There are two reasons why Paris is referred to as the “City of Light.” One was the fact that it was one of the first European cities to install large-volume street lighting. The other, of course, was its being a vibrant nexus the Enlightenment. Embellishing on that moniker, vocalist/composer and multi-linguist Sacha Boutros offers her fifth album, Paris After Dark. This oeuvre du jour offers an array of exquisite Gallic and American selections, all delivered by the artist and her fine continental cadre.
Boutros opens the session with an effervescent take on Je Reviens Te Chercher, here more up-tempo and samba-like than the Gilbert Bécaud/Pierre Delanö original. It is a seductive opener and sets the overall tone for the entire album. Woodwind legend Sidney Bechet’s Si tu Vois Ma Mére was composed in 1952 when the New Orleans native Bechet was living in Paris. It opens with a slick “kiss me once, kiss me twice” intro and is a slow, bluish take with Boutros covering it in perfect style and with trumpet Stephane Belmondo responding. Guitarist Hugo Lippi solos. It is a highlight track warranting replays.
Ne Me Quitte Pas (also known as If You Go Away)/I’m a Fool to Want
You is a heart-wrenching dual offering wherein Boutros covers and where art imitates real life in an homage to the headline-generating Frank Sinatra-Ava
Gardner romantic breakup. Catch Boutros’ utterly deadly glissando as she
sings “time and time again.” April in Paris, perhaps de rigeur on
such an album as this, is a light, swinging take. Boutros sings the tune with
fine flair and faint overtones of Dinah Washington. Belmondo bops with swagger
here.
Throughout this session, Boutros demos that
she’s got exquisite versatility across a diverse range of textures. Her
phrasing is spot-on engaging, too. She’s an inviting voice with wide expressiveness
that ranges from the dramatic to the sensuous when she audibly whisper-tickles
one’s ear. The supporting team is outstanding throughout.
Joe Dassin’s Et sit u n’ Existáis Pas is an exotic selection with a repetitive rhythmic bed. Boutros slides over the somewhat philosophical lyrics with Belmondo’s Harmon mute and Lippi’s strings underneath. La Javanaise launches with Boutros spotlit solo with Tony Rabeson’s set-work before bassist Thomas Bramerie joins and all frolic in the triple-metered work. Pianist Franck Ansellem and guitarist Lippi both offer fine rides.
The late, infinitely talented vocalist Dalida had a huge hit in 1959 with
Love in Portofino. Here Boutros covers the romantic continental hit with
all three languages – English, French and Italian. Trumpet Belmondo delivers an
emotionally-charged solo. Boutros’ cover of Cole Porter’s In the Still of
the Night is dark and misterioso in tone as she sings over Bramerie’s
spooky ostinato bass before the refrain hits. There’s fine dynamic appeal there.
La Belle Vie closes the session as a French-English presented swinger.
Belmondo and Amsellem offer tasty solos. A fine send off this.
There’s nothing dark about Paris After Dark.
Global ambassador of jazz, Sacha Boutros shines brilliantly and adds
well-needed light and joy to a world sadly in need of same. Nick Mondello
Je Reviens te Chercher;
Si tu Vois Ma Mére; Ne
Me Quitte Pas/I’m a Fool to Want You; April in Paris; Et sit u n’ Existáis Pas;
La Javanaise; Smile; Love in Portofino; In the Still of the Night; La Belle Vie
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