CHARLES AZNAVOUR - ia802805.us.archive.org
Transcript of CHARLES AZNAVOUR - ia802805.us.archive.org
CHARLES AZNAVOUR
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CHARLES n AZNAVOUR u LJ CD] CD2
1 TOI ET MOI 03:35
WITH CĂLINE DION
2 QUE C'EST TRISTE VENISE 03:13 WITH JULIO IGLESIAS
3 LES BATEAUX SONT PARTIS 02:25
WITH PLĂCIDO DOMINGO
4 PARIS AU MOIS D'AOĂT 03 39
WITH LAURA PAUSINI
5 HIER ENCORE 03:26
WITH ELTON JOHN
6 IL FAUT SAVOIR o3:3i
WITH JOHNNY HALLYDAY
7 MOURIR D'AIMER o4:oi WITH N AN A MOUSKOURI
8 L'AMOUR C'EST COMME UN IOUR 04:os
WITH STING
9 LA BOHĂME 04:i9
WITH JOSH GROBAN
10 TON NOM 02 51
WITH CAROLE KING
11 IE N'AI PAS VU LE TEMPS PASSER 03:51
WITH PAUL ANKA
12 MES EMMERDES o3:06 WITH HERBERT GRĂNEMEYER
13 C'EST UN GARS 04 os WITH ĂDITH PIAF
1 YESTERDAY WHEN I WAS YOUNG 03:26
WITH ELTON JOHN
2 QUIET LOVE os 25
WITH LIZA MINNELLI
3 LOVE IS NEW EVERYDAY 04:07
WITH STING
4 YOUNG AT HEART 02:53
WITH FRANK SINATRA
5 TO DIE OF LOVE »4:0i
WITH NANA MOUSKOURI
6 SHE 02:27
WITH BRYAN FERRY
7 I DIDN'T SEE THE TIME GO BY 03 52
WITH PAUL AN KA
8 YOU AND ME < 3 35
WITH CĂLINE DION
9 LA BOHĂME (ENCLISH VERSION) 03:28
WITH JOSH GROBAN
10 EL BARCO YA SE FUE 02:26
WITH PLĂCIDO DOMINGO
11 THE SOUND OF YOUR NAME 02:51
WITH CAROLE KING
12 YOU'VE GOT TO LEARN 03:31
WITH JOHNNY HALLYDAY
13 PARIGI IN AGOSTO 03:38
WITH LAURA PAUSINI
14 ALSESMIR BESCHISSEN GING 02 38
WITH HERBERT GRONEMEYER
15 EVERYBODY LOVES SOMEBODY SOMETIME 03:ll
WITH DEAN MARTIN
SUR UNE IDĂE ORIGINALE DE LĂVON SAYAN
CONSEILLERARTISTIQUE ET PERSONAL MANAGER DE CHARLES AZNAVOUR
ALL RIGHTS OF THE PRODUCER AND OF THE OWNER OF THE RECORDED WORK RESERVED. UNAUTHORISED COPYING, PUBLIC PERFORMANCE, BROADCASTING OR RENTAL OFTHIS RECORDING PROHIBITED. 5099924368223. MADE IN THE E.Ă. LC0542. ©2008 EMI MUSIC NETHERLANDS BV EXCEPT"EVERYBODY LOVES SOMEBODY SOMETIME ©2007 CAPITOL RECORDS, INC. S. "YOUNG AT HEARTâ ©2008 FSE ©2008 EMI MUSIC NETHERLANDS BV.
il ni ni 5 099924 368223
SUR UNE IDĂE ORIGINALE DE LĂVON SAYAN
CONSEILLER ARTISTIQUE ET PERSONAL MANAGER
DE CHARLES AZNAVOUR
MERCI D'AVOIR ACHETE CE DISQUE. CET ENREGISTREMENT AINSI QUE LA POCHETTE QUI L'ACCOMPAGNE BĂNĂFICIENT D'UNE PROTECTION AU TITRE
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MASTERISĂ PAR RAPHAĂLJONIN AU STUDIO) RAPH I.N.G. âą AD : KARINE SAPORO âą PEINTURE : LAUR||lffĂĂȘ^PĂWr^i»Y%ME . XAVIER LUCAS
50999 2436822 3
Itâs a joy to be writing to you, to tell you everything Iâm thinking... I can already imagine you now, reading this letter.
Câest une joie de vous Ă©crire, et pour tout
vous dire, je vous imagine déjà en train
de lire cette lettre.
There you are, chest upright, your lips a little pursed, that so characteristic,
very âAznavourianâ look of pride on your face, because, even when
reading a letter that you know will be an admiring one, youâre capable
of putting on that stern look.
I am conscious that you are a man who loathes ail that adulatory nonsense,
ail those âOh Charles...â, gushing compliments, and pathos in general.
That makes my task a tough one. Nevertheless, that makes it no less
of a privilĂšge. It falls to me to explain to people across the world what the
duets on this album mean within the context of your Ćuvre. Yes, thatâs
right, I said âĆuvreâ. Itâs a word that might irritate you and, indeed,
it suggests grand things. But letâs face it, youâd hĂąve to hĂąve one hell of
a nerve to be irritated by a big word, when youâve used so many of them
yourself. You started it, Charles. Youâve always had delusions of grandeur.
Your gift for languages cornes from that very fact, at least thatâs what
I believe. When it cornes to you, everything is vast. Take, for example:
âPaying for love can cost you your lifeâ ? Well it wasnât me who said that.
It's funny to listen to these artists singing here with you. Your presence
encourages them to grow even more, even when most of them are
already giants themselves.
The likes of Placido Domingo, for example, straining on tiptoe to proclaim,
with you, impassioned, that: âThe sadness I feel today is unimaginableâ.
Je vous vois, le buste bien droit, les lÚvres un peu serrées, avec votre moue
trĂšs fi Ăšre et trĂšs aznavourienne car, mĂȘme pour lire une lettre que
vous savez de pure affection, vous ĂȘtes bien capable de prendre votre
maudite moue.
Je sais que vous ĂȘtes un homme qui abhorre les galimatias
adorateurs, les «O Charles... », les dégoulinades de compliments,
et en général tout pathos. Donc, ma tùche est rude. Toutefois,
câestaussi un grand privilĂšge. Je suis chargĂ©e dâexpliquer Ă des gens
du monde entier ce que les duos de cet album signifient dans votre
oeuvre. Oui, j'ai dit oeuvre. Peut-ĂȘtre le mot vous Ă©nerve-t-il, c'est en
effet un grand mot. Mais entre nous, vous auriez un sacré toupet de 5
vous énerver pour un grand mot quand vous en avez tant employés
vous-mĂȘme. Fallait pas commencer, Charles. Vous avez toujours
eu la folie des grandeurs. Votre don pour les langues vient de lĂ ,
j'en suis certaine. Avec vous tout est vaste. Et puis, si on détaille :
« Payer l'amour au prix de sa vie» ? C'est quand mĂȘme pas moi qui
l'ai dit, ça III est d'ailleurs drĂŽle dâĂ©couter ces artistes qui chantent
ici avec vous, votre présence les incite à se grandir encore, alors
mĂȘme que la plupart dâentre eux sont des gĂ©ants. Et câest jusquâĂ un
Placido Domingo qui se met sur la pointe des pieds pour clamer avec
vous le cĆur ouvert : « Ma tristesse aujourd'hui est inimaginable ».
Were you born to sing in duets? Decidedly. Of course, in my mind I hĂąve
an image of a Charles, alone on a stage, dressed in black, one hand
in his pocket, one shoulder raised, his chin tucked in, independent
and untamed, a distant man who, as you might throw grain to your
chickens, is casting out into the space around him. But I am conscious
that thereâs also another Charles, one whoâs never alone, always
in a couple - Pierre Roche in the beginning, the fabulous musician
Georges Garvarentz, or a woman, your partner, of course, at your side.
Yes indeed, you are made for anything that is best performed as a pair. For a
long time now, I hùve suspected you of being fiercely compétitive in this
type of performance. I will never forget a certain variety show, broadcast
around twenty years ago or so. I believe it was called Les rendez-vous du
dimanche. A number of singers appeared that evening, interpreting
Aznavour. I remember how one of those artists struggled to each the high
notes in La bohĂšme. When it came to the line ââlâhumble garni ne payait pas
de mineâ, he it was who wasnât up to it. The poor fellow simply screeched.
Charles, I will never forget the joyous air you had at that moment.
So happy that your song should be so difficult to handle. A real beast.
On that day, you even said: âGo on, keep trying!â
Donât tell me thatâs not true. I hĂąve an excellent memory, even if you donât.
You confessed it to me.
Ătes-vous fait pour chanter en duo? Oui. Bien sĂ»r, j'ai en tĂȘte l'image
dâun Charles seul sur scĂšne, habillĂ© en noir, une main dans la poche,
une épaule relevée, le menton rentré, indépendant et sauvage,
un homme distant qui, comme on jette du grain aux poules, jette
de la distance autour de lui.
Mais je sais que vous ĂȘtes aussi l'autre Charles, jamais seul au contraire,
toujours en couple, avec Pierre Roche au début, avec le fabuleux
musicien Georges Garvarentz, ou avec une femme - la vĂŽtre -
à ses cÎtés.
Oui, dĂ©cidĂ©ment oui, vous ĂȘtes fait pour tout ce qui se trame Ă deux.
Longtemps, je vous ai soupçonné d'avoir un vivace sens de
la compétition dans ce genre de prestations. Je n'oublierai jamais
une certaine Ă©mission de variĂ©tĂ© française, il y a peut-ĂȘtre vingt ans
de ça, je crois que ça s'appelait Les rendez-vous du dimanche. Plusieurs
chanteurs interprétaient Aznavour ce soir-là . Et il y en avait un, de ces
artistes, qui eut bien du mal Ă monter dans les aigus de La bohĂšme.
Au moment de «l'humble garni ne payait pas de mine», c'est lui qui
ne payait pas de mine et chuintait, le pauvre. Charles, je n'oublierai
jamais l'air réjoui que vous avez eu alors. Si heureux, mon Dieu,
que votre chanson soit dure à porter! Un vrai démon. Et vous avez
mĂȘme dit ce jour-lĂ : « Eh oui, il faut se la faire!».
In short, it is precisely because you are that beast that I hĂąve the greatest
of respect for the people who are singing with you now. In this life,
it takes ail sorts and, for that very reason, essentially itâs quite simple.
But when it cornes to Charles, itâs quite a more dĂ©licate matter. And the
way in which people relate to and interact with you knocks me out.
For example, lâm touched by Sting, pronouncing words in French just like a kid
learning a foreign language, clumsy, yet full of vénération for the lyrics
in his interprétation. Esconced in the depths of his médiéval chateau,
he was determined to sing in your language. There are some determined
performances here that go straight to the heart.
Performed as a duet with Placido Domingo, Les bateaux sont partis is turned into
perhaps the most uplifting of these laments. A man, naively waiting for
a miracle. And PlĂącidoâs voice is like the voice of your soĂ»l.
Mourir dâaimer is the song of yours that Iâve listened to most in my life. At times,
the lyrics hĂąve enabled me to recover my dignity in a relationship.
NanaMouskouri gives the melody such a tender treatment that youâre
obliged to leave aside your resentment.
I love the way that, in La bohĂšme, the voice of Josh Croban sounds a thousand
times more grown-up than yours.
Ne dßtes pas que ce n'est pas vrai. Moi j'ai bonne mémoire et vous pas.
Vous me l'avez avoué.
Bref, câest parce que vous ĂȘtes ce dĂ©mon que jâai le plus grand respect pour
les gens qui chantent avec vous aujourd'hui. Il faut de tout pour faire
un monde et, à cause de ça, au fond c'est assez simple. Mais pour faire
un Charles, ah câest autrement plus dĂ©licat. Et la façon dont ces gens
se mettent peau contre peau avec vous me bouleverse.
Par exemple il me touche, ce Sting, prononçant les mots français comme
un enfant qui apprend une langue Ă©trangĂšre, maladroit, et toute une
vénération pour la beauté de ces paroles passe dans son application.
Du fond de son chùteau médiéval, il a insisté pour chanter dans votre
langue. Il y a des entĂȘtements qui vont droit au cĆur.
Les bateaux sont partis devient peut-ĂȘtre, par ce duo avec Placido Domingo,
le plus espérant des hymnes tristes. Un homme attend candidement
un miracle. Et la voix de Domingo est comme celle de votre Ăąme.
Mourir d'aimer est la chanson de vous que jâai le plus Ă©coutĂ© dans ma vie.
Que de fois ce qui est dit lĂ -dedans mâa rendu ma dignitĂ© en amour.
Nana Mouskouri plonge la mélodie dans sa douceur, et vous oblige
Ă quitter votre hargne.
I love the way that Johnny Hallyday is so in his element in II faut savoir.
Your voices intermingle to the point that there are moments at which
itâs hard to tell whoâs who.
As for CĂ©line Dion, she sings, as it were, in italics. Thatâs something that Glenn
Gould used to say about Barbra Streisand. Her voice takes its eue completely
from yours. And in Ton nom, the devastating, blonde beauty of Carole King
gives you a devilish streak. Her voice feeds completely off your energy.
Liza Minnelli, we can hear that she loves you. And hereâs the proof.
Paul Anka, he could be your brother. Like Piaf your sister. Herbert GrĂŽnemeyer
is like your German cousin, who you hĂąve taught how to pronounce
the words by reading the words out loud, without him understanding
athing.
Julio Iglesias... when I think of your two characters put together, I see you as two
out-and-out ragamuffins, daring to sing about âhow sad Venice isâ.
As for Sinatra, his Ă©locution is every bit as perfect as yours. Even someone who
canât speak English gets the impression that they understand every
single word Sinatra is saying. Even a person who doesnât understand
what love is gets the impression of knowing what youâre feeling when
you sing it. Youâre a terrifie twosome.
Jâadore que dans La bohĂšme, la voix du jeunejosh Groban semble millefois
plus adulte que la vĂŽtre.
J'adore que Johnny Hallyday soit chez lui dans II faut savoir. Vos voix
se confondent au point qu'Ă des moments on ne sait plus qui est qui.
CĂ©line Dion, elle, chante en italique. Câest ce que Glenn Gould disait
de Barbara Streisand. Sa voix est toute penchée sur vous.
Et dans Ton nom, la beauté ravageuse et blonde de Carole King vous donne
une niak infernale. Sa voix est toute accrochée à votre énergie.
Liza Minnelli, on entend qu'elle vous aime.
Paul Anka est comme un frĂšre. Piaf est comme une soeur. Herbert
GrĂŽnemeyer est comme le cousin allemand dont vous avez appris
Ă prononcer la langue en la lisant inlassablement Ă voix haute,
sans la comprendre.
Julio Iglesias... quand je pense à vos deux humours conjugués, je vous trouve
des vrais galopins intraitables d'oser chanter «que c'est triste, Venise».
And then thereâs Dean Martin. The breaking up thatâs ever-present in your voice
cornes to his by accident. The mysteries of life. Especially when one
considers that he was considerably more of a wreck than you.
And then thereâs Bryan Ferry. For me, his gently rasping voice on She is the
embodiment of your modesty.
And then there's Elton John. You so discreet, he exubérance personified.
Opposites attract, isnât that what they say ?
And then there's Laura Pausini, and in Paris au mois dâaoĂ»t she it is who posts
her détermination to succeeding in that time-honoured challenge of
trying to go as high as you. And thatâs pretty high.
I once asked you where this prodigious lyricism came from, that constantly
sent you up into the heights, and you responded, prosaically: âI donât
hĂąve a dueâ. I once asked you which language it was most difficult to
sing in, and you answered: âIâd sing in Patagonian if I had toâ. I once
asked you why you made the effort to sing in so many languages,
while Sinatra didnât make that same effort, and your answer was:
âAmericans arenât gifted when it cornes to foreign languagesâ. I asked
you how things were and you told me: âMoving slowly, but OKâ, and you
explained to me that play s on words could extend beyond borders. I asked
you what it meant to you to be so loved, and you told me: âI love the love
Quant Ă Sinatra, il a la mĂȘme perfection d'Ă©locution que vous.
MĂȘme quelqu'un qui ne connaĂźt pas lâanglais a lâimpression
de comprendre tout ce que dit Sinatra. MĂȘme quelqu'un qui
ne comprend pas l'amour a l'impression de connaĂźtre ce sentiment
quand vous le chantez. Vous faites un beau couple.
On arrive Ă Dean Martin. La brisure qui est partout dans votre voix,
chez lui arrive par accident. Les mystĂšres de la vie. Lui qui Ă©tait
pourtant bien plus brisé que vous.
On arrive à Bryan Ferry. Son chant éraillé et si doux, sur She, est pour moi
l'incarnation de votre pudeur.
On arrive à Elton John. Vous le discret, lui l'exubérant. Ce qui ne se
ressemble pas s'assemble, non ?
On arrive à Laura Pausini, et dans Paris, au mois d'août, c'est elle
qui s'y colle, au fameux exercice de monter aussi haut que vous.
Tout lĂ haut.
Je vous ai demandĂ© d'oĂč vous venait ce prodigieux lyrisme qui vous faisait
prendre sans cesse de lâaltitude et vous m'avez rĂ©pondu, prosaĂŻque :
«Ăa, jâen sais rien».
I get from the public. These days, artists donât love their public, they enjoy
public success... thatâs something very different, and I pity themâ. I
asked you if the artists singing with you had been impressed, and you
told me that they had, but that you put them at their ease by kidding
them it â wasnât a matter of life or deathâ. I asked you what kind of artists
exasperated you, and you answered: âThose who hĂąve lost it, and no
longer know who they areâ. I asked you where you found the strength
from to still put so much rage into your songs, and you answered:
âIt isnât rage, itâs vehemenceâ. I then asked you how you still found
the strength to still be putting that âvehemenceâ into your songs, and
you answered: âMe, Iâm alive. Iâm not dead. And I ask myself, how can
I ignore it, whatâs the point in that?â I asked you how you hĂąve achieved
âail thatâ, and you answered: âIâve never asked myself: âHow do you
plan to do that?â I ask my questions afterwards, if there are any left to
askâ. I asked you how you had managed to live with so many immense
Ă©motions in a single life. And your response was: âI donât hĂąve much
time for Ă©motions. I leave that to the audienceâ.
So, in a way itâs our album, us, your audience.
SOPHIE FONTANEL
WRITER AND jOURNALIST
Je vous ai demandĂ© dans quelle langue câĂ©tait le plus difficile de chanter
et vous mâavez rĂ©pondu : «Je chanterais en Patagon, sâil le fallait».
Je vous ai demandé comment ça allait et vous m'avez répondu :
«Ăa va Ă pied, mais ça va», et vous mâavez expliquĂ© que les calembours
passaient les frontiÚres. Je vous ai demandé si les artistes qui
chantaient avec vous Ă©taient impressionnĂ©s, et vous mâavez rĂ©pondu
que oui, mais vous vous les mettiez Ă lâaise en blaguant que «C'est pas
une question de vie ou de mort». Je vous ai demandĂ© oĂč vous trouviez
la force de mettre encore autant de rage dans vos chansons, et vous
m'avez répondu : «C'est pas de la rage, c'est de la véhémence».
Alors je vous ai demandé comment vous trouviez la force de mettre
encore de la véhémence dans vos chansons, et vous m'avez répondu : 15
«Moi, je vis. Je suis pas né mort. Etje me demande comment je vais
passer de lâautre cĂŽtĂ©, ce que ça va donner». Je vous ai demandĂ©
comment vous aviez fait pour vivre en une seule vie autant d'incomÂŹ
mensurables émotions. Et vous m'avez répondu : « C'est pas moi,
les Ă©motions. Les Ă©motions, câest le public».
Donc, câest un peu notre album, Ă nous votre public.
SOPHIE FONTANEL
ĂCRIVAIN ET JOURNALISTE
3 5
TOI IT MOI
WITH CĂLINE DION
(CHARLES AZNAVOUR / JACQUES REVAUX
JEAN-PIERRE BOURTAYRE)
ĂDITONS MUSICALES DjANIK
PRODUCED BY ERICK BENZIL PHIL RAMONE
RECORDEO AT SHIRE STUDIOS (NEW YORK, USA)
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
STRINGS : PARIS POP ORCHESTRA
STRING ARRANGEMENTS : STANISLAS RENOULT
BASS: YANNICK HARDOUIN
DRUMS: LAURENT COPPOLA
GUITARS: NICOLAS MINGOT
UILLEANN PIPES 1 FLUTE ; LOĂCTAILLEBREST
KEYBQARDS L PROGRAMMINGS : ERICK BENZI
CĂLINE DION APPEARS COURTESY
OF SONY BMC MUSIC (CANADA), INC.
2
QUE C'EST TRISTE VENISE
WITH JULIO IGLESIAS
(FRANĂOISE DORIN / CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI
RECORDEO IN MIAMI (USA)
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
STRINGS : PARIS POP ORCHESTRA
STRING ARRANGEMENTS : STANISLAS RENOULT
BASS: YANNICK HARDOUIN
DRUMSL LAURENT COPPOLA
PROGRAMMINGS, KEYBOARDS
K. MANDOUN : ERICK BENZI
GUITARS: NICOLAS MINGOT
JULIO IGLESIAS APPEARS COURTESY
OF SONY BMG MUSIC ENTERTAINMENT
(NETHERLANDS) BV
LIS BATEAUX SONT PARTIS
WITH PLĂCIDO DOMINGO
(BERNARD DIMEY/CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI
ARRANGEDBY ROGER LOUBET
RECORDEO AT PALAU DE LES ARTS REINA
VALENCIA (SPAIN)
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
ADDITIONAL DRUMS: ERICK BENZI
4
PARIS AU MOIS D'AOĂT
WITH LAURA PAUSINI
(CHARLES AZNAVOUR/
GEORGES GARVARENTZ)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY STEVE JEFFRIES L PATRICK SHART
RECORDEO AT GUILLAUME TELL STUDIOS
(SURESNES, FRANCE) «. OLIVETA RECORDING
STUDIOS (CASTELBOtOGNESE, fTALY)
(MYSPACE.COM/ORSRECORDINGSTUDIOS)
MIXED BY PATRICK SHART L STEVE JEFFRIES
AT ATLANTIC SEVEN STUDIOS (LONDON, UK)
LAURA RAUSINI APPEARS COURTESY
OF WARNER MUSIC ITALY
Him ENCORE
WITH ELTON JOHN
(CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY PATRICK SHART L STEVE JEFFRIES
RECORDEO AT GUILLAUME TELL STUDIOS
(SURESNES, FRANCE) iSILENT SOUND
STUDIOS (ATLANTA, USA)
MIXED BY PATRICK SHART L STEVE JEFFRIES
AT ATLANTIC SEVEN STUDIOS (LONDON, UK)
ELTON JOHN APPEARS COURTESY
OF MERCURY RECORDS LTD.
6
IL FAUT SAVOIR
WITH JOHNNY HALLYDAY
(CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI L PHIL RAMONE
ARRANGEDBY PAUL MAURIAT
RECORDED IN 2004 AT GUILLAUME TELL
STUDIOS (SURESNES, FRANCE) COURTESY
OF UNIVERSAL MUSIC FRANCE
MIXED BY ERICK BENZI AT STUDiO LE CHALET
(BOIS-COLOMBES, FRANCE)
BASS: YANNICK HARDOUIN
DRUMS: LAURENT COPPOLA
PROGRAMMINGS K KEYBOARDS : ERICK BENZI
GUITARS: NICOLAS MINGOT
JOHNNY HALLYDAY APPEARS COURTESY
OF WARNER MUSIC FRANCE
MOURIR D'AIMBR LA BOHĂME WITH NANA MOUSKOURI WITH JOSH GROBAN
(CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI
RECORDED AT GUILLAUME TELL STUDIOS
(SURESNES, FRANCE)
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
STRINGS: PARIS POP ORCHESTRA
STRING ARRANGEMENTS : STANISLAS RENOULT
BASS, DRUMS, KEYBOARDS, GUITARS
«.PROGRAMMINGS: ERICK BENZI
NANA MOUSKOURI APPEARS COURTESY
OF MERCURY, A DIVISION OF UNIVERSAL
MUSIC FRANCE
GACQUES PLANTE / CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY ERIC MOUQUET
RECORDED AT GUILLAUME TELL STUDIOS
(SURESNES. FRANCE)
MIXED BY ERIC MOUQUET
JOSH GROBAN APPEARS COURTESY
OF WARNER BROS RECORDS, INC.
10
Y©H NOM
WITH CAROLE KING
IB N'AI PAS VU LB TEMPS PASSER
WITH PAUL ANKA
(CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BYRAULANKA
ARRANGED BY JEREMY LUBBOCK
RECORDED BY AL SCHMIDT AT CAPITOL
STUDIOS (LOS ANGELES, USA)
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
PAUL AN KA APPEARS COURTESY
OF PAUL ANKA PRODUCTIONS
C'EST UN CARS
WITH ĂDITH PIAF
(PIERRE ROCHE / CHARLES AZNAVOUR)
ĂDITIONS RAOUL BRETON
RECORDED AT GUIUAUMETELL STUDIOS
(SURESNES, FRANCE)
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
12
8
L'AMOUR C'EST COMME UN IOUR
WITH STING
(YVES STĂPHANE/CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI «.PHIL RAMONE
RECORDED AT LAKE HOUSE STUDIOS
(SALISBURY WILTSHIRE. UK) t STUDIO
GUILLAUME TELL (SURESNES, FRANCE)
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
STRINGS : PARIS POP ORCHESTRA
STRING ARRANGEMENTS : STANISLAS RENOULT
BASS: YANNICK HARDOUIN
DRUMS, KEYBOARDS, GUITARS, PIANO
LPROGRAMMINGS: ERICK BENZI
STING APPEARS COURTESY OF CHERRYTREE/
AĂ.M RECORDS
(CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DjANIK
PRODUCED BY ERICK BENZI Ăź. PHIL RAMONE
ARRANGED BY CHRISTIAN GAUBERT
RECORDED AT RIGHTTRACK RECORDING
STUDIOS (NEW YORK, USA)
MIXED BY ERICK BENZI AU STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
BASS: YANNICK HARDOUIN
DRUMS: LAURENT COPPOLA
PIANO, PROGRAMMINGS L KEYBOARDS :
ERICK BENZI
GUITARS: NICOLAS MINGOT
CAROLE KING APPEARS COURTESY
OFROCKINGALE RECORDS
MES EMMERDES
WITH HERBERT GRĂNEMEYER
(CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI
ARRANGEDBY DEL NEWMAN
RECORDED BY ALEX SYLVA AT HANSA
TONSTUDIOS (BERLIN, GERMANY)
«L BY GĂRARD DE HARO S. NICOLAS BAILLARD
AT STUDIO IA BUISSONNE (PERNES-LES-
FONTAINES, FRANCE)
MIXED BY ERICK BENZI AT STUOIO LE CHALET
(BOIS-COLOMBES, FRANCE)
HERBERT GRONEMEYER APPEARS COURTESY
OF EMI MUSIC GERMANY GMBH L CO. KG
2 6
QUIET LOVE
WITH LIZA MINNELLI
4
YOUNG AT HEART WITH FRANK SINATRA
1
YESTERDAY WHEN I WAS YOUNG
WITH ELTON JOHN
(CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY PATRICK SHARTt STEVE JEFFRIES
ADAPTED BY HERBERT KRETZMER
RECORDED AT GUILLAUME TELL STUDIOS
(SURESNES. FRANCE) ÂŁ SILENT SOUND
STUDIOS (ATLANTA, USA)
MIXED BY PATRICK SHART ÂŁ STEVE JEFFRIES
AT ATLANTIC SEVEN STUDIOS (LONDON, UK)
ELTON JOHN APPEARS COURTESY
OF MERCURY RECORDS LTD.
(CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BYPHIL RAMONE
ARRANGED BY PHILIPPE SAISSE ÂŁ PAUL MAURIAT
ADAPTED BYFREDEBB
RECORDED AT RIGHTTRACK RECORDING
STUDIOS (NEW YORK, USA)
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
KEYBOARDS: ERICK BENZI
PIANO: MICHELAMSELLEM
(CAROLYN LEIGH JOHNNY RICHARDS)
ĂDITIONS CHERIO CORPORATION BMI /
JUNEâSTUNESUS
©2008 FRANK SINATRA ENTERPRISES, LLC
ORIGINAL RECORDING PRODUCED
BYSONNYBURKEt ARRANGED
BY NELSON RIDDLEFROM THE ALBUM
'SINATRA'S SINATRAâ
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES)
WITH COURTESY OF FSE
3 5
LOVE IS NEW EVERYDAY
WITH STING
(CHARLES AZNAVOUR YVES STĂPHANE /
CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI ÂŁ PHIL RAMONE
ADAPTED BY MARCEL STELLMAN
RECORDED AT LAKE HOUSE STUDIOS
(SALISBURYWILTSHIRE, UK) ÂŁ STUDIO
GUILLAUME TELL (SURESNES, FRANCE)
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
STRINGS : PARIS POP ORCHESTRA
STRING ARRANGEMENTS : STANISLAS RENOULT
BASS: YANNICK HAROOUIN
DRUMS, KEYBOARDS, GUITARS, PIANO
1PROGRAMMINGS: ERICK BENZI
STING APPEARS COURTESY OF CHERRYTREE /
AÂŁM RECORDS
TO DIE OF LOVE
WITH NANA MOUSKOURI
(CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI
ADAPTED BY HOWARD H. LIEBLING
RECORDED AT GUILLAUME TELL STUDIOS
(SURESNES, FRANCE)
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
STRINGS : PARIS POP ORCHESTRA
STRING ARRANGEMENTS : STANISLAS RENOULT
BASS, DRUMS, KEYBOARDS, GUITARS
ÂŁ PROGRAMMINGS: ERICK BENZI
NANA MOUSKOURI APPEARS COURTESY
OF MERCURY, A DIVISION OF UNIVERSAL
MUSIC FRANCE
SHE
WITH BRYAN FERRY
(HERBERT KRETZMER/CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK FOR FRANCE
SACEM TERRITORIES / STANDARD MUSIC
FORTHERESTOFTHEWORLD
PRODUCED BY ERICK BENZI ET PHIL RAMONE
ARRANGED BY ANDRĂ MANOUKIAN
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES)
STRINGS : PARIS POP ORCHESTRA
STRING ARRANGEMENTS : STANISLAS RENOULT
BASS: YANNICK HARDOUIN
DRUMS: LAURENT COPPOLA
PROGRAMMINGS ÂŁ KEYBOARDS : ERICK BENZI
GUITARS: NICOLAS MINGOT
BRYAN FERRY APPEARS COURTESY
OFEMI RECORDS LIMITED.
7
I DIDN'T SEE THE TIME GO BY
WITH PAUL ANKA
(CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY PAUL ANKA
ARRANGED BY JEREMY LUBBOCK
ADAPTED BY HERBERT KRETZMER
RECORDED BYAL SCHMIDT AT CAPITOL
STUDIOS (LOS ANGELES, USA)
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
PAUL ANKA APPEARS COURTESY OF PAUL
ANKA PRODUCTIONS
YOU AND ME
WITH CĂLINE DION
10 14 12
(CHARLES AZNAVOUR/JACQUES REVAUX
JEAN-PIERRE BOURTAYRE)
ADAPTED BYDEE SH IPMAN
ĂDITIONS ART MUSIC FRANCE / ĂDITIONS
MUSICALES DJANIK
PRODUCED BY ERICK BENZI ÂŁ PHIL RAMONE
RECORDED AT SHIRE STUDIOS (NEW
YORK, USA)
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES. FRANCE)
STRINGS: PARIS POP ORCHESTRA
STRING ARRANGEMENTS : STANISLAS RENOULT
BASS: YANNICK HARDOUIN
DRUMS: LAURENT COPPOLA
GUITARS: NICOLAS MINGOT
UILLEANN PIPES ÂŁ FLUTE : LOĂCTAILLEBREST
KEYBOARDS ÂŁ PROGRAMMINGS : ERICK BENZI
CĂLINE DION APPEARS COURTESY OF SONY
BMG MUSIC (CANADA), INC.
9
LA BOHĂME (ENGLISH VERSION) WITH JOSH GROBAN
(JACQUES PLANTE / CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY ERIC MOUQUET
ADAPTED BY HERBERT KRETZMER
RECORDED AT GUILLAUME TELL STUDIO
(SURESNES)
MIXED BY ERIC MOUQUET
JOSH GROBAN APPEARS COURTESY
OF WARNER BROS RECORDS, INC.
EL BARCO YA SE FUE
WITH PLĂCIDO DOMINGO
YOU1 VE GOT TO LEARN
WITH JOHNNY HALLYDAY
(BERNARD DIMEY/CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI
ARRANGED BY ROGER LOUBET
ADAPTED BY PASCAL NOĂL
RECORDED ATPALAU DE LES ARTS
REINA VALENCIA* (SPAIN)
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
ADDITIONAL DRUMS : ERICK BENZI
11
THE SOUND OF YOUR NAME
WITH CAROLE KING
(CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI t PHIL RAMONE
ARRANGED BY PAUL MAURIAT
ADAPTED BY MARCEL STELLMAN
RECORDED IN 2004 AT GUILLAUME TELL
STUDIOS (SURESNES, FRANCE) COURTESY
OF UNIVERSAL MUSIC FRANCE
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
BASS: YANNICK HARDOUIN
DRUMS: LAURENT COPPOLA
PROGRAMMINGS ÂŁ KEYBOARDS : ERICK BENZI
GUITARS: NICOLAS MINGOT
JOHNNY HALLYDAY APPEARS COURTESY
OF WARNER MUSIC FRANCE
(CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI ÂŁ PHIL RAMONE
ARRANGED BY CHRISTIAN GAUBERT
ADAPTED BY HERBERT KRETZMER
RECORDED AT RIGHTTRACK RECORDING
STUDIOS (NEW YORK, USA)
MIXED BY ERICK BENZI AU STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
BASS: YANNICK HARDOUIN
DRUMS: LAURENT COPPOLA
PIANO, PROGRAMMINGS ÂŁ KEYBOARDS :
ERICK BENZI
GUITARS: NICOLAS MINGOT
CAROLE KING APPEARS COURTESY
OF ROCKINGALE RECORDS
13
PARIGI IN AGOSTO WITH LAURA PAUSINI
(CHARLES AZNAVOUR / CHARLES AZNAVOUR
GEORGES GARVARENTZ)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY R4TRICK SHART ÂŁ STEVE JEFFRIES
ADAPTED BY BRUNO PALLESI
RECORDED AT GUILLAUME TELL STUDIOS
(SURESNES, FRANCE) ÂŁ OLIVETA RECORDING
STUDIOS (CASTELBOLOGNESE, ITALY)
(MYSPACE.COM/ORSRECORDINGSTUDIOS)
MIXED BY PATRICK SHART ÂŁ STEVE JEFFRIES
AT ATLANTIC SEVEN STUDIOS (LONDON, UK)
LAURA PAUSINI APPEARS COURTESY
OF WARNER MUSIC ITALY
ALS ES MIR BESCHISSEN GING
WITH HERBERT GRĂNEMEYER
(CHARLES AZNAVOUR)
ĂDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI
ARRANGED BY DEL NEWMAN
ADAPTED BY MICHAEL KUNZE
RECORDED BYALEX SYLVA AT HANSA
TONSTUDIOS (BERLIN, GERMANY)
ÂŁ BY GĂRARD DE HARO ÂŁ NICOLAS BAILLARD
AT STUDIO LA BUISSONNE (PERNES-LES-
FONTAINES, FRANCE)
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
HERBERT GRĂNEMEYER APPEARS COURTESY
OFEMI M USIC GERMANY GMBH ÂŁ CO. KG
15
EVERYBODY LOVES SOMEBODY SOMETIME
WITH DEAN MARTIN
(KENLANE IRVINGTAYLOR)
ĂDITIONS SANDS MUSIC CORP.
@2007 CAPITOL RECORDS INC
ORIGINALARRANGEMENT BY KEN LANE
ÂŁ JIMMY BOWEN
ADAPTED BYTOM RANIER
ADDITIONAL ENGINEER: ROLAND GUILLOTEL
ARTISTIC ADVISER : LĂVON SAYAN
CHARLES AZNAVOUR'S VOCALS RECORDED
AT STUDIO GUILLAUMETELL (SURESNES,
FRANCE)
DEAN MARTIN APPEARS COURTESY
OF CAPITOL RECORDS