| 100 years of The Great GatsbyScott Fitzgerald finished writing The Great Gatsby not in the United States, but on the French Riviera in 1924, infusing his masterpiece with elegance and nostalgia, just as the Jazz Age, a term he had coined two years earlier in another book, was coming into being. A century later, Mélissa Lesnie, an Australian singer with a velvety voice and retro charm, takes us back to this world, cradled by the echoes of ragtime and the standards of hot jazz and Tin Pan Alley, with the early hits of Gershwin and Irving Berlin. Accompanied by Jean-Baptiste Franc on piano and Garry Nayah on double bass, two true masters of the 1920s style, Melissa revives this golden age through foxtrots, Charleston and blues from the Roaring Twenties, music that one can easily imagine setting the tone for the social evenings of a certain Jay Gatsby.Velvet, velvet — A kind of cabaretEvery Saturday afternoon, 38Riv transforms into a piano bar in Havana, a cozy club in Harlem, or a forgotten Broadway stage. It's not just a concert: it's a lively, theatrical dive into the golden age of jazz and musical theater.Imagine a vibrant tribute to the voices of Billie Holiday, Judy Garland, Ella Fitzgerald, and Louis Armstrong. A timeless interlude, between the pages of a Fitzgerald novel and the backstage of a New York cabaret, where people sing, tell stories, play, and laugh.“Velours, velours” is the elegance of a bygone era, the warmth of a shared moment, and the emotion of a story told through music....
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| 100 years of The Great GatsbyScott Fitzgerald finished writing The Great Gatsby not in the United States, but on the French Riviera in 1924, infusing his masterpiece with elegance and nostalgia, just as the Jazz Age, a term he had coined two years earlier in another book, was coming into being. A century later, Mélissa Lesnie, an Australian singer with a velvety voice and retro charm, takes us back to this world, cradled by the echoes of ragtime and the standards of hot jazz and Tin Pan Alley, with the early hits of Gershwin and Irving Berlin. Accompanied by Jean-Baptiste Franc on piano and Garry Nayah on double bass, two true masters of the 1920s style, Melissa revives this golden age through foxtrots, Charleston and blues from the Roaring Twenties, music that one can easily imagine setting the tone for the social evenings of a certain Jay Gatsby.Velvet, velvet — A kind of cabaretEvery Saturday afternoon, 38Riv transforms into a piano bar in Havana, a cozy club in Harlem, or a forgotten Broadway stage. It's not just a concert: it's a lively, theatrical dive into the golden age of jazz and musical theater.Imagine a vibrant tribute to the voices of Billie Holiday, Judy Garland, Ella Fitzgerald, and Louis Armstrong. A timeless interlude, between the pages of a Fitzgerald novel and the backstage of a New York cabaret, where people sing, tell stories, play, and laugh.“Velours, velours” is the elegance of a bygone era, the warmth of a shared moment, and the emotion of a story told through music.
| 100 ans de Gatsby le MagnifiqueScott Fitzgerald achève « Gatsby le Magnifique » non pas aux États-Unis, mais sur la Côte d’Azur en 1924, parfumant son chef-d’œuvre d’élégance et de nostalgie, alors que le « Jazz Age », une expression qu’il a déjà consacrée deux ans plus tôt dans un autre ouvrage, venait tout juste de naître. Un siècle plus tard, Mélissa Lesnie, chanteuse australienne au timbre velouté et au charme rétro, nous replonge dans cet univers bercé par les échos du ragtime et des standards du hot jazz et de Tin Pan Alley, avec les premiers succès de Gershwin ou encore d’Irving Berlin. Aux côtés de Jean-Baptiste Franc au piano et de Garry Nayah à la contrebasse, deux véritables maîtres du style des années 1920, Mélissa ranime ce crépuscule doré à travers foxtrots, charlestons et blues des années folles, une musique que l’on imagine volontiers rythmer les soirées mondaines d’un certain Jay Gatsby.Velours, velours — A kind of cabaretChaque samedi après-midi, le 38Riv se transforme en un piano-bar à la Havane, en un club feutré de Harlem ou en une scène de Broadway oubliée. Il ne s’agit pas seulement d’un concert : c’est une plongée vivante et théâtrale dans l’âge d’or du jazz et de la comédie musicale.Imaginez un hommage vibrant aux voix de Billie Holiday, Judy Garland, Ella Fitzgerald et Louis Armstrong. Une parenthèse hors du temps, entre les pages d’un roman de Fitzgerald et les coulisses d’un cabaret new-yorkais, où l'on chante, on raconte, on joue et on rit.« Velours, velours », c’est l’élégance d’une époque révolue, la chaleur d’un moment partagé, et l’émotion d’une histoire racontée en musique.
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