Cabaret Scenes Review - Jean Brassard

Iconic entertainers Charles Trenet, Jacques Brel, Charles Aznavour, and Yves Montand share the roots of French music hall, the style of a mostly rakish flâneur and the ability to communicate both the unfussy, heartfelt emotion of a working man and that of an urbane insouciant. Québécois, Jean Brassard evidences all these attributes. From his first breezy saunter across the stage, bowler and shoulders perfectly tilted, hips in fluid musical accord, eyes twinkling with “La Chansonnette”/“The Little Song” (Jean Drajac/Philipe Gerard), to the touching “Dansons la rose” (“Roses of Picardy”) (Haydn Wood/F. E. Weatherly/ Eddy Marnay) illustrated with a story about his own parents, Brassard is effortlessly engaging.

The Kid from Paris is the history of the multifaceted Italian/French Ivo Livi—professional name, Yves Montand, as told in English and sung in English and French. Brassard’s choice seems to stem not only from the quality and range of material associated with Montand, but also from admiration for the man’s character. Early on, we’re affectionately told the celebrant “wanted to be a cowboy and.. was tall like an asparagus.” His story progresses through unfavorable politics, discovery by Piaf in 1944, marriage to Simone Signoret, the affair with Marilyn Monroe “…given the moment, had you been the Frenchman du jour or America’s darling, mightn’t you have behaved like two neighbors in need?” and, of course, his oeuvre.

Brassard’s vocals flow easily through a full range of material. The always lovely “Sous Le Ciel de Paris”/“Under the Paris Sky” (Jean Dréjac/Hubert Giraud; English lyric by Kim Gannon) is delivered as if standing on a bridge overlooking the Seine. One can see the city in his eyes. “Syracuse” (Bernard Dimey/Henri Salvador), which evokes black and white seaside dancehalls of Jean Gabin films, is elegantly contained from a chair at the side of the stage. The song is beautiful and pure; lilting piano melody, percussive brushes, the gentlest bass, a plaintive harmonica. “Before my youth is dissipated/And all my springtimes gone/How I would like to see Syracuse/To remember it in Paris.” Brassard’s hands lay one atop the other, all focus on enactment.

The youthful hope (and eminently Gallic resignation) of “La Bicyclette” (“The Bicycle”) (Pierre Barough/Francis Lai) is sensitive and exhilarating: “We were all in love with her/We were all growing wings/On our bicycle/On these small dirt roads…” A change of hats, the unbuttoning of a vest, rolling up shirt sleeves—these create just enough mood change for the character of each lyric and phase of Montand’s life. Expressions of love range from the ardent “Sanguine” (“Blood Orange”) (Jacques Prévert/Henri Crolla) with Brassard’s strong recitative and strip-like extrication from his suspenders (eliciting steam from the audience,) to an effervescent “C’est si bon” (“It’s So Good”) (Andre Hornez/ Henri Betti; English lyrics by Jerry Seelen) prefaced by the pop of a top hat and performed with stylish, minimalistic dance steps.

Brassard can act, sing, dance, and communicate. His polish is accessible, his charm infectious. The show is entertaining and informative, though it would be more successful with less uninterrupted French and some editing. The critic and lyricist Henri Contet said, “Yves made the mechanic at the top of the balcony believe that he could tap dance and sing his way up to the top and the CEO in the first row think of himself as the carefree mechanic who spends his Saturday nights at Luna Park!” Jean Brassard may have a lighter footprint than Montand, but his talent and showmanship hold their own in an inestimable tradition.

Musical arrangements are rich, varied, and unexpectedly fresh, especially considering the classic material. Musicianship is very fine.

The Kid from Paris was co-written by Jean Brassard and David Krueger with direction by Krueger. Musical Direction was by Richard Maheux with musicians: Richard Maheux (keyboards & accordion); Scott Ritchie (bass); Ben Cliness (percussion).

Jean Brassard returns to the Triad November 23 & December 7; both shows at 7 pm.

Alix Cohen
Cabaret Scenes
November 9, 2011
www.cabaretscenes.org



	Jean Brassard The Kid from Paris THe Triad New York, NY
Iconic entertainers Charles Trenet, Jacques Brel, Charles Aznavour, and Yves Montand share the roots of French music hall, the style of a mostly rakish flâneur and the ability to communicate both the unfussy, heartfelt emotion of a working man and that of an urbane insouciant. Québécois, Jean Brassard evidences all these attributes. From his first breezy saunter across the stage, bowler and shoulders perfectly tilted, hips in fluid musical accord, eyes twinkling with “La Chansonnette”/“The Little Song” (Jean Drajac/Philipe Gerard), to the touching “Dansons la rose” (“Roses of Picardy”) (Haydn Wood/F. E. Weatherly/ Eddy Marnay) illustrated with a story about his own parents, Brassard is effortlessly engaging. The Kid from Paris is the history of the multifaceted Italian/French Ivo Livi—professional name, Yves Montand, as told in English and sung in English and French. Brassard’s choice seems to stem not only from the quality and range of material associated with Montand, but also from admiration for the man’s character. Early on, we’re affectionately told the celebrant “wanted to be a cowboy and.. was tall like an asparagus.” His story progresses through unfavorable politics, discovery by Piaf in 1944, marriage to Simone Signoret, the affair with Marilyn Monroe “…given the moment, had you been the Frenchman du jour or America’s darling, mightn’t you have behaved like two neighbors in need?” and, of course, his oeuvre. Brassard’s vocals flow easily through a full range of material. The always lovely “Sous Le Ciel de Paris”/“Under the Paris Sky” (Jean Dréjac/Hubert Giraud; English lyric by Kim Gannon) is delivered as if standing on a bridge overlooking the Seine. One can see the city in his eyes. “Syracuse” (Bernard Dimey/Henri Salvador), which evokes black and white seaside dancehalls of Jean Gabin films, is elegantly contained from a chair at the side of the stage. The song is beautiful and pure; lilting piano melody, percussive brushes, the gentlest bass, a plaintive harmonica. “Before my youth is dissipated/And all my springtimes gone/How I would like to see Syracuse/To remember it in Paris.” Brassard’s hands lay one atop the other, all focus on enactment. The youthful hope (and eminently Gallic resignation) of “La Bicyclette” (“The Bicycle”) (Pierre Barough/Francis Lai) is sensitive and exhilarating: “We were all in love with her/We were all growing wings/On our bicycle/On these small dirt roads…” A change of hats, the unbuttoning of a vest, rolling up shirt sleeves—these create just enough mood change for the character of each lyric and phase of Montand’s life. Expressions of love range from the ardent “Sanguine” (“Blood Orange”) (Jacques Prévert/Henri Crolla) with Brassard’s strong recitative and strip-like extrication from his suspenders (eliciting steam from the audience,) to an effervescent “C’est si bon” (“It’s So Good”) (Andre Hornez/ Henri Betti; English lyrics by Jerry Seelen) prefaced by the pop of a top hat and performed with stylish, minimalistic dance steps. Brassard can act, sing, dance, and communicate. His polish is accessible, his charm infectious. The show is entertaining and informative, though it would be more successful with less uninterrupted French and some editing. The critic and lyricist Henri Contet said, “Yves made the mechanic at the top of the balcony believe that he could tap dance and sing his way up to the top and the CEO in the first row think of himself as the carefree mechanic who spends his Saturday nights at Luna Park!” Jean Brassard may have a lighter footprint than Montand, but his talent and showmanship hold their own in an inestimable tradition. Musical arrangements are rich, varied, and unexpectedly fresh, especially considering the classic material. Musicianship is very fine. The Kid from Paris was co-written by Jean Brassard and David Krueger with direction by Krueger. Musical Direction was by Richard Maheux with musicians: Richard Maheux (keyboards & accordion); Scott Ritchie (bass); Ben Cliness (percussion). Jean Brassard returns to the Triad November 23 & December 7; both shows at 7 pm. Alix Cohen Cabaret Scenes November 9, 2011 www.cabaretscenes.org

Jean Brassard

The Kid from Paris

THe Triad New York, NY

THe Triad
New York, NY