1 	La Vie C'est La Vie 	
2 	Mourir à Honfleur 	
3 	Dans Mon Île 	
4 	Cherche La Rose    (Featuring – Caetano Veloso)
5 	L'amour Se Trouve Au Coin De La Rue 	
6 	Tu Sais Je Vais T'aimer 	
7 	J'aurais Aimé 	
8 	Italie (Un Tableau De Maître) 	
9 	D'abord 	
10 	Les Amours Qu'on Délaisse 	
11 	Alleluia ! Je L'ai Dans La Peau 	
12 	Les Dernières Hirondelles 	
13 	Tu Sais Je Vais T'aimer    (Featuring – Gilberto Gil)

At 88 years old, Henri Salvador has been a popular figure in the French music world for quite a while (he started there in 1945). In 2000, he reinvigorated his career and reintroduced himself to the public with Chambre Avec Vue (re-released as Room with a View two years later) and since then has been going quite strong, coming out with Ma Chère et Tendre in 2003, and now Révérence in 2006. Recorded mostly in Brazil under the direction of Caetano Veloso's -- who makes an appearance here on a new version of "Dans Mon Île" -- longtime producer and arranger Jaques Morelenbaum, Salvador continues his legacy as singer of the sweet melancholy. The quiet, breathy strings and soft bossa nova rhythms that are incorporated into many of the pieces on the album add to the overall poignancy of Salvador's voice, which shows no sign of aging, still smooth and clean, reflecting the warmth of his native French Guyana. It works especially well on the francophone version of the classic Vinicius de Moraes/Antonio Carlos Jobim song "Eu Sei Que Voi Te Amar," retitled "Tu Sais Je Vais T'Aimer" here (it appears twice on Révérence actually, once as a solo track and once as a duet with Gilberto Gil), where the longing and suffering of love come through in the timbre of his voice, the hesitation in his phrasing. In "Italie (Un Tableau de Maître)," he riffs on a familiar Italian melody as he reminisces about the country, talking about it like a woman he loves, even slipping into its own language for a line or so, and in "Cherche la Rose," one of three older tracks on the album, and done with Caetano Veloso, there's a bittersweet hesitancy to the way he sings the song 40 years after its initial release that comes only from the experience and understanding he's gained as he's gotten older. This is where he's best, and most comfortable, and it's what sounds the best, too, so it makes sense that most of Révérence stays in the adagio, in the reflection. In fact, it even seems a little out of place when Salvador moves into faster, jazzier pieces like the gospel-inspired "Alléluia! Je l'Ai dans la Peau" or the Frank Sinatra-esque "L'Amour Se Trouve au Coin de la Rue," adding saxophones and bright drums and coming across slightly forced, albeit exuberant. Salvador has aged nicely, and settled down into his years, and the best bits of Révérence convey this perfectly, the life of an artist who has truly been inspired, and inspired countless others. --Marisa Brown, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire ulozto gett bayfiles

back

1. Henri Salvador - Ca N'A Pas D'Importance (03:08)
2. Henri Salvador - Tant De Temps (03:55)
3. Henri Salvador - Une Ile Sans Elle (02:44)
4. Henri Salvador - Mon Amour (01:59)
5. Henri Salvador - Une Belle Journe (03:58)
6. Henri Salvador - Qui Es-Tu? (02:40)
7. Henri Salvador - Paname A La Havane (03:24)
8. Henri Salvador - Mes Petites Prfrences (02:26)
9. Henri Salvador - Ca Leur Passera (03:27)
10. Henri Salvador - Doucement (03:05)
11. Henri Salvador - Syracuse (03:07)

    Henri Salvador – vocals
    Benjamin Biolay - producer, arranger, orchestration
    Denis Benarrosh - drums
    Nicolas Fizman – guitar

Largely a newly recorded collection of previously unreleased outtakes from 1999's Chambre Avec Vue, Tant de Temps is the first posthumous studio album from French-Caribbean singer Henri Salvador. Produced by Benjamin Biolay (who also appears on "Ça Leur Passera"), it also features a duet with Hubert Mounier ("Qui Es-Tu?") and a mid-'90s track penned by Christian Loigerot. ---Jon O.Brien, Rovi

Les arrangements somptueux de Biolay. La voix soyeuse de Salvador. Et vice versa. On approchait ce disque avec appréhension, comme tous les albums posthumes ; on en ressort avec un sentiment de bien-être. Sans doute à cause du parfum de plénitude qu'il exhale. Dans leur immense majorité, ces chansons n'étaient à l'origine que des « maquettes », enregistrées par Salvador en 1999 — c'est-à-dire à l'époque de Chambre avec vue. Il avait déjà plus de 80 ans... Mais quelle maestria vocale ! Autour de cette voix de crooner absolu, Benjamin Biolay a tissé des orchestrations très classiques, riches et légères à la fois, jamais pesantes ou folkloriques. Tonalité mélancolique : les deux premiers titres, Ça n'a pas d'importance et Tant de temps, ont des échos testamentaires. Et si les suivants sont souvent plus joyeux, c'est tout l'esprit de Salvador qui semble contenu ici. On n'y entend rien de ce qui pourrait ressembler à une récupération : l'hommage est parfaitement digne. Au rang des surprises : un duo, façon big band, avec Hubert Mounier (ex-Affaire Louis Trio) ; un autre avec Biolay (parfait dans le rôle du crooner bis) ; une version inédite de Syracuse. Et surtout une perle, étrange : deux minutes d'une harmonie parfaite, sur lesquelles Salvador ne chante que deux mots, comme une prière : Mon amour. Superbe. ---telerama.fr

download (mp3 @320 kbs):

uploaded yandex 4shared mega mediafire solidfiles zalivalka cloudmailru oboom

back