Mathilde Febrer - Milou en mai

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Mathilde Febrer - Milou en mai

Ref.: FA8613

Listen extract

Hommage à Stéphane Grappelli

Mathilde Febrer

Ref.: FA8613

Artistic Direction : Kenichi Takahashi (Respect Record)

Label : FREMEAUX & ASSOCIES

Total duration of the pack : 47 minutes

Nbre. CD : 1

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Recommended by :

- * * * * Paris Move
- * * * * Jazz Magazine

Presentation

A tribute to the French master of jazz violin is no easy task... but who better than Mathilde Febrer to accomplish it? She trained as a classical violinist but turned her bow to jazz a long time ago. She’s accompanied a variety of artists, from Daniel Colin and Alexandre Lagoya to Led Zeppelin and Charles Aznavour, including Claude Bolling, Renaud, Henri Salvador, Rodolphe Raffalli and Sanseverino. And now, finally, we have her first album under her own name, produced for the label Respect Record by Kenichi Takahashi, a Japanese legend who loves France and its music. The peerless grace of this violinist derives additional energy from the skilled assembly of musicians who accompany her, all of them among the best jazz instrumentalists in France. The result has an unrivalled swing in music that is timeless.
Augustin BONDOUX - Patrick FRÉMEAUX

I’LL REMEMBER APRIL • JAPAN FEELING • DOUCE FRANCE • MILOU EN MAI • BLUES FOR STÉPHANE • BALLADE DE L’ESPÉRANCE • SI TU SAVAIS • DOUBLE FROM NO.1 PARTITA FOR VIOLIN • VALSE DU GRAND PARIS • DAPHNÉ • THE JITTERBUG WALTZ • LES VALSEUSES.

MATHILDE FEBRER : VIOLON, ARRANGEMENTS • ALAIN JEAN-MARIE : PIANO • YVES TORCHINSKY : CONTREBASSE • JULIEN CHARLET : BATTERIE • JEAN-MARIE ECAY : GUITARE • SAMY DAUSSAT : GUITARE MANOUCHE

PRODUCTION : KENICHI TAKAHASHI - RESPECT RECORD

To Discover

STEPHANE GRAPPELLI - THE QUINTESSENCE

PARIS - LONDON 1933-1958

STEPHANE GRAPPELLI - CLAUDE BOLLING BIG BAND

FIRST CLASS

INTEGRALE RODOLPHE RAFFALLI - HOMMAGE A GEORGES BRASSENS

CD Version

€29.99

To Discover

STEPHANE GRAPPELLI - THE QUINTESSENCE

PARIS - LONDON 1933-1958

STEPHANE GRAPPELLI - CLAUDE BOLLING BIG BAND

INTEGRALE RODOLPHE RAFFALLI - HOMMAGE A GEORGES BRASSENS

Rodolphe Raffalli

CD Version

€29.99

Press

“All tunes radiate joy and vigor” by NYC Jazz record

« French violinist Mathilde Febrer’s debut album as a leader pays tribute to the legendary French jazz violinist Stéphane Grappelli, who died 27 years ago on the first of this month. Recognized for turning the violin into a dynamic, improvisational jazz instrument, he was the first to create an all-strings jazz ensemble, in 1934, with guitarist Django Reinhardt. A tribute album is always challenging, but Febrer succeeds in honoring Grappelli while adding contemporary elements to her playing style. The twelve enchanting tracks include two of Grappelli’s and four of her originals, recorded with collaborators who are some of today’s best French jazz instrumentalists: guitarist Jean-Marie Ecay (who has worked with Stanley Clarke) adds elegance and complexity; Samy Daussat’s Manouche swing guitar brings an authentic gypsy jazz element; pianist Alain Jean-Marie (whose past collaborations include Chet Baker and Art Farmer) proves an impressive improviser; and bassist Yves Torchinsky and drummer Julien Charlet provide the album’s strong rhythmic foundation. Febrer is technically superb and deeply emotional. All tunes radiate joy and vigor and captivate with their flowing melodies, relaxed execution and danceable swing tracks. Her violin playing leads the melodic themes and sets the mood, whether buoyant, romantic or melancholy. The familiar standard “I’ll Remember April” (Gene de Paul, Patricia Johnston, Don Raye) sounds novel and timeless. The musicians’ chemistry and improvisations on the melody are extraordinary and persuasive. The leader’s original “Japan Feeling” is exuberant and cheerful, like walking on a sunny day, and entices listeners to move to the rhythm. The title track refers to French film director Louis Malle’s film for which Grappelli wrote the music. Slow and deliberate, piano, violin and bass create a heartfelt, tender mood, while the phrasing accentuates a swing feeling. When drums and guitar join, the track becomes an even richer tapestry of sound. Febrer gives us quirky, swinging new takes on “Douce France” (Charles Trenet, Léo Chauliac), “The Jitterbug Waltz” (Fats Waller) and “Daphné” (Reinhardt), along with a violin partita by J.S. Bach. Febrer, who can look back on a wide-ranging career performing with many artists (from Led Zeppelin to Charles Aznavour) has given listeners a wonderful gift with this album, and with it proves that she’s a worthy successor to Grappelli.”By Anna STEEGMANN – NYC JAZZ RECORD

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« Une soliste aussi brillante qu'inspirée » par Jazz Magazine

Premier album publié sous le nom de la violoniste Mathilde Febrer, cet hommage à Stéphane Grappelli a été produit par le directeur du label Respect Record, le célèbre producteur japonais Kenichi Takahashi. Il rassemble dans des groupes à géométrie variable, des musiciens français venus d'horizons divers, tous dignes d'entourer une musicienne elle-même éclectique : la violoniste a, en effet, reçu une formation classique avant d'être gagnée par le virus du jazz Durant sa carrière, elle a accompagné des artistes aussi divers qu'Alexandre Lagoya, Charles Aznavour, Claude Bolling, Renaud, Led Zeppelin, Henri Salvador ou encore Stéphane Grappelli lui-même. Son engouement pour ce dernier, maître incontesté du violon jazz français, ne date pas d'hier. II se traduit ici par le choix d'un répertoire varié, emprunté à Grappelli. Django Reinhardt, Georges Ulmer, Charles Trenet ou Jean-Sébastien Bach. Sans oublier des compositions de Mathilde Febrer elle- même, qui signe aussi tous les arrangements Ceux-ci, axés sur le swing, offrent un somptueux écrin à une soliste aussi brillante qu'inspirée. Ainsi remporte-t-elle un pari ambitieux : se montrer digne de son modèle, tant dans l'approche de la musique que dans l'art de la transcender pour lui imprimer sa marque propre. Jacques Aboucaya – Jazz Magazine

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"Febrer has an impressive technique, and swings” Syncopated Times

“The French violinist Mathilde Febrer has had a wide-ranging career. Although trained in classical music, jazz interested her much more. She has performed with rock groups (including Led Zeppelin), Claude Bolling, big bands, swing groups, and even on a recording of the music of James Reese Europe.Milou En Mai is her recording debut as a leader. A tribute to the great violinist Stephane Grappelli, it finds Ms. Febrer playing in a sextet that also includes Jean-Marie Ecay and Samy Dussat on guitars, pianist Alain Jean-Marie, bassist Yves Torchinsky, and drummer Julien Charlet.Paying homage to an instrumentalist who plays the same instrument can be tricky. One has to balance emulating aspects of the subject’s style with adding to the music; there is no point in trying to be an exact copy. While inspired by Grappelli in her sound and phrasing, Mathilde Febrer also displays her own musical personality throughout her well-rounded set. She performs two Grappelli originals (“Milou En Mai” and “Les Valseuses”), Django Reinhardt’s “Daphné,” a pair of swing standards, four of her pieces (including “Blues For Stéphane”), Bach’s “Double From No. 1 Partita For Violin,” and two other songs.Everything works well. Febrer has an attractive tone, impressive technique, and swings. The same could be said for Stephane Grappelli and one imagines that he would have enjoyed this tribute.”By Scott YANOW – THE SYNCOPATED TIMES

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« L’élégance est reine… » par TED

« En 1990, sortait sur nos écrans Milou en mai du réalisateur Louis Malle. Un tandem de rêve avec les acteurs Michel Piccoli / Miou-Miou, et plus important encore, du moins pour le passionné de jazz, le violon de Stéphane Grappelli (1908-1997). Immense musicien, dans tous les sens du terme, qui dépasse le cadre du jazz et influença nombre d’instrumentistes, dont la violoniste classique-jazz Mathilde Febrer qui a une très belle feuille de route. Avec ce Milou en mai, qui fait référence au film évidemment, elle rend un hommage bien senti à son maître, et ce de façon appuyée et sensible. Et nous soulignerons deux fois plutôt qu’une qu’elle s’est entourée de quelques grands patrons de la scène française dont le guitariste Jean-Marie Eckay, le pianiste Alain Jean-Marie et le guitariste manouche Samy Daussat. En douze plages, des compositions inusables, interprétées avec lyrisme et finesse. À chaque écoute, des instants de bonheur vous surprendront avec Les valseuses, Si tu savais, I’ll Remember April, Blues for Stéphane (compliment de la violoniste) et l’inoubliable Daphné. Quand l’élégance est reine… » Par Christophe RODRIGUEZ – TENDANCES ELECTRONIQUES & DESIGN

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« Une pépite » par Paris Move

« La violoniste Mathilde Febrer a parfaitement accompli la mission qu’elle s’était fixée, rendre hommage à la figure tutélaire du violon jazz qu’était Stéphane Grappelli (1908 – 1997) dès le premier album sous son nom! De formation classique et convertie au jazz depuis longtemps (Daniel Colin, Alexandre Lagoya, Charles Aznavour, Claude Bolling, Led Zeppelin, Renaud, Henri Salvador, Rodolphe Raffalli ou encore Sanseverino), elle produit son premier album sous la direction artistique du producteur Kenichi Takahashi pour le label Respect Records. Elle est accompagnée par Alain Jean-Marie au piano, Yves Torchinsky à la contrebasse, Julien Charlet à la batterie, Jean-Marie Ecay à la guitare, Samy Daussat à la guitare manouche et Christophe Lampidecchhia à l’accordéon. Un petit clin d’oeil à la Partita N°1 de J.S. Bach, quelques incontournables du Maître lui-même, Les Valseuses, Milou en mai, des standards qu’il affectionnait, I’ll Remember April, The Jitterbug Waltz de Fats Waller, des coups de chapeau au partenaire Django, Daphné ou Si tu savais de George Ulmer, quelques compositions personnelles de la violoniste elle-même, Japan Feeling, Blues For Stephane, Ballade de l’Espérance, Valse Du Grand Paris, une relecture décalée de Douce France de Charles Trenet font de cet album une pépite que chériront tous les aficionados. » Par Dominique BOULAY – PARIS MOVE

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Tracklist

Mathilde Febrer - Milou en mai

Piste

Title

Main artist

Autor

Duration

Registered in
1

I’ll Remember April

Mathilde Febrer

00:04:16

2024
2

Japan Feeling

Mathilde Febrer

00:04:38

2024
3

Douce France

Mathilde Febrer

00:03:38

2024
4

Milou en mai

Mathilde Febrer

00:04:02

2024
5

Blues for Stéphane

Mathilde Febrer

00:04:46

2024
6

Ballade de l’espérance

Mathilde Febrer

00:03:20

2024
7

Si tu savais

Mathilde Febrer

00:02:53

2024
8

Double from No.1 Partita for Violin

Mathilde Febrer

00:03:07

2024
9

Valse du Grand Paris

Mathilde Febrer

00:03:49

2024
10

Daphné

Mathilde Febrer

00:02:41

2024
11

The Jitterbug Waltz

Mathilde Febrer

00:05:20

2024
12

Les Valseuses

Mathilde Febrer

00:04:37

2024

Booklet

Mathilde Febrer

Milou
en Mai

Hommage à Stéphane Grappelli

DOWNLOAD THE BOOKLET

A tribute to Stéphane Grappelli, a guiding light in the world of jazz violin, has always been a delicate affair for any violinist, whatever the stylistic exercise it involves... And even more so in the case of Mathilde Febrer, for whom this is the first album under her own name.

So, a double challenge, and you might say that Mathilde comes out of it with honours: she fulfils the contract to perfection. Firstly because she set in motion her entire (classical) culture with the violin, playing with precision and elegance (cf. her very attractive allusion to J.S. Bach’s Partita N﹉1), as well as her feeling for jazz. Her choice of material here makes up an ideally balanced programme of performances that treat Stéphane’s evident titles (Les Valseuses, Milou en mai), the standards he loved (I’ll Remember April), and tunes where she takes her hat off to Grappelli’s partner Django Reinhardt (Daphné, Si tu savais), all of them wisely linked to a few of her own compositions that have a pleasant “swing” (Ballade de l’espérance, Valse du grand Paris, Japan Feeling…). Not only do they guarantee pleasure for the listener, they demonstrate that Mathilde has a lot in reserve. Among the latter, her Blues for Stéphane holds a very special place: not only through its title – an emblematic one, particularly with its ‘signature’ sound – which takes us back to the dawn of the seventies, but also thanks to the perspectives of which she allows a glimpse. You can also hear this in her “quirky” (the time signature is eleven to the bar) new reading of Douce France, which was Charles Trenet’s anthem. Grappelli (who actually recorded with Pink Floyd) would have loved it!

In conclusion (although we could just as well have started with this...), the material here has a delicious energy thanks to Mathilde’s partners on the recording, and they’re all clever choices. Having imagined two alternating “colours” for the sounds of this album, the instruments traverse or superimpose themselves throughout: piano (with the contributions of the legendary Alain Jean-Marie) and guitars (with Jean-Marie Ecay and Samy Daussat, each a serious player in his domain), plus a guest appearance from the whirling accordion of Christophe Lampidecchia. With company like that, Mathilde paints a portrait in rhythms of the jazz violin’s acknowledged master. And as for the rhythm section, the pairing of bassist Yves Torchinsky and drummer Julien Charlet provides the setting we all expected.

Max Robin

Produit par Kenichi Takahashi
pour le label Respect Record

Direction : Mathilde Febrer

Enregistrement et mixage : Mohammad Sadeghin

Assistant : Thomas Bonnin

Enregistré au STUDIO DE LA SEINE

Mixé au KFH STUDIO

Mastering : Mitsukazu Tanaka

Assistant : Moe Kazama

Studio Chatri, Tokyo, Japon

Artwork : Yoji Asada

Photos : Philippe Cabaret