Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Escape to Paris in the 1930s with Chloe Perrier

The point of chanteuse Chloe Perrier’s new album Petite Fleur, with her French Heart Jazz Band – streaming at Spotify – is that these are dark times, and she wants to give everyone a little escape to a better time and place. Les Deux Magots in the Quartier Latin, smoky and electric…but with sounds far more cross-pollinated than even the musical mecca that was prewar Paris could have conjured at the time.

Over the past couple of years, Perrier and the band have been playing a mix of classic chanson, Romany jazz and American standards, many of them reinvented with counterintuitive panache. Everything on the album has been thoroughly crowd-tested: until the lockdown, Perrier and the group maintained a tough schedule of club and hotel bar gigs. And even though this is an upbeat album, she’s never sung with more depth and gravitas than she does here.

The album’s opening track, Charles Trenet’s Menilmontant, is one that Perrier really excels with. This is a particularly bright, brisk version, with scurrying guitar from Akira Ishiguro and cheery clarinet by guest Jon Hunt over the scampering shuffle of bassist Jim Robertson and colorful drummer Rodrigo Recabarren. Perrier’s clear, unselfconscious, personable vocals are the icing on the cake.

She sings the old klezmer-jazz standard Comes Love in French, with a vivid wistfulness, over a syncopated, bouncy bolero beat, violinist Caroline Bugala adding cosmopolitan flair. The group revisit that milieu later on, in their version of Sway.

Perrier returns to the Trenet songbook for a relatively slow, swinging, Django-and-Stephane-tinged take of Que reste-t-il de nos amours and then follows that by reinventing Helen Merrill’s Just Squeeze Me as the coy Lorsque tu m’embrasses.

Then Perrier pays a jaunty visit to “le pays aux oiseaux” – you could do the same if the 44th Street club immortalized in the song hadn’t been shut down by Il Duce in Albany. She goes deep into the expat subtext of the old Josephine Baker hit J’ai deux amours over a steady shuffle, then she sings Coquette in English as the band leap and bound elegantly behind her.

Guilty, a knowingly enigmatic take on the big hit by British crooner Al Bowlly, was included on the soundtrack to the film Amélie. The inevitable version of La vie en rose here gets redone with a Djangoesque pulse, triumphant energy from Perrier and Bugala.

Ray Ventura’s Je voudrais en savoir d’avantage gets a verdant workout with sailing violin and guitar solos. Perrier and band close the record with an absolutely gorgeous, haunting bolero take of the Sidney Bechet-penned title track. Perrier’s going to cheer up a lot of people in her “deux amours,” on both sides of the pond, with this one.

November 11, 2020 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

Parisian Flair and Subtlety with Chloe Perrier and Her Fantastic Band at the Winter Cabaret Festival

It wouldn’t be fair to let the week go by without mentioning the irrepressibly charming show by chanteuse Chloe Perrier and the French Heart Jazz Band last weekend at the Winter Cabaret Festival. Working every subtle corner of her supple soprano and backed by a slinky, similarly nuanced trio – Aki Ishiguro on guitar, Jim Robertson on bass and Rodrigo Recabarren on drums – she sang an intriguing mix of jazz, chanson, Brazilian and occasionally Romany-tinged numbers in French as well as impressively competent English.

The best song of the evening was an American number, an unexpected treat. The group reinvented the old chestnut My Heart Belongs to Daddy as a bolero-tinged Twin Peaks theme, radiating danger and just enough seduction to ramp up the menace. Ishiguro’s lingering, eerily tremoloing lines channeled Jim Campilongo at his most shadowy; by the time Ishiguro hit his solo, he’d shifted the ambience toward vintage, terse Jim Hall postbop purism. Meanwhile, Perrier wore her cards close to the vest: the teasing in her voice trailed off enigmatically with just a tinge of vibrato. She wasn’t about to give anything away, just like the vintage black lace dress she was wearing.

The rest of the set was just as eclectic. The night’s most obscure, and upbeat number was a 20s hot jazz tune that Perrier had found in a history book. The most obvious, but least obviously arranged number, was La Vie En Rose. The languid, rubato intro gave it away, but then the band punched in and took it in a tropical direction, lowlit by Recabarren’s surprise rimshots and boomy flourishes on the toms. He would do that all night, just as Robertson would hang on a chord for looming ambience as a song would move down the runway.

Fro the rest of the set, Perrier and her band shifted back and forth between bossa nova, cabaret, lively swing and at least one wry original. She brought the torrents of lyrics in Menilmontant to life with the bittersweetness but also the informed gravitas of a Parisienne who’s been there. Exes were dissed, relationships gone wrong were dissected and remembered through glasses that weren’t exactly rose-colored. “I’m trying to take it easy up here,” Perrier grinned; no one would have guessed how hard she was actually working if she hadn’t acknowledged it. Her next gig is on Feb 1 at 10 PM at the McKittrick Hotel.

January 26, 2018 Posted by | concert, jazz, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , | Leave a comment