Dominique Cravic & Les Primitifs du Futur World Musette
Dominque Cravic, Robert Crumb, Daniel Colin and a wild cast from Africa, Europe and the America create a strange, sweet new cafe music. Listen!
Musicians: Daniel Huck - vocals, alto saxophone Robert Crumb - banjo, mandoline Dominic Cravic - vocals, guitars Daniel Colin - accordeon, bandoleon Fabienne Dondard - accordeon Fay Lovsky - scie musicale, ukulele Jean Michel Davis - drums, xylophone, vibraphone Raul Barboza - accordeon Francois Ovide - national duolian, mandoline , guitar Robert Santiago - flute Marc Richard - trumpet, baryton saxophone, clarinet Bertrand Auger - clarinet, tenor saxophone, flute Jean Pierre Chaty - saxophone Jean Philipe Viret - conterbass Mohammed El Yazid Baazi - oud Khireddine Medjoubi - darbouka Olivier Blavet - harmonica Ian McCamy - violon Monique Hutter - vocal Isabelle Vandel - vocal Herve Legeay - guitar Marc Edouard Nabe - guitar Anthony Baldwin - piano Michel Esbelin - cabrette John Greaves - piano Yves Torchinsky - bass
The record label says: The story of the Primitifs du Futur begins in 1986, when Robert Crumb was invited to take part in the Angoulême Comic-Book Festival. He stayed on after the event and made Paris his home for a few months, together with his wife and daughter. It's not widely-known that the man who was Pope of the underground comic in the Seventies is also a great admirer of Twenties' and Thirties' recordings – principally blues and country, but also French music like the musette variety popular in Paris. A talented mandolin-player who also plucks the banjo and the ukulele, Crumb was for a long time the leader of a now-legendary group calling itself The Cheap Suit Serenaders. He was introduced to Dominique Cravic, who took him forthwith to visit another mandolin-freak by the name of Jean-Claude Asselin, and the result was a kind of mpromptu “musette jam”. Before Crumb returned to The United States, the whole crew decided that these moments of great utopia should be preserved for posterity. A gleeful Cocktail d’amour was recorded – a famous 10" vinyl now a real collectors' item – containing six tracks that mingled blues and musette with a tender fervour. The group quickly found a name for itself: Les Primitifs du Futur. The droll, provocative paradox in the name was seen by Cravic and Roussin as a deliberate statement of a basically simple conviction: that it was possible to invent a new youth for the past, to make new from old.
It's not widely-known that the man who was Pope of the underground comic in the Seventies is also a great admirer of Twenties' and Thirties' recordings – principally blues and country, but also French music like the musette variety popular in Paris. A talented mandolin-player who also plucks the banjo and the ukulele, Crumb was for a long time the leader of a now-legendary group calling itself The Cheap Suit Serenaders.
He was introduced to Dominique Cravic, who took him forthwith to visit another mandolin-freak by the name of Jean-Claude Asselin, and the result was a kind of mpromptu “musette jam”. Before Crumb returned to The United States, the whole crew decided that these moments of great utopia should be preserved for posterity. A gleeful Cocktail d’amour was recorded – a famous 10" vinyl now a real collectors' item – containing six tracks that mingled blues and musette with a tender fervour.
The group quickly found a name for itself: Les Primitifs du Futur. The droll, provocative paradox in the name was seen by Cravic and Roussin as a deliberate statement of a basically simple conviction: that it was possible to invent a new youth for the past, to make new from old.
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Dominique Cravic & Les Primitifs du Futur