In memory of Johnny Peret

In memory of Johnny Peret
In memory of my friend Johnny Peret, vibist, drummer, accordeonist extraordinaire

Sunday, December 25, 2011



In December last year, I posted an album by Mauritian saxophonist and band leader, Ernest Wiehe.
Today we’re revisiting Mauritius but this time for a blues / funk album.  The leader, Glen Terry, is originally from India (or is it Sri Lanka?) but he resided and worked in Mauritius during the late Nineties.  This album was recorded with the cream of Mauritian blues / funk musicians. Actually the rhythm section is a pure joy: Mike Armoogum on bass, Maurice “Momo” Manancourt on drums. Damien Elisa is on keyboards in all but two tracks where he is replaced by sega-jazz virtuoso Gaetan Alkoordoss.  These blokes are cookin’.  Just listen to the swingin’ instrumental “G.Raff”.
All these guys have gained their credentials playing with some of the biggest names in Mauritian music (a.o. Seggae  legend Kaya).  This is not a standard run-of-the-mill blues album., it swings!  And all the songs are originals.
A very passionate, soulful entertainer, Glen Terry (vocals/guitar) has entertained people around the world. A musical journey has taken Glen from his birthplace in India to five star hotels in Cairo, Egypt in the mid-eighties; blues festivals and tours to Tokyo, Japan in the nineties; and performances in Kenya, Mauritius, Thailand, Dubai, Sri Lanka to his adopted home in Australia where he settled in 1988 and became an Australian citizen.

1.      Like a rainbow
2.      All I need is you
3.      Cyclonic Woman
4.      Come back Darlin’
5.      Real Gone Cat
6.      Maurice
7.      Sugar Blues Express
8.      Dad,Dad,Dad (you’re no fun at all)
9.      G. Raff (Giraffe)
Glen Terry                                          guitar / vocals
Mike Armoogum                                Bass
Damien Elisa                                      Keyboards
Gaetan Alkoordoss                            Keyboards (8-9)
Momo Manancourt                            drums & percussion

Saturday, December 24, 2011

Saturday, December 10, 2011



If you check the French « Dictionnaire du Jazz » you won’t even find the name of Richard Raux.  A most deplorable – not to say scandalous - oversight considering this guy has been blowing his horn for over forty years, with everybody from Memphis Slim to Marion Brown, from Magma to Sonny Murray.  OK, you’ve got the message: Richard Raux is no smooth jazz blower, no Kenny G disciple, no cold wave electro jazz whatever you may call it. Richard Raux is not one of the guys who occasionally plays jazz but makes his bread somewhere else. He breathes jazz or, perhaps even more, he breathes blues.  It is probably due to some spacio-temporal accident that he was born in France, he should have been born in the Mid-West, in St Louis perhaps, or in Chicago, or Texas … in any of those places that have become famous for producing Tough Tenors. 

There is something of Hal Singer in Richard Raux’s style – very understandable since they played together quite often when Hal was residing in France.   Just listen to « Bo Blues » and « Blues for Bags ».
But he is not limited to the blues and is not afraid to walk in Coltrane’s giant steps as in « Train D.W..  He certainly knows his classics. Songs such as « Concept Ville » et « Sérail Seriel » show a direct influence of Monk.  Add to the mix « Witchi-Tai-To », a psych-jazz anthem by the late Jim Pepper (feat.  vocals by Wayne Dockery) and a few standards,  Richard Rodgers’ « This Nearly Was Mine, »  I Cover the Waterfront», and « The Song Is You ».  

His partners in crime - Hutman, Dockery and Bellonzi - are not slouch either.

The result is an outstanding album.  Most unfortunate that it is OOP !

Richard Raux (ts), Olivier Hutman (p), Wayne Dockery (b, voc), Charles « Lolo » Bellonzi (d).


1          Bo Blues
2          Train D.W.
3          This Nearly Was Mine
4          Little Sam'S Blues
5          Witchitiato
6          Concept Ville
7          Blues For Bags
8          I Cover The Waterfront
9          Serail Seriel
10        The Song Is You

Ripped from an OOP CD.

UPDATED LINK (Sept. 2017)

Thursday, December 1, 2011


(Disque DEBS HDD 523, 1971, France)

 To celebrate the first anniversary of the blog, a rare vinyl from the vault of the Boogieman, ripped and cleaned by Vinyl Wizard Paul D..  I bought this album on a small “brocante" (flea market) when I was working in Brussels, in the mid-nineties.  I found it in a crate  with another fairly rare Debs album, Blue Sunset by Michel Sardaby.  A lucky day it was!

A very underrated guitar player with a bluesy touch, somewhere between Wes Montgomery and Kenny Burrell. André Condouant hails from the island of Guadeloupe, French West Indies,  He is one of the rare French musicians who tried his luck and worked extensively in Scandinavia and Germany (from 1962 to 1970).

There is an extensive bio on his website (here)

This is a superb "lost" album with top notch musicians. It is also the opportunity to hear Eddy Louiss on piano - he's better known as an organist.

Original liner notes by Maurice Cullaz, President Jazz Academy France
It is with an irony tinged with bitterness, that the very good French guitarist André Condouant found out that he had really begun to make himself known to French metropolitan Jazz amateurs, thanks to the excellent recording he made a few years ago in Germany under the label SABA/MPS with such people as Leo Wright, Carmell Jones, Jimmy Woode, Fritz Pauer and Joe Nay, without forgetting Annie Ross. Three reasons can explain the relatively recent discovery of André Condouant by the French: first of all his arrival to Paris from his natal Guadeloupe dates back only to 1957. Moreover he was not to stay in Paris for a long time. Secondly from 1962 until last year, André had lived (and enormously worked) in Sweden, and in Scandinavia, as well as in Germany. And last of all, and this, alas, is not to be put to the credit of the old French Jazz amateurs, there has been, up to the past ten or fifteen years, a prejudice against musicians of West Indian birth, who were supposed to play "their music" better than anyone else but were poorly gifted for Jazz music. Such an opinion seems outrageous to us, who every day, can listen to West-lndian Jazz musicians such as Jacky Samson, Jacques Coursil, Bib Monville, Robert Mavounzy, and others. In the USA, let it be said, things never were so. It´s a pity observing in what esteem their are held with, musicians born in the West-lndies, or musicians whose parents came from there, like: Art Taylor, Sonny Rollins, Wynton Keely, Cecil Payne, Walter Bishop, Kenny Drew, and many others. In Scandinavia and in Germany, André began a very good career side by side with musicians such as Idrees Sulieman, Leo Wright, Dexter Gordon, Kenny Drew, Benny Bailey, Ray Brown, Booker Ervin, Jaky Byard, Billy Brooks... But listening to a good record is so much more convincing than the text printed on the back of an album. From the "groovy blues" of the beautiful title 'Brother Meeting', to 'Astrakan' without forgetting another "groovy blues": 'Blues For Wes', 'Short B N', 'Poema' and 'Ballad For Annie'. André Condouant, Eddy Louiss, Percy Heath and Connie Kay will nothing but bewitch you, while confirming their value, if this was necessary.

André Condouant (g),
Eddy Louiss – as Edd Lou - (pno),
Percy Heath (bass),
Connie Kay (dms)

Tracks :
Brother Meeting (A. Condouant)
Blues for Wes (A. Condouant)
Short B.N. (A. Condouant)
Poema (A. Condouant)
Ballad for Annie (A. Condouant)
Astrakan (A. Condouant)

Currently OOP although the album was reissued on CD (by DEBS in the late nineties and in Japan) but good luck to find it!