'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.
The recording captures Lewis's ensemble perhaps at zenith. "Jazz at Vespers" is one of the key albums in the George Lewis canon. It was recorded during a Vespers service in 1954 at Holy Trinity Episcopal Church in Oxford Ohio. This was the church of Rev. Alvin Kershaw, a jazz enthusiast who was one of the first to use jazz bands as part of a service. George Lewis was at his best playing spirituals, his clarinet gentle and introspective, weaving inside the melodies like a white dove. The band backed him sensitively.Highly recommended. Clean, clear recordings.
A fantastic addition to the Barney Kessel catalog of the 50s – a never-heard live set that has the guitarist in form that's every bit as strong as his famous albums for Contemporary Records! In fact, the strength of the recording may well capture Kessel at a level that beats those sessions – as Barney's playing live, with a bit more bite – and really grabs us with the strong tone on his solos – and the sense of energy he gets in a quartet that also includes a young Pete Jolly on piano! The recording quality is excellent – crystal-clear, and very focused – and the set isn't one of those lost tapes that should have stayed "lost" – but instead a real lost chapter in Barney's tremendous career.