Another Pascal Law

The new French chanson in Moscow in the B2 club was a pleasant evening of light and life -affirming music. It was attended by Tatyana Litvinenko (ex-quarter) and French singer Pascal Pariso, a master of elegant and ironic-naive modern chanson with a Latin American bias.

Pascal Pariso, a forty-year-old Frenchman country from Elsas-Lotaringia, became famous quite recently, at the beginning of this century. In his discography, there are so far two large albums - "Rumba" (2001) and "Wonderful" (2003). In his work on the last disk, producer Nicolas Repak, known for the albums of Arthur Asha,, last year, who performed with an excellent concert in the same club, helped him.

As a child, Pariso was pretty shocked by the music of Hector Villa-Lobos. In his interview, he always mentions this composer who determined his musical tastes. Pariso progressed to the success slowly, accumulating impressions and life experience. For several years he worked as a taper in a bar. After the release of the album "Rumba" Pariso was ranked for a variety of "Genzburoids", that is, performers, whose activity greatly resembles the work of Serge Gensbur. In fact, Pariso is not such a seasoned hensburoid as, for example, Christoph Miosesek or the same Arthur Ash. Pascal Pariso's music is much more balanced and soft, even in comparison with the early notes of Gensbur. They also love to compare him with Manu Chao, but there are few in common - mainly all these naive rhythm boxes and toy musical instruments that Pariso like to use.

The relaxed evening of culture and rest was opened by Tatyana Litvinenko, which everyone knows from the Quarter group, now, alas, no longer existing. Her new project is called “Echo of Waves”, it certainly will appeal to lovers of the “quarter”: a light nostalgic esid jazz, unobtrusive dreamy lyrics.

Classical musician Vladimir Tuchkov played on Valtorne and the Pipe, and Vitaly Kopyev was sitting behind the shock installation. During Pariso’s performance on a stage caught by a large number of tools, there were also only three people: the constant ally of Pariso Jacques Televitkoki - percussionist, vibrophonist, and so on, the wife of Pariso Frederick Dasterwille, well, Pascal himself. This is almost a family trio.

Pariso settled in a chair with an acoustic guitar, in this position and held almost the entire concert. He got up a couple of times to play on an electric organization. The wife danced and sang along, sometimes extremely carefully touched the strings of the electric guitar and, most importantly, used many piercing puffs and a waxwoman. Tellytokki traveled throughout the scene: from the shock unit, on which he sometimes unexpectedly bred fireworks, through the vibration to the collection of pots and pots, according to which he also drummed. In addition, he poured some buttons, chains and beads out of the boxes, producing more visual than a sound effect. Basically, everything was held on the guitar and the voice of Pariso, soft and black. All electronics came mainly to the old-fashioned rhythm box, which, however, was used infrequently.

The set began quite calmly, and the public was ineffective before the scene of the public, but soon the spectators stirred and dances began. Especially everyone was delighted by the songs "TRALALA PAS Toi" and "Pascal, Scal, Scal". The last musicians had to be fulfilled twice, since the audience did not want to let Pariso let go, but he, apparently, did not specifically prepare anything “bisov”. I must not expect such a warm welcome.

02/20/2005 / Alexander Zaitsev