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At the beginning of the 20th century, Europe is living in peace and prosperity. The “Belle Époque” is an outgrowth of previous important historical events and developments. The networks that are created and which evolve funnel both people and their products, tangible and intangible. It is within this multi-layered world that sound recording and sound reproduction is invented. Early record labels send mobile crews literally all over the world to record local musicians. The range of the repertoire is endless. Cosmopolitanism in large urban centers favors polystylisms and polymorphisms. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, radio, photography, orchestras’ tours, but also circulations in all kinds of commercial channels in a world that evolves dynamically and anisotropically, form a complex network of “centers” and “peripheries” in alternating roles setting musical idioms in motion, both literally and figuratively. The network in which the Greek-speaking urban popular song participates, constantly conversing with its co-tenants, is magnificent. Discography has already provided important tools in understanding the relationships that developed between “national” repertoires. The result of this ongoing research is “Cosmopolitanism in Greek Historical Discography”.
One of these fascinating networks concerns French songs, which were appropriated by Greek musicians, among others. The appropriation is twofold: on the one hand are the lyrics, which are now in Greek (often, in fact, they have nothing to do with the original ones), and, on the other hand, the performance practices: different instrumentation, different singing style, often differences in melodic and rhythmic forms and in the harmonies. Greek musicians adapt what they heard to their own condition, based on their own capabilities. The French ecumene lends its chansons, which carry a dynamic tradition of songwriting and performance. Paris, Montmartre and the cabarets artistiques influence the music of the world. The atmosphere from the Chat Noir, which had been operating since 1881, also reaches the Greek world. Music venues of this type, the famous “cafés chantants”, appeared in Athens but also in other urban centers of the Greek state. These French songs were exported to the Greek-speaking world either directly or indirectly, through other repertoire networks. In any case, the circulation of musics is already a reality before the 20th century with theatrical and musical performances tours, but also with the networks of music publishing houses. Discography is not only embedded in this context, but also plays a key role in its transformation. It should also be noted that, in various cases, often due to the great international success of the songs, the resulting network is extremely complex and does not only concern Greek-French relations.
This recording is an adaptation with Greek lyrics of the French song "Mon homme", set to music by Maurice Yvain and lyrics by Jacques-Charles (Jacques Mardochée Charles) and Albert Willemetz. It was first introduced to the public by the French actress and singer Mistinguett (Jeanne Florentine Bourgeois) and the American actor, dancer and choreographer Harry Pilcer in the French revue "Paris qui Jazz", which premiered at the Casino de Paris on October 6, 1920.
Mistinguett probably made the first recording of the song in Paris, in 1920, for Pathé (2852 - 4480). On November 15 of the same year, and in the same city, the instrumental version by the Orchester Symphonique du Gramophone (Gramophone 21778u - 2-230551 K819 R8177) was recorded, as well as on the same month in Berlin by Dajos Béla's orchestra (Odeon xxBo 7250 - BL AA 55545 & AA 57790 & Kismet K 5905)
In 1921, success spread to the other side of the Atlantic. With the title "My man" and English lyrics by Channing Pollock, it was included in the American revue Ziegfeld follies of 1921, which premiered on June 21, 1921 at the Globe Theater in New York, delivering 119 performances. It was recorded in the same year by Ziegfeld Follies’ singer Fanny Brice (Camden, New Jersey, November 15, 1921, Victor B-25752 - 45263), starting its successful run in US discography as well (for US recordings, see here).
The song soon became a global hit, and has been recorded times in historical discography, in various forms, languages and locations. For example:
- "Mi hombre", Pilar Alonso, Barcelona, October 5, 1921 (Gramophone BM 120-1 - 2-263113 K2168 AE850)
- Jack Hylton's Jazz Band, Hayes, London, July 8, 1921 (Gramophone Yy 350-3 - X-2-40400 2155)
- "Kungakupletten: Folkan – vart ska vi annars gå", Karl Gerhard, Stockholm, October 12, 1921 (Gramophone BK 74-1 - 7-282778 X1272)
- "My man", Billie Holiday, New York, November 1, 1937 (Brunswick B 21984 - 8008)
- "C'est mon homme", Georges Henry & Centopéia e Seu Ritmo, Bazil, 1945 (Continental 1141-1 - 15378a)
- "Ingen anden" (in "Liva Weel succes'er II"), Liva Wheel, Copenhagen, 1952 (Polyphon HDK3097 - X 51464 B)
- Isa Barzizza, Italy, 1953 (RCA 2E3VB - 0251 - A25V-0014)
The recording presence as well as the live performances of the song in concert venues continued even after the end of historical discography. In the 1950s-1970s it was included in the repertoire of many popular singers, such as Peggy Lee, Eartha Kitt, Ella Fitzgerald, Shirley Bassey, Diana Ross, Milva, Irena Kwiatkowska and others, and recordings of the song took also place in the following years, even in the 2010s (see here).
Its presence in the -mainly American- cinema is noteworthy, where it was performed by four female voices in as many films: in "My Man" (1928) by Fanny Brice, in "Rose of Washington Square" (1939) by Alice Faye, in the Italian-Spanish production "La violetera" (1958) by Sara Montiel, and in "Funny Girl" (1968) by Barbra Streisand. It was also included in the soundtrack of the American film "Lady sings the blues" (1972), and was sung by the protagonist Diana Ross.
According to the Greek musical score of the song published in Athens by the Moderne publishing house, with lyrics by Antonis Nikas and under the title "To chryso mou", it was included in the revue "Panathinaia tou 1920", written by Bampis Anninos - Polyvios Dimitrakopoulos - Georgios Tsokopoulos and set to music by Sp. Lepeniotis. In the revue, which premiered on July 1, 1920 at the Alhambra Theater by the Gonidis troupe, it was sung by Rozalia Nika.
With the data collected so far, this is the only recording of the song in Greek historical discography.
Research and text: Leonardos Kounadis and Nikos Ordoulidis
At the beginning of the 20th century, Europe is living in peace and prosperity. The “Belle Époque” is an outgrowth of previous important historical events and developments. The networks that are created and which evolve funnel both people and their products, tangible and intangible. It is within this multi-layered world that sound recording and sound reproduction is invented. Early record labels send mobile crews literally all over the world to record local musicians. The range of the repertoire is endless. Cosmopolitanism in large urban centers favors polystylisms and polymorphisms. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, radio, photography, orchestras’ tours, but also circulations in all kinds of commercial channels in a world that evolves dynamically and anisotropically, form a complex network of “centers” and “peripheries” in alternating roles setting musical idioms in motion, both literally and figuratively. The network in which the Greek-speaking urban popular song participates, constantly conversing with its co-tenants, is magnificent. Discography has already provided important tools in understanding the relationships that developed between “national” repertoires. The result of this ongoing research is “Cosmopolitanism in Greek Historical Discography”.
One of these fascinating networks concerns French songs, which were appropriated by Greek musicians, among others. The appropriation is twofold: on the one hand are the lyrics, which are now in Greek (often, in fact, they have nothing to do with the original ones), and, on the other hand, the performance practices: different instrumentation, different singing style, often differences in melodic and rhythmic forms and in the harmonies. Greek musicians adapt what they heard to their own condition, based on their own capabilities. The French ecumene lends its chansons, which carry a dynamic tradition of songwriting and performance. Paris, Montmartre and the cabarets artistiques influence the music of the world. The atmosphere from the Chat Noir, which had been operating since 1881, also reaches the Greek world. Music venues of this type, the famous “cafés chantants”, appeared in Athens but also in other urban centers of the Greek state. These French songs were exported to the Greek-speaking world either directly or indirectly, through other repertoire networks. In any case, the circulation of musics is already a reality before the 20th century with theatrical and musical performances tours, but also with the networks of music publishing houses. Discography is not only embedded in this context, but also plays a key role in its transformation. It should also be noted that, in various cases, often due to the great international success of the songs, the resulting network is extremely complex and does not only concern Greek-French relations.
This recording is an adaptation with Greek lyrics of the French song "Mon homme", set to music by Maurice Yvain and lyrics by Jacques-Charles (Jacques Mardochée Charles) and Albert Willemetz. It was first introduced to the public by the French actress and singer Mistinguett (Jeanne Florentine Bourgeois) and the American actor, dancer and choreographer Harry Pilcer in the French revue "Paris qui Jazz", which premiered at the Casino de Paris on October 6, 1920.
Mistinguett probably made the first recording of the song in Paris, in 1920, for Pathé (2852 - 4480). On November 15 of the same year, and in the same city, the instrumental version by the Orchester Symphonique du Gramophone (Gramophone 21778u - 2-230551 K819 R8177) was recorded, as well as on the same month in Berlin by Dajos Béla's orchestra (Odeon xxBo 7250 - BL AA 55545 & AA 57790 & Kismet K 5905)
In 1921, success spread to the other side of the Atlantic. With the title "My man" and English lyrics by Channing Pollock, it was included in the American revue Ziegfeld follies of 1921, which premiered on June 21, 1921 at the Globe Theater in New York, delivering 119 performances. It was recorded in the same year by Ziegfeld Follies’ singer Fanny Brice (Camden, New Jersey, November 15, 1921, Victor B-25752 - 45263), starting its successful run in US discography as well (for US recordings, see here).
The song soon became a global hit, and has been recorded times in historical discography, in various forms, languages and locations. For example:
- "Mi hombre", Pilar Alonso, Barcelona, October 5, 1921 (Gramophone BM 120-1 - 2-263113 K2168 AE850)
- Jack Hylton's Jazz Band, Hayes, London, July 8, 1921 (Gramophone Yy 350-3 - X-2-40400 2155)
- "Kungakupletten: Folkan – vart ska vi annars gå", Karl Gerhard, Stockholm, October 12, 1921 (Gramophone BK 74-1 - 7-282778 X1272)
- "My man", Billie Holiday, New York, November 1, 1937 (Brunswick B 21984 - 8008)
- "C'est mon homme", Georges Henry & Centopéia e Seu Ritmo, Bazil, 1945 (Continental 1141-1 - 15378a)
- "Ingen anden" (in "Liva Weel succes'er II"), Liva Wheel, Copenhagen, 1952 (Polyphon HDK3097 - X 51464 B)
- Isa Barzizza, Italy, 1953 (RCA 2E3VB - 0251 - A25V-0014)
The recording presence as well as the live performances of the song in concert venues continued even after the end of historical discography. In the 1950s-1970s it was included in the repertoire of many popular singers, such as Peggy Lee, Eartha Kitt, Ella Fitzgerald, Shirley Bassey, Diana Ross, Milva, Irena Kwiatkowska and others, and recordings of the song took also place in the following years, even in the 2010s (see here).
Its presence in the -mainly American- cinema is noteworthy, where it was performed by four female voices in as many films: in "My Man" (1928) by Fanny Brice, in "Rose of Washington Square" (1939) by Alice Faye, in the Italian-Spanish production "La violetera" (1958) by Sara Montiel, and in "Funny Girl" (1968) by Barbra Streisand. It was also included in the soundtrack of the American film "Lady sings the blues" (1972), and was sung by the protagonist Diana Ross.
According to the Greek musical score of the song published in Athens by the Moderne publishing house, with lyrics by Antonis Nikas and under the title "To chryso mou", it was included in the revue "Panathinaia tou 1920", written by Bampis Anninos - Polyvios Dimitrakopoulos - Georgios Tsokopoulos and set to music by Sp. Lepeniotis. In the revue, which premiered on July 1, 1920 at the Alhambra Theater by the Gonidis troupe, it was sung by Rozalia Nika.
With the data collected so far, this is the only recording of the song in Greek historical discography.
Research and text: Leonardos Kounadis and Nikos Ordoulidis
© 2019 KOUNADIS ARCHIVE
