In 1990 producer Franck Bergerot decided to round up some of the veteran musette musicians and record an album that would show the younger generation just how vital a form musette had been and could be. The project turned into a series. The first album, reviewed here, is a marvelous success. Centered on the guitar of Didier Duprat, who is featured on almost every track, the album uses lots of accordion (of course!) but also bass, drums, electric guitar, and vibes in various combinations. Most of the numbers are (fast) ...
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In 1990 producer Franck Bergerot decided to round up some of the veteran musette musicians and record an album that would show the younger generation just how vital a form musette had been and could be. The project turned into a series. The first album, reviewed here, is a marvelous success. Centered on the guitar of Didier Duprat, who is featured on almost every track, the album uses lots of accordion (of course!) but also bass, drums, electric guitar, and vibes in various combinations. Most of the numbers are (fast) waltzes but there are other forms, including a couple of paso-dobles and tangos as well as a mazurka. One track, "Afro-Musette," is a delightful "Afro-waltz" featuring especially bouncy rhythms. All of the numbers swing, though. Among the best pieces on the album are "Flambee Montalbanaise," which takes an old instrumental by Gus Viseur and adds witty, tongue-twisting bilingual lyrics to it; and "Accordéon" written by Serge Gainsbourg, which receives a moody delivery from drummer/singer Jacques Mahieux. Paris Musette very much anticipates Buena Vista Social Club in the way that it gathers the greats of yesteryear, mixes in a few contemporary stars, and reinvents the old music. It also anticipates the infectious charm and consummate professionalism of Buena Vista. This is the best possible introduction to musette; it is a real life-affirming experience. ~ Kurt Keefner, Rovi
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