LE PETIT INDIEN - 1951-1956

« This may be even further into « Alternate Takes » territory than all but the most intrepid reader wants to venture. Henri Salvador, who died on 13th February 2008, was one of the great entertainers of the post-war era, both a singer and a comedian. However, he was born in Cayenne, French Guiana in 1917 to parents who where both from the island of Guadeloupe, and his music did from time hark back to his Antillean roots. He was also generally recognised as the man who introduced rock’n’roll to France. The recordings on this set postdate the jazz-based recordings he made with Ray Ventura’s Orchestra and predate the rock’n’roll era, though they do mark the time he became a big mainstream star. Many of them are fairly typical of the time, swinging material in a French Frank Sinatra mode, sentimental ballads and lullabies, or live recordings containing skits in French, which could be wearing for a non-French speaker. Scattered throughout the « complete recordings in chronological order » though is the odd track that may be of interest. There are occasional jazz numbers such as the be-bop influenced « Le Téléphone », and Creole material like « Gade Boug’ La ». As a witness to the attitudes of the time, the ballad « Haïti » features some smooth Hawaiian guitar (well, it’s all tropical, isn’t it?) and « Elle Me Donne (Ah! Ah!) », with just Henri’s own guitar for accompaniment, has a fine Caribbean feel, though with his renowned sense of humour very much in evidence. A May 1955 session offers perhaps the most interesting material here, as it includes «Papa Loves Mambo », which has a very authentic sound, though it is actually a cover of a song originally sung by Perry Como. There is also « Le Roi de foxtrot » with its twenties jazz sound, but most surprising is « Le Roi des caves ». This is intended as a parody of American blues and jive talk – very nice it is too – and rather than merely a vehicle for a French slang novelty, it shows a good knowledge of (nearly) contemporary r&b. Henri gives it a fine vocal treatment, with only the Louis Armstrong styled scat ending a little un-necessary.
« Margaret » has a calypso tinged sound, though it is quickly swamped by over-production. The second CD is unlikely to interest readers, as apart from a few seconds of jazz guitar on « Il n’y a plus d’amandes », the repertoire is typical of French popular music and comedy of the time. Check out «Volume One » (FA186) for the jazzier side of Henri, and the forthcoming
« Volume Four » should bring us the first of those rock’n’roll sides.»

By Norman Darwen - BLUES & RYTMM