 a.m. So, even though it is highly selective, in keeping with the establishments renown (out of some 50 demos per month, the club selects only around five), the programming remains open, leaving room for young musicians. But more concretely, how does it work? Between the little musicians who send their demos and the big names that the club seeks out, most of the 500 concerts that the complex gives in a year are organized from a relationship of confidence and habit with the artists. Moreover, while respecting the house spirit, the club follows current trends and does a lot of album releases.

The Vandojam
After taking place at the Autour de Minuit club on Rue Lepic, the Vandojam' will now be happening at the Sunset. It will thus back up the Sunside's discovery Tuesdays. The next three dates are October 12, November 2 and December 7, 2004. Still emceed by Michal Cheret, the Vandojam aims at being universal, a moment of sharing and a good compromise bringing together both professionals and amateurs. In this way, the Sunset is going to revive jam sessions, which had been neglected for a while. PARTNERSHIPS Radio stations TSF, FIP and France Musique (Jazz Club, the program of Claude Carrire and Jean Delmas).Tlrama, Aden, Les Inrock, LExpress and Le Nouvel Observateur magazines carry regular coverage.

n inio p o n's a i sic mu

ez David Sanch ditional plays with tra reeds. Vandoren n3

sax Puerto Rican The famous the at ed also play player has Sunset ances the circumst What were set ? un ing at the S of your play in the et ns Su ectly at the I didnt play dir t one Bu e. er th k nt wor sense that I did , friends d of the evening day, at the en e to jam hear invited m that Id come to able to y all d I was re with them. An . ce pla e magic of th appreciate the Meaning ? ecial: the eat sound. Its sp Acoustically, a gr eres no th ly, ck very quick sound comes ba e. But at nic y all re ation, its need for amplific ore as a liswhen I come m the same time, place. This concept of the tener, I love the essentially at concentrates is a little club th s, which an ici us lue of the m on the artistic va s. lue va t ke ted to mar is not subordina e Paris u think of th What do yo audience ? the festiand present at Always excellent while tic ias us th ays en vals. And alw ectful. remaining resp
th D, New: his 7 C me for the first ti band; with a large ram: on the prog and latino classical, jazz sitions by with compo Ginastera, Villa-Lobos, and Carlos Jobim ez! David Sanch

Z E H C N A S DAVID

 l a s r e s i a B
The beginnings
In 1983, the Gibson brothers opened Le Baiser Sal, transforming what was, at the time, only a caf-concert into one of the most famous jazz clubs in Paris. And from the outset, these three West Indian brothers gave the club an identity reflecting in a way their origins: a very distinct world outlook, favoring Afro-Jazz, Latin-Jazz and Fusion.

Debauchery guaranteed.
Very open, laid-back programming
Clearly marked by Brazilian music and Fusion, the programming also strives to be as laid-back as its influences. Indeed, the clubs distinctive particularity is programming unknowns. Not depending on celebrity as a requirement, Maria, who is in charge, essentially acts on her loves at first sight. This openness is greatly appreciated by artists who

can then experiment with new associations and express themselves freely. As Eric Seva comments: The interest of coming here? Even if I suggest to Maria to come play with an Australian djerbuka, shell trust me. Thus, in the eyes of some, the club is like a sort of laboratory where you can make your own salsa successful. For example, it was at Le Baiser Sal that the Sylvain Luc/Stphane Belmondo duo came together (in fact, they will be emceeing the clubs anniversary in September). Aside from the habitus and unknowns, Le Baiser Sals programming also follows a very precise grid, while still remaining innovative and original. For some 15 years now, every Monday has been devoted to a jam session, emceed by percussionist Franois Constantin. But this Monday jam is also the occasion for musicians to meet and set up projects. In addition, the second Tuesdays of the month are reserved for vocal jams. Moreover, the club shows its faith in numerous artists by granting them residencies a sort of contract tying the musician to the club one evening a month which can subsequently launch them. Like the Mtiswing Salsa, a Cuban group of 11 young women that is going to appear once a month starting in September (an atypical discovery of Le Baiser Sal that we count on hearing a lot from later on).

up quite quickly, always remaining good-natured. Like the evening that Thierry Eliez, Dee Dee Bridgewaters keyboard player, in a total (but most welcome) frenzy, began to play the Smurfs theme on his Mlodica general surprise but never mind that: the whole place lined up in single file behind the musicians!!! Then, after this Smurfesque aside, everything returned to normal, and the musicians picked up the piece where theyd left off. But we can also mention the somewhat suspect appearance of Billy Cobham. Indeed, late one afternoon, Maria received a phone call from a big record store asking if Billy Cobham, who was then being showcased but was bored stiff! could come jam at Le Baiser Sal that evening. What a question! That such a great name in jazz ask permission to play it couldnt be on the level. And yet, Billy arrived precisely at 10 p.m. and ended up jamming with the other musician. Just one of the innumerable unique evenings at Le Baiser Sal

always quite festive

Le Baiser Sal has maintained the tradition of musicians bar where jamming is almost systematic. Moreover, it is the last to close (6 or 7 a.m.), so theres no need to announce any after whatsoever its included in the price and has been part of the spirit of the house ever since it opened.

A warm, friendly atmosphere

In this fairly intimate setting (the club has 80 seats), the ambiance livens

BAISER SAL
musician's opinion

PARIS-JAZZ

BY ANNE-SOPHIE VAN DOREN

A V S C I R E

llabod in projects, co at have resulte th rs te . of y.. da fortune going on to had the good ns that are still meet that period, I ing at Le ratio ar pe usicians like to ap m ps : ou ds gr oa s sr ou os er cr m a nu s in It playing a bit. The diffe les. ly different sty a drink and jam gh r hi fo in e er ith l, th w Sa s r Baise ers, alway tions rub should e rent genera th things. at w ne y g in da opos g on to the desire of pr forms) is What's goin lture (in all its ? a time when cu At a es of our r ey other clubs fo e in th hen we settled ing a priority in w be e m tim r fro at far th I miss week to l and the othe , Le Baiser Sa d practically a ns ha tio e tu W ry . sti ve in ys da ain few rds rem s were hired Rue des Lomba ic evolve: band ings clubs on make the mus Th ! . ive ay sit rd tu po Sa ty Thats pret Tuesday to to play from l street thats lots of active. y, ica da ag m To . is en th th to lot since I wish long life s an have changed a ici us m Jazz. programming to indispensable to places limit their k that limits in th I . es lin ad he who are in the ung artists. s the door to yo things and close g in an era in liv re t that we Theres no doub n the upper bility has gotte where profita sparing Jazz! areas, without hand in a lot of

? ithful in love So, you're fa spectful of re d an nsitive to I was always se She programs ezs position. Maria Rodrigu usic, going on g first of the m her club thinkin rding styles. ga t any biases re va uses feeling, withou s of what it ric S les rd etal ga re t, ec oj pr n T77 V16 m re If you have a have o ho d w n le a op V pe a e e of thos is, Maria is on piece is the labotake risks. This d tenor mouth an ce , od confiden go of t lo lue Jukebox B : s Lombards. A D de C e Ru st of te ry s a (l rato re. If there 2004). en formed he its with Chris Rea, groups have be b clu is th ur es yo riz te et ac rg ar fo ch r at u neve one thing th e proThey say yo lecticism of th enness and ec op e th large ss ry ndoren ki first braces a ve l studies, I also uses Va e H d of my musica ming, which em en as am e gr th ris at , Pa 87 in s In 19 ppening s Lombard outhpiece of whats ha out on Rue de e sopranino m rt th ng pa ha of e to ns n se e ga , d be lty Kiss). Th in the broa n his next CD o r Sal (The Sa s l is concerns Jazz d Sa e r ise re e Ba th d and at Le Baise Le n ith a 90, w e years now, rmed was in 19 term. For 15 re Ive aginaires, th im first time I perfo s x). That re Lombards whe sa s s, lo de lk um e o dr Ru F s, on as e trio (b the plac ght me Yes Yes Yes nder his own u d is club has brou neken Jazz ei Th se H t. a os e le m th e re th on t w played encoun- firs his year, we had mework of l things: artistic is preparing d n tition in the fra a lot of wonderfu , a e m a g n in Festival compe Paris. Dur ebsite. Jazz Festival in the La Villette n Internet w

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