the end of vaudeville/floyd tillman 1949

floyd tillman, l'influence principale sur tant de chanteurs country légendaires (et en particulier, le maître méconnu de willie nelson), fait lui aussi partie de la nébuleuse vaudeville ... ... les mimiques presque gênantes, ces tortillements obscènes à la mc carey, ou mieux à la fernandel (that's vaudeville too, man) viennent évidemment d'une époque oubliée, le music hall, les variétés (ou vaudeville), témoins touchants d'un primitivisme heureux, celui d'un l'art d 'usine oublié, très marqué encore par le XIXeme siècle qui le vit naître, une époque sans cinéma, sans télévision, où il fallait parler ou chanter haut et fort pour se faire entendre, une époque sans prétention dont témoignait encore le vieux stan laurel à la télé, éberlué qu'un simili-artiste comme le mime marceau veuille le rencontrer ... pour lui témoigner de son admiration ... listen to the the swinging and ever so fresh beauty of his great country vaudeville music (1949) ... ...

never forget that this is the end of vaudeville ... ... ... ...

n'oubliez jamais que ceci est la fin du vaudeville ... ... ... ...

willie nelson sous influence floyd tillman

un jeune willie nelson,surdoué pour les mélo-mélodies s'essayant aux glissandos d'harmonies inventés par son maître, floyd tillman (sous influence hawaïenne?)

june christy, 1947, tina louise, 1957

june christy avec l'orchestre de stan kenton & tina louise (rappelez vous de cette fille sensuelle dans le film d'anthony mann, le petit arpent du bon dieu, 1958)

la fin du vaudeville/rellys chez pagnol

rellys/jacqueline pagnol/manon des sources, chef d'oeuvre provencal d'antinaturalisme tardif (1952) ... ...
juste pour insister: cette performance d'acteur de rellys dans l'un des derniers pagnol, c'est tout ce que j'aime encore, malgré ma désaffection pour cet art d'usine reconverti aux néons des purs mouvements cinétiques ... ... c'est le surgissement incongru du 19ème siècle, du music hall, à même l'écran ... .... tous ces corps de fantaisistes, devenus jeunes premiers le temps d'un film (jean richard dans les maigret, c'est exactement ça) ... .... c'est ce que j'appellle par ailleurs le vaudeville ... le mélange impur de genres et de gens qui n'étaient pas faits pour se rencontrer ... ...
(à suivre)

beverly kenney/dean martin

lovely song, great crooners, beverly kenney beats them all, including dean martin

alter-yechiel karniol, his life, his music

haben yakir li (my son is dear to me, new york, 1914)/films d'occasion ... at times, karniol sounds like the indian dagar brothers of the ancient dhrupad style, oldest in india 
Karniol was nearly 60 when he started recording around 1913, approximate time of these recordings 

Alter-Yechiel Karniol (1855-1928) was born in Dzialoszyce, a small town near Krakow, Poland.

At an early age Karniol moved to Hungary where, after apprenticeship with the famous cantor, Moshe Lutzker, he occupied many important posts, notably one in Finfkirchen, which made his name famous through the country. In 1893 the Hungarian Congregation Ohab Zedek invited him to New York, where he remained five years. Unhappy because dictatorial synagogue officials, he accepted a call to the Great Synagogue of Odessa in 1898. Disturbed by the pogroms of 1905, Karniol returned to New York. Here he served the Rumanian Synagogue, Shaarei Zedek, and finally returned to Ohab Zedek. Because of increasing troubles with synagogue officers he retired.

karniol's range was unusual: fom bass to lyric tenor ... he possessed a beautiful mezzavocce, a falsetto like a soprano, and a coloratura that ranged through four octaves .... of him cantor vigoda has written: "he was a true baal tefillah, an amazing 'zoger' who poured out his heart in fervent prayer" ... karniol also was an outstanding improviser ... jacob rapaport, a recognized liturgical composer 

and president of the jewish ministers and cantors association, once challenged karniol to improvise one of rapaport's recorded selections ... to the great delight of the assembled cantors, karniol, without hesitation, created a totally new musical setting for the text. 

during his closing years he was pensioned by the society of prominent cantors ... in 1928 the society arranged the benefit appearance for him at the warshauer synagogue, where he chanted the yom kippur koton service, supported by a chorus of two hundred cantors ... this event proved to be his swan song.

although respected by his peers, he died in abject poverty ... his grave remained without a headstone for eight years ... while he was still alive, one of his admirers offered to pay for publication of his works ... karniol refused, however, and so only his recordings remain as a testament to his significance in 20th century cantorial art ... ... his recordings, made in his later years, reveal only a shadow of his earlier greatness.

beverly kenney's teachers

retour au vaudeville (rio bravo, 1958)

le travestissement tardif (angie dickinson/john wayne) dans les tactiques de séduction de rio bravo, faux western et vrai film de vaudeville, avec chansons et drague multisexe, premier chef d'oeuvre de post cinéma ... après quoi plus rien, dans cet art d'usine en perdition, ne sera plus comme avant ... place au maniérisme et aux séries télé ....

a foggy day in london town/sinatra 1957

a foggy day in london town (direct live dans son show télé, 1957)

beverly kenney was the best singer ever ...

the end of yiddish singing vaudeville

cantor alter yechiel karniol/pierre pinchik

alter karniol: N'kadesh/pierre pinchik: la prière de Rosh Hashanah, live (1ère partie)

le retour des cinéphiles au cinéma?

le film (montré à locarno et turin) est totalement inédit en salles

nazam el ghazali (irak), la plus belle voix du monde arabe

beverly kenney/june christy

 ball and chain (1952)/sweet lorraine (1945)/ same song, so who influenced who? .../still, best version is sweet young eternally fresh beverly kenney's

the more i see you (beverly kenney +++)

better than sweet dick haymes? even better than sarah vaughan in 1960? why not?

a foggy day in london town (2)

ella fitzgerald & joe pass/beverly kenney (rare alternate take)/billie holiday

no vaudeville either (dick haymes 1954)

le seul rival de sinatra: you'll never know/love walked right in/it might as well be spring (capitol, 1955), l'un des trois meilleurs barytons aussi, avec johnny hartman et david allyn

newport 1965 (signé bernard gidel)

la photo dont jeff rosen (et bob dylan) aimeraient avoir les droits (on les comprend, it's the best dylan photo ever)

frank sinatra/moonlight in vermont (1962)

peut-être sa meilleure version? (mikado, japon, 1962) ?