This is an obscure question: Last night at my favorite record store (while listening to a live Frank Black performance, I picked up an used book by Hugues Panassie called 'The Real Jazz.' The book is copyrighted 1942 (not exactly sure when the book came out originally in France). Right now I am working on my TamTam Books edition of Boris Vian's L'Ecume des jours (Foam of the Daze), which was written in 1947. This novel is jazz-obsessed with a lot of the charaters named after Ellington songs as well as the streets, etc. It seems that M. Panassie shares the same passion & taste in jazz with Vian and I am presuming that they may have known each other (being a small world in Paris at that time -especially if you were a jazz fan.) Does his name ring any bells to anyone on this list? Anyway it seems to be a fascinating document on how a Frenchman feels about American jazz - especially during the early 40's. If someone can bring some info on Panassie, I would deeply appreciate it. Thanks! -- Tosh Berman TamTam Books http://www.tamtambooks.com
on 8/23/02 8:56 AM, Tosh at tosh3@earthlink.net wrote:
It seems that M. Panassie shares the same passion & taste in jazz with Vian and I am presuming that they may have known each other (being a small world in Paris at that time -especially if you were a jazz fan.) Does his name ring any bells to anyone on this list?
Anyway it seems to be a fascinating document on how a Frenchman feels about American jazz - especially during the early 40's. If someone can bring some info on Panassie, I would deeply appreciate it.
Thanks! -- Tosh Berman TamTam Books
Panassie was actually a pretty huge -- and widely-read -- critical force in Europe and a respected member of the French intelligensia, so Vian would certainly have known his work if not the man personally. THE REAL JAZZ is in fact one of the first substantial jazz books. skip h
Skip/Tosh: Panassié was indeed a pioneering jazz writer, but unfortunately also one of those who insist on defining "real jazz". After WWII his Hot Club of France (HCF) supported so-called traditional jazz -- New Orleans, Swing styles etc., while his former associate Charles Delaunay with Le Jazz Hot (LJH)supported the bebopers and beyond. In one famous episode during a Lionel Hampton concert in 1953 factions from both almost turned to open warfare. Shouts, insults and a few blows were exchanged since the HCF wanted to hear more from Hampton and his more traditional players, while the LJH people were excited by the modernists in the band such as Clifford Brown, Gigi Gryce etc.
From what I remember of Vian's jazz writing, I'm almost certain he was in the LJH camp. That makes it very likely that he and Hughes had a hearty difference of opinion -- in print if not in person.
Ken Waxman --- skip Heller <velaires@earthlink.net> wrote:
on 8/23/02 8:56 AM, Tosh at tosh3@earthlink.net wrote:
It seems that M. Panassie shares the same passion & taste in jazz with Vian and I am presuming that they may have known each other (being a small world in Paris at that time -especially if you were a jazz fan.) Does his name ring any bells to anyone on this list?
Anyway it seems to be a fascinating document on how a Frenchman feels about American jazz - especially during the early 40's. If someone can bring some info on Panassie, I would deeply appreciate it.
Thanks! -- Tosh Berman TamTam Books
Panassie was actually a pretty huge -- and widely-read -- critical force in Europe and a respected member of the French intelligensia, so Vian would certainly have known his work if not the man personally. THE REAL JAZZ is in fact one of the first substantial jazz books.
skip h
===== Ken Waxman mingusaum@yahoo.ca www.jazzword.com - Jazz/improv news, CD reviews and photos ______________________________________________________________________ Post your ad for free now! http://personals.yahoo.ca
It seems that M. Panassie shares the same passion & taste in jazz with Vian and I am presuming that they may have known each other (being a small world in Paris at that time -especially if you were a jazz fan.) Does his name ring any bells to anyone on this list?
Anyway it seems to be a fascinating document on how a Frenchman feels about American jazz - especially during the early 40's. If someone can bring some info on Panassie, I would deeply appreciate it.
Thanks! -- Tosh Berman TamTam Books http://www.tamtambooks.com
They surely knew each other, but at some point (around 1946?), a split was forced between conservative (Parnassie) and progressive jazz lovers (Vian). Try to find an English translation of Philippe Boggio's biography on Boris Vian, in the dutch translation it says: 'Hugues Panassie would be acused of nostalgia and archaism for many years' on page 78, on page 216 is even suggested that Vian called the older critics Delaunay and Parnassie 'moldy figs and sour grapes' (after old jazz songtitles). Furthermore, the texts mentions Club St. Germain, a jazz club led by the old and the young garde together, also after the old vs new disputes (Vian and others vs Delaunay, Panassie and others), and in this club Vian and Parnassie would have met many many times. Good luck, Remco Takken
participants (4)
-
Ken Waxman -
Remco Takken -
skip Heller -
Tosh