'Huis clos' est une pièce de théâtre de Jean-Paul Sartre écrite fin 1943 et représentée pour la première fois le 7 mai 1944 au Théâtre du Vieux-Colombier avec Michel Vitold (Garcin), Tania Balachova (Ines), Gaby Sylvia (Estelle) et R.J. Chauffard (le garçon).
Moshé Naïm a réuni les acteurs qui ont créé la pièce et l’a enregistrée en 1964. C'est cet enregistrement qui est présenté ici. …
Jacqueline Audry usually approached her text with great reverence, but here she was revisionist to the point of destruction. Quite why screenwriter Pierre Laroche felt it necessary to emasculate Jean-Paul Sartre's existential masterpiece remains a mystery. Yet it's plain to see what a disservice his decision to add extra characters and incorporate other-worldly flashbacks does to the relentless intensity of the original drama, in which a recently deceased trio discover the bitter truth that “hell is other people”. However, Arletty imparts some much-needed class as the ageing lesbian desperately trying to dissuade flirty Gaby Sylvia from hitting on homosexual Frank Villard.
Back in New York after three years spent gigging and recording in Europe, a mature and rejuvenated James Moody resumed the endless North American scuffle to get by as a contemporary jazz musician. Volume five in the Classics James Moody chronology presents 16 rare Mercury recordings made between October 1951 and June 1953, followed by eight Prestige titles from January and April, 1954. The first four tracks feature baritone saxophonist Cecil Payne; high points include the rowdy, bristling "Moody's Home" and "Wiggle Waggle," an R&B rocker that sounds like something right up out of the King record catalog. Beginning with the material recorded on May 21, 1952, Moody is heard leading a group largely composed of players who, like him, had worked in Dizzy Gillespie's big band. Two of these individuals – trumpeter Dave Burns and baritone saxophonist Numa "Pee Wee" Moore – show up regularly in the front line of Moody's excellent recording ensembles between 1952 and 1955.
Recorded during his five year "vacation" from Duke Ellington's orchestra, this Johnny Hodges set features his band sticking mostly to standards. With trumpeter Harold "Shorty" Baker, trombonist Lawrence Brown, baritonist Harry Carney, pianist Call Cobbs, or Richie Powell, bassist John Williams, drummer Louis Bellson, and either Jimmy Hamilton or John Coltrane (who unfortunately does not solo) on tenor, Hodges had a particularly strong group. High points include "On the Sunny Side of the Street," the title track and a seven-song ballad medley.