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Philippe Brun, Combelle, Ekyan et Django. Les trois derniers se
retrouvèrent en 1936 devant un micro avec Coleman Hawkins et
Benny Carter et ce fut l’occasion d’une séance d’enregistrement qui
fit date dans l’histoire : quatre saxos... Ecoutez ça »…
[2]
Philippe Brun
: manuscrit en anglais (3 ff), un dessin, tapuscrit
corrigé en français (2 ff), et tapuscrit en anglais (3 ff).
Suivent les manuscrits en anglais (la plupart de 2 pages chaque d’un
feuillet in-4 recto-verso) : N° 5
André Ekyan
(3 p.). N° 6
Léo Chauliac
(2 versions, 3 et 3 p.). N° 7
Hubert Rostaing
. N° 8
Aimé Barelli
(3 p.).
N° 9
Quintett of the H.C.F
. N° 10
Claude Luter.
N° 11
Jack Dieval.
N° 12
Michel de Villers
(en-tête École centrale des arts et manufactures).
N° 13
Hubert Fol
. N° 16
Claude Bolling
. N° 17 J
ack Dieval.
N° 18
Tony Proteau
. N° 19
Eddie Bernard.
N° 20
Gustave Viseur
(en-tête
Office professionnel des industries et des commerces du papier et
du carton). N° 21
Chico Cristobal
(id.). N° 22
College Rythm
(id.).
N° 23
Barelli
(id.). N° 25
Be-bop minstrels.
N° 26
Hubert Rostaing
Trio
. N° 27
Jerry Mengo.
N° 28
Émile Stern.
N° 29
Django-Luter.
N° 30
Don Byas.
N° 31
Tyree Glenn
. N° 32
Bill Coleman.
N° 33
Don
Byas
. N° 34
Freddie Johnson
(sur papier d’un registre comptable).
N° 35
Dicky Wells
(id.). N° 38
Sidney Bechet.
N° 39
Don Byas.
N° 40
Rostaing-Peiffer.
N° 41
Bill Coleman.
N° 42
Claude Bolling.
N° 43
Pierre Braslavsky.
N° 44
Hubert Rostaing
. N° 45
Claude Luter.
Nous en citons le début de ce N°45 : « This is Boris Vian saying Bonjour
from Paris and bringing you another series of French jazz sessions.
Today, we will go far back in the old times with Claude Luter and his
New Orleans Gang. You already know Luter, of course, if you’re jazz
fans ; and if not, you sure heard about New Orleans style, originated
down the Mason Dixon Line and illustrated by such performers as
King Oliver, Fred Keppard, and so on. Luter and his boys have tried
to recapture the spirit and enthusiasm of this former generation of
jazz pioneers. In fact, they have partly succeeded in spite of minor
imperfections ; but let’s listen to
Old School
by Claude Luter »… Et
Vian termine : «
Moustache Stomp,
by Claude Luter, ends today’s
program of old time jazz. And we’ll be back again with you soon for
another quarter of an hour with French jazz fans. Till then, this is
Boris Vian saying Au revoir et à bientôt ».
Le
tapuscrit
comprend les émissions 3 (
Quintet Hot Club de France)
à 5, 7 à 13, 14 (
André Persiany)
, 15
(Hubert Rostaing),
16 à 23, 24 (
Claude
Luter
) à 26, 27 à 29 (en 2 versions), 30 à 35, 36 (
Claude Bolling)
, 37
(Eddie South-Stéphane Grappelly)
, 38 à 45.
VIAN BORIS
(1920-1959).
Autograph MANUSCRIPT and corrected TYPSCRIPT,
[
Jazz in Paris
, 1948-1949] ; 82 pages on 48 leaves in-4 or
in-fol. format ; and 113 typed pages in-4 format ; in English
(with the 6 first pages in French).
8 000 / 10 000 €
Complete set of the 45 episodes by Boris Vian on Jazz in Paris to
be broadcast on the American radio WNEW.
There are two sets:
* the autograph manuscript
with 38 parts (the first in French),
sometimes offering two versions of a same sequence, many pages
on letterhead of the
École centrale des Arts et Manufactures, and
after the Office professionnel des industries et des commerces du
papier et du carton
, with numerous erasures and corrections, a few
drawings in the margins;
* a typscript
of 43 episodes (radio shows), sometimes with alternate
double versions, corrected by Vian or his American collaborator
Ned Brandt.
Complete set of Vian’s writings for his radio interventions on French
jazz for the New York Radio WNEW, from April 1948 to July 1949.
The 45 programs prepared by Vian were recorded by the French
radio station to be broadcast in the United States, but no record has
been kept in the archives of Radio France or WNEW. The texts were
written directly in English (only the draft of the very first program is
in French), in his characteristic style.
The titles of Vian’s programs varied; first
Hot Club de Paris
, then
Hot
Music from Paris
, then from the 9th progam onwards
Hot Music from
France.
This cycle of broadcasts was to present to WNEW listeners
the jazz created and recorded in France in the thirties and forties. In
his commentary, Boris Vian inserts the titles of the music he plays.
The texts of Vian’s programs were published under the title
Jazz in
Paris,
presented and translated by Gilbert Pestureau (Pauvert, 1997).
To quote the beginning: “This is Boris Vian saying Bonjour from Paris
and bringing you another series of French jazz sessions. Today, we will
go far back in the old times with Claude Luter and his New Orleans
Gang. You already know Luter, of course, if you’re jazz fans. And if
not, you sure heard about New Orleans style, originated down the
Mason Dixon Line and illustrated by such performers as King Oliver,
Fred Keppard, and so on. Luter and his boys have tried to recapture
the spirit and enthusiasm of this former generation of jazz pioneers.
In fact, they have partly succeeded in spite of minor imperfections;
but let’s listen to
Old School
by Claude Luter”…Vian concludes:
“Moustache Stomp,
by Claude Luter, ends today’s program of old
time jazz. And we’ll be back again with you soon for another quarter
of an hour with French jazz fans. Till then, this is Boris Vian saying
Au revoir et à bientôt”.
For the list of contents, see French entry.
Détail du lot 189