A big band, gypsy jazz rendez-vous of original music, featuring international singers and instrumentalists, in a theatrical and sexy cabaret format. The music of Julie Rose Wilde, arranged for big band by William Austin. Feat. Connie Evingson, Bireli Lagrene, Didier Lockwood, Jeff Hamilton, Ron Meza Big Band, Annie Sellick, etc.
The soundtrack to Woody Allen's 2011 Oscar-nominated romantic comedy Midnight in Paris features a variety of jazz tunes and popular songs that are all generally associated with the film's 1920s Paris setting. While Allen actually transports his movie's main character back to the '20s, most of the music here was recorded by contemporary artists who play in an old-school style. To these ends, we get such roiling and urbane Gypsy jazz tracks as Swing 41's "Je Suis Seul Ce Soir," Original Paris Swing's "Recado," and even several Cole Porter vocal numbers by Conal Fowkes – who appears as Porter in the film. Also featured are jaunty classic jazz cuts like Josephine Baker's conga dance number "La Conga Blicoti" and, of course, Sydney Bechet's "Si Tu Vois Ma Mère," which opens the film. Swooning and romantic in tone with a breezy, swinging jazz vibe throughout, the Midnight in Paris soundtrack is a must-have souvenir for traditional jazz lovers and any fan of the film.
These 1964 sessions marked jazz violinist Jean-Luc Ponty's recording debut as a leader. In spite of his choice of instrument, he was mainly influenced by bop musicians (especially saxophonists and trumpeters) rather than fellow Frenchmen, swing violinist Stéphane Grappelli. At this stage in his career, he chose mostly compositions by European musicians of his generation, along with tunes American jazz compositions that had stood the test of time.
Although Lionel Hampton forbid his sidemen from recording during their trip to France in 1953, many of the musicians fortunately ignored his orders; the band broke up soon anyway. Trumpeter Clifford Brown is heard on this LP mostly with a big band actually put together by Gigi Gryce. A few of these tracks are excerpts but the two takes of "Brownskins" and "Keeping up with Jonesy" are fairly long as is a nearly eight-minute "Chez Moi." The music is not essential but Brownie did not live long enough to record anything less than excellent.