Pierre Barouh And The Saravah Sound

Pierre Barouh is a legend in France. A gifted singer in the 60s, he became an icon with the Claude Lelouch film "Un Homme et Une Femme" in 1966 that made him a star. Indeed, in 1965 while in Brazil, on the insistence of Vinicius de Moraes, he recorded French version of 'Samba de Bênção' with Baden Powell on a revox, retitled 'Samba Saravah' and played it to his friend Lelouch who fell in love with the song and decided to use it in the film. Barouh plays his own character in it and also wrote the score with composer Francis Lai. The rest is history: The film and the score became huge hits. But instead of cashing in on this success, Barouh decided to develop Saravah Publishing into an label and a recording studio with his old friend and associate Fernand Boruso to develop projects in a truly independent and original way.

Through their film connections, came Brigitte Fontaine and Jacques Higelin who were already making their marks in the French underground and had recorded 'Cet Enfant Que Je T'avais Fait' for the 1968 film "Les Encerclés". Saravah signed them on the spot and the song, arranged by Jean Claude Vannier, which would become a cult classic, appeared on Fontaine's breakthrough debut LP "Brigitte Fontaine Est... Folle." Fontaine would go on to record several albums for Saravah - often with her partner Areski Belkacem - including "Comme A La Radio" in 1969 with Art Ensemble of Chicago. The latter are also featured on 'Mystifying Mama' by Marva Broome and 'Je Suis Un Sauvage' by Alfred Panou, an African actor and singer who'd worked with Jean-Luc Godard.

Pierre Barouh pioneered Music from Africa and Latin America as he'd spent time in Brazil (in 1969 he directed 'Saravah' a fascinating documentary about the Rio music scene with Baden Powell, Maria Bethania, Paulinho da Viola and Pixinguinha). He released two albums by Gabonese artist Pierre Akendengue, whose 'Orema Ka-ka-ka' from the 1976 album 'Africa Obota' is featured here.

Through Boruso, Saravah also released a handful of jazz albums including the "Pianos Puzzle" series from which come Rene Urtreger's 'Tchac Poum Poum', Georges Arvanitas' 'Trane's Call' and Maurice Vander's 'Sicilienne'. The label also ventured in fascinating recordings mixing Jazz, experimental music and pop by Baroque Jazz Trio, Michel Roques or Cohelmec Ensemble.

The set also features rare singles by Beartrice Arnac (then Boruso's girlfriend) with the jazzy 'Le Bruit et le Bruit' and Jacques Higelin's 'Je Jouais le Piano', one of the first songs recorded for the label and which has never been reissued since. The set ends with a haunting duet between Pierre Barouh and Baden Powell, recorded in 1965 during the same Rio session as 'Samba Saravah'.

Fernand Boruso, called "Fern" left in 72. After a few successful years, the label went into decline and would never capture the energy of the beginnings. Saravah would nonetheless leave a rich and fascinating body of work whose influence keeps growing over the decades. Pierre's Son, Benjamin, has been preserving the label's archives for 30 years and is working on a new documentary "L'État de Vacance" on Saravah in the 70s, out soon.

Tracklist:

A1 Marva Broome Mystifying Mama

A2 Baroque Jazz Trio Dehli Daily

A3 Brigitte Fontaine Comme À La Radio

A4 Maurice Vander Sicilienne

B1 E.D.F. E.D.F. Power

B2 Béatrice Arnac Le Bruit Et Le Bruit

B3 Michel Roques Monsieur Chimpanzé

C1 René Urtreger Tchac Poum Poum

C2Jacques Higelin Je Jouais Le Piano

C3 Brigitte Fontaine & Jacques Higelin Cet Enfant Que Je T'avais Fait

C4 Alfred Panou Je Suis Un Sauvage

D1 Georges Arvanitas Trane's Call

D2 Pierre Akendengue Orema Ka Ka Ka

D3 Cohelmec Ensemble Desert Angel

D4 Areski 80 A.B.

D5 Pierre Barouh Saudade (Un Manque Habité)