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It was quite hot before the Cold War, and they jazzed up tunes like Kalinka, calling Django Reinhardt to the rescue to play Minor Swing or Douce Ambiance even if the Rue de Lappe did have nothing to do with Lapland it possessed quite enough warmth already. It was actually his first as a leader; his younger brothers had already done so, first Sarane in '41 and then Matelo in ' Another anonymous John Doe, yes, but later, when Baro Ferret's "Bebop waltzes" were on everyone's lips, at least he could say: "I was there! The new jazz was making its mark, displaying its freedom of expression with uncompromising directness.

Sarane was a beginner as a leader and stayed faithful to Django Reinhardt's new format with Rostaing and Combelle , adopting the same line-up as the QHCF in the Occupation years, which had two clarinets.


Whether it was a blunder or just an unsatisfactory experiment, or maybe they simply took their eyes off it for a second, but the quintet-concept actually a sextet was quickly abandoned. Robert Bermoser, who pioneered jazz in Alsace with T. Studio 28 wasn't there by chance either. From time to time, Sarane Ferret and his musicians were featured at that Montmartre cinema close to the guitarist's home.

And then silence Except for an appearance with harmonica-player Dany Kane in April, the year produced not the slightest record by Sarane Ferret. These two age-resistant songs also made their mark on audiences on both sides of the Atlantic thanks to Mistinguett and Ethel Waters. Sarane Ferret returned to work with jazz firmly in his sights; indeed, one had to wait until to find recorded proof of his post-war career.

It was destiny's decisive overture, promising a singing future with truth in its heart. It showed the twin influences which the Q. The first influence favoured the violin as a partner; one of the rhythm guitarists present in the second was deleted in favour of a drummer. The man whose identity-card had Etienne Ferret printed on it, who was known as "Sarane" Ferret by his own people, was much luckier.

It was a symbol of his handsome success At the peak of his powers, Sarane Ferret played only a minimal number of notes in his solos, selecting them spontaneously as he went along, plucking them carefully from the fruits of his life's experience like so many raisins separated from a bunch of grapes.

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When Sarane did his second record for RCA on December 19th it was a very simple exercise with no headaches. Just for this session, Sarane set up a group that included a vibraphone with the orthodox rhythm section. Matelo had already used a vibraphone-player Camille Martens in his own group as early as and would do so again cf.

Sarane's vibes player was Roby Poitevin, a piano renegade often called in by Hubert Rostaing cf. Poitevin was one of the first to take an interest in bopper Milt Jackson's excursions on record with Dizzy Gillespie, while retaining the flame and passion that impelled Lionel Hampton. He was a kind of hyphen linking Geo Daly with Michel Hausser, the former in the Hampton camp, the latter tied to Jackson.

The following year, on October 7th , Sarane Ferret had a relapse and recorded again under the same conditions. Everybody said so. Hunger , Trad. George Egerton. Lawrence , D. Jacottet et C. Rice , Ann, Interview with the Vampire Londres: Time Warner, Rossetti , Christina, Maude Londres: Pickering, Woolf , Virginia, To the Lighthouse Sexology in Culture: Labelling Bodies and Desires. Cambridge: Polity, What is a Woman to Do? A Reader on Women, Work and Art, c. Bern: Lang, Anti-Feminism in the Victorian Novel.

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