Götz Alsmann

Götz Alsmann
Götz Alsmann
"In Paris."
blue Note / EMI Music Germany
Release: 21/10/11

There are musical projects that are so consistent that there is a truly surprising that they were only now put into practice and see the light of the world in itself. Götz Alsmann "In Paris." is one such project, an album as a German-language tribute to the great French chanson. Who could succeed better than this Perlenfischer from Münster who has raised dozens and dozens of musical treasures in his mischievously winking glittering career and helped them to new heights. Always the singer and pianist has also proven to be a master of the arranger. Anyone who has experienced the sheer passion awaken with Alsmann and his band veteran or better yet disused songs to life, who knows that even Paris flourish under the wing of the musicians in bright colors and all the classics of Charles Aznavour and Gilbert Bécaud , Charles Trenet and Henri Salvador, Serge Gainsbourg and Yves Montand evoke those images that we associate with perhaps the most beautiful city in Europe as we leafed through a picture book of old postcards.

posing on the cover - in the style of the classic Blue Note jazz albums of the 1940s and 1950s - Götz Alsmann in Montmartre, vibrant similar to a lantern. Star photographer Jérôme Bonnet has the cover photo given that carefree moment, as we can also discover the old photographs of Robert Doisneau and Henri Cartier-Bresson. Naturally Götz Alsmann is with his band, Altfrid Maria Sicking (vibraphone), Michael Ottomar Müller (bass), Rudi Marhold (drums) and Markus Paßlick (percussion), traveled for the recordings to Paris, because as he says: "Nothing could be more natural than to go to Paris and take Chansons there. " And with a whole truck full instruments. Settled has the entourage of some beautiful spring days in Studio Ferber, the second oldest, still fully functional studio of Paris. Here haunts also still the studio founders 40 years ago as a gray eminence by the periphery of the studio lot. In the wood-paneled reception space has a large wing on which Gilbert Bécaud and Charles Aznavour have sat, and Alsmann speculates with a faint smile, "that Johannes Brahms already knew him."

collaborated closely the musicians in the studio Ferber starred with French top producer Regis Ceccarelli, who comes from a renowned family of jazz musicians, already on Henri Salvador's famous album "Chambre avec vue" and whose last bandleader was. Added to this was as a sound engineer Jean-Pierre Sluys, who still feilte even after the live recordings with the band with Götz in the Badabing Studios on different arrangements. Whether Rumba-Bolero or French Tango, Cha Cha Cha or Bossa Nova, Mambo or Musette - Götz Alsmann and his band appear musically multifaceted in her and an imaginative musical universe that is marked by a playful jazz as light entertainment and a touch Exotica in styles those combos who understand how to create from diverse sonic ingredients very idiosyncratic sense, just as you could hear an orchestra to. "Record classics that evoke an entire dance at Paris-images with the people already in the first few bars" Always under the premise.

The prelude "Boom" ( "Boum") by Charles Trenet, a veteran among the French chansonnier. For Alsmann is the song of the already Rudi Schuricke 1939 German version recorded, not only "a children's song about love", but one of these hilarious songs that celebrates the lightness of life under the premise of being in love and here with picturesque Swing is equipped. Charles Trenet's internationally popular composition "The Sea" ( "La mer") is again one of those songs, "to which the world agrees when speaking of French songs". Gar as "national anthem under the Chansons" means idol Yves Montand "The veil fell" ( "Les feuilles mortes"), which for decades belongs under its English title "Autumn Leaves" to the great standards of jazz and now as deep-romantic Bolero his listeners continues to captivate. Playing with the musical elements that can transform the connotations of a song completely dominate the five musicians perfectly, with particular Altfrid Maria Sicking respectively on vibraphone xylophone is again and again in great form. So Gilbert Becauds is "What will become of me" taken ( "Et maintenant") each severity by tightened the pace and intonation rather capriciously fails. Charles Aznavour Snappy "You let yourself geh'n" ( "Tu te laisses all") in turn acts like a desperate appeal to the love.

The poetic-romantic highlights of the album undoubtedly include the interpretations of Dalida's "Love Me" ( "Aime-moi") and Henri Salvador "The boy in the boat" ( "Le petit india"). Both songs have Alsmann transferred congenially into German and knows how cautious and sensitive to intone. When Eddie Constantine "The Tramp and the child" ( "L'homme et l'enfant"), which had once sung with his daughter the knarzige American actor and singer, who was a celebrated star in France, Götz Alsmann accepts both vocal parts self - confident and with a melancholy undertone case across the board. "You walk past me" ( "Vous qui passez sans me voir"), a classic from 1936 by Jean Sablon, Götz Alsmann makes contrast with that glorious nonchalance with which he equally Serge Gainsbourg's "cha-cha-cha du loup "so original factory as witty as" The Wolf dancing Cha Cha Cha "was translated into German. Gainsbourg's "The Lost Loves" ( "Les amours perdues") it provides contrast with jagged rhythms and a heavy dose of circus laconic. In the phalanx such typical songs with music hall character also falls "You're my favorite guest" ( "Tu es mon invité préféré"), the original also. Of the indestructible Eddie Constantine

A beautiful point of the album is that "the Café de la Paix", the song, in the majority of French terms occur, originally is an old German Schlager, from Gitta Lind, who will probably know only a few people. But would not Alsmann Alsmann if he were ready not some truffles in his program. Since this hit is as much as the forgotten "When night falls in Paris", originally the soundtrack it and the young Lino Ventura, later adapted thriller classic "Touchez pas au Grisbi" with Jean Gabin by Caterina Valente with a lyric. Götz Alsmann staged this piece of the atmospheric homage to the French film noir, thus providing the soundtrack to the mystic scene nocturnal Parisian streets as they have adhered in our memory.

Of course, this album is full of musical clichés that connects our one with the French capital, but just the slight irony that always one of the major characteristics of Götz Alsmann, proves ultimately be one of the great strengths of the album. The finesse arrangements that give the songs with their surprising capers light, air and permeability, so the perfect artistic laissez-faire, you do the rest. And so is "In Paris." a wonderfully light, highly entertaining and quite instructive journey through the popular culture of France, with all its songs, movies and show scenes. Here this Jazz Musette Nouveau marvel invites incidentally a rediscovery of the originals. Götz Alsmann and his band will be from 21 October to coincide with the release of the album with the program "Paris!" go on tour, on which the first-class entertainer will devote all the musical delicacies of France. Zeal as the man who was appointed honorary professor at the Music Academy of the Westfälische Wilhelms-Universität Münster a few weeks ago, is now time, he will also give some anecdotes associated with them to the best of the songs. Guaranteed très charming!

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