charles aznavour - ia802805.us.archive.org
TRANSCRIPT
CHARLES AZNAVOUR
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CHARLES n AZNAVOUR u LJ CD] CD2
1 TOI ET MOI 03:35
WITH CÉLINE DION
2 QUE C'EST TRISTE VENISE 03:13 WITH JULIO IGLESIAS
3 LES BATEAUX SONT PARTIS 02:25
WITH PLÂCIDO DOMINGO
4 PARIS AU MOIS D'AOÛT 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 BOHÈME 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 GRÔNEMEYER
13 C'EST UN GARS 04 os WITH ÉDITH 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 CÉLINE DION
9 LA BOHÈME (ENCLISH VERSION) 03:28
WITH JOSH GROBAN
10 EL BARCO YA SE FUE 02:26
WITH PLÂCIDO 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 IDÉE ORIGINALE DE LÉVON 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.Ü. LC0542. ©2008 EMI MUSIC NETHERLANDS BV EXCEPT"EVERYBODY LOVES SOMEBODY SOMETIME ©2007 CAPITOL RECORDS, INC. S. "YOUNG AT HEART” ©2008 FSE ©2008 EMI MUSIC NETHERLANDS BV.
il ni ni 5 099924 368223
SUR UNE IDÉE ORIGINALE DE LÉVON SAYAN
CONSEILLER ARTISTIQUE ET PERSONAL MANAGER
DE CHARLES AZNAVOUR
MERCI D'AVOIR ACHETE CE DISQUE. CET ENREGISTREMENT AINSI QUE LA POCHETTE QUI L'ACCOMPAGNE BÉNÉFICIENT D'UNE PROTECTION AU TITRE
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THANKYQU FOR BUYINGTHIS MUSIC AND FOR SUPPORTINGTHE ARTISTS, SONGWRITERS, MUSICIANS ANDOTHERSWHO'VE CREATEDIT AND MADÊ
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MASTERISÉ PAR RAPHAÊLJONIN AU STUDIO) RAPH I.N.G. • AD : KARINE SAPORO • PEINTURE : LAUR||lffÇê^PÉWr^i»Y%ME . XAVIER LUCAS
50999 2436822 3
It’s a joy to be writing to you, to tell you everything I’m thinking... I can already imagine you now, reading this letter.
C’est une joie de vous écrire, 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 “Aznavourian” look of pride on your face, because, even when
reading a letter that you know will be an admiring one, you’re capable
of putting on that stern look.
I am conscious that you are a man who loathes ail that adulatory nonsense,
ail those “Oh Charles...”, gushing compliments, and pathos in general.
That makes my task a tough one. Nevertheless, that makes it no less
of a privilège. It falls to me to explain to people across the world what the
duets on this album mean within the context of your œuvre. Yes, that’s
right, I said “œuvre”. It’s a word that might irritate you and, indeed,
it suggests grand things. But let’s face it, you’d hâve to hâve one hell of
a nerve to be irritated by a big word, when you’ve used so many of them
yourself. You started it, Charles. You’ve always had delusions of grandeur.
Your gift for languages cornes from that very fact, at least that’s what
I believe. When it cornes to you, everything is vast. Take, for example:
“Paying for love can cost you your life” ? Well it wasn’t 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: “The sadness I feel today is unimaginable”.
Je vous vois, le buste bien droit, les lèvres un peu serrées, avec votre moue
très fi ère et très aznavourienne car, même pour lire une lettre que
vous savez de pure affection, vous êtes bien capable de prendre votre
maudite moue.
Je sais que vous êtes un homme qui abhorre les galimatias
adorateurs, les «O Charles... », les dégoulinades de compliments,
et en général tout pathos. Donc, ma tâche est rude. Toutefois,
c’estaussi un grand privilège. Je suis chargée d’expliquer à des gens
du monde entier ce que les duos de cet album signifient dans votre
oeuvre. Oui, j'ai dit oeuvre. Peut-être le mot vous énerve-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-même. Fallait pas commencer, Charles. Vous avez toujours
eu la folie des grandeurs. Votre don pour les langues vient de là,
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 même pas moi qui
l'ai dit, ça III est d'ailleurs drôle d’écouter ces artistes qui chantent
ici avec vous, votre présence les incite à se grandir encore, alors
même que la plupart d’entre eux sont des géants. Et c’est jusqu’à un
Placido Domingo qui se met sur la pointe des pieds pour clamer avec
vous le cœur ouvert : « Ma tristesse aujourd'hui est inimaginable ».
Were you born to sing in duets? Decidedly. Of course, in my mind I hâve
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 there’s also another Charles, one who’s 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 hâve 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 bohème. When it came to the line ‘‘l’humble garni ne payait pas
de mine”, he it was who wasn’t 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: “Go on, keep trying!”
Don’t tell me that’s not true. I hâve an excellent memory, even if you don’t.
You confessed it to me.
Êtes-vous fait pour chanter en duo? Oui. Bien sûr, j'ai en tête l'image
d’un Charles seul sur scène, habillé 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 êtes 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 vôtre -
à ses côtés.
Oui, décidément oui, vous êtes fait pour tout ce qui se trame à 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 émission de variété française, il y a peut-être 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 à monter dans les aigus de La bohème.
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
même dit ce jour-là : « Eh oui, il faut se la faire!».
In short, it is precisely because you are that beast that I hâve 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 it’s quite simple.
But when it cornes to Charles, it’s quite a more délicate matter. And the
way in which people relate to and interact with you knocks me out.
For example, l’m 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 Plâcido’s voice is like the voice of your soûl.
Mourir d’aimer is the song of yours that I’ve listened to most in my life. At times,
the lyrics hâve enabled me to recover my dignity in a relationship.
NanaMouskouri gives the melody such a tender treatment that you’re
obliged to leave aside your resentment.
I love the way that, in La bohème, the voice of Josh Croban sounds a thousand
times more grown-up than yours.
Ne dîtes pas que ce n'est pas vrai. Moi j'ai bonne mémoire et vous pas.
Vous me l'avez avoué.
Bref, c’est parce que vous êtes ce démon que j’ai 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 c’est autrement plus délicat. 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 étrangère, maladroit, et toute une
vénération pour la beauté de ces paroles passe dans son application.
Du fond de son château médiéval, il a insisté pour chanter dans votre
langue. Il y a des entêtements qui vont droit au cœur.
Les bateaux sont partis devient peut-être, 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 âme.
Mourir d'aimer est la chanson de vous que j’ai le plus écouté dans ma vie.
Que de fois ce qui est dit là-dedans m’a rendu ma dignité en amour.
Nana Mouskouri plonge la mélodie dans sa douceur, et vous oblige
à 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
it’s hard to tell who’s who.
As for Céline Dion, she sings, as it were, in italics. That’s 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 here’s the proof.
Paul Anka, he could be your brother. Like Piaf your sister. Herbert Grônemeyer
is like your German cousin, who you hâve 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 “how sad Venice is”.
As for Sinatra, his élocution is every bit as perfect as yours. Even someone who
can’t speak English gets the impression that they understand every
single word Sinatra is saying. Even a person who doesn’t understand
what love is gets the impression of knowing what you’re feeling when
you sing it. You’re a terrifie twosome.
J’adore que dans La bohème, la voix du jeunejosh Groban semble millefois
plus adulte que la vôtre.
J'adore que Johnny Hallyday soit chez lui dans II faut savoir. Vos voix
se confondent au point qu'à des moments on ne sait plus qui est qui.
Céline Dion, elle, chante en italique. C’est 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 frère. Piaf est comme une soeur. Herbert
Grônemeyer est comme le cousin allemand dont vous avez appris
à prononcer la langue en la lisant inlassablement à 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 there’s Dean Martin. The breaking up that’s 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 there’s 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, isn’t that what they say ?
And then there's Laura Pausini, and in Paris au mois d’août she it is who posts
her détermination to succeeding in that time-honoured challenge of
trying to go as high as you. And that’s pretty high.
I once asked you where this prodigious lyricism came from, that constantly
sent you up into the heights, and you responded, prosaically: “I don’t
hâve a due”. I once asked you which language it was most difficult to
sing in, and you answered: “I’d sing in Patagonian if I had to”. I once
asked you why you made the effort to sing in so many languages,
while Sinatra didn’t make that same effort, and your answer was:
“Americans aren’t gifted when it cornes to foreign languages”. I asked
you how things were and you told me: “Moving slowly, but OK”, 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: “I love the love
Quant à Sinatra, il a la même perfection d'élocution que vous.
Même quelqu'un qui ne connaît pas l’anglais a l’impression
de comprendre tout ce que dit Sinatra. Même quelqu'un qui
ne comprend pas l'amour a l'impression de connaître ce sentiment
quand vous le chantez. Vous faites un beau couple.
On arrive à Dean Martin. La brisure qui est partout dans votre voix,
chez lui arrive par accident. Les mystères de la vie. Lui qui était
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 là haut.
Je vous ai demandé d'où vous venait ce prodigieux lyrisme qui vous faisait
prendre sans cesse de l’altitude et vous m'avez répondu, prosaïque :
«Ça, j’en sais rien».
I get from the public. These days, artists don’t love their public, they enjoy
public success... that’s something very different, and I pity them”. 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 “ wasn’t a matter of life or death”. I asked you what kind of artists
exasperated you, and you answered: “Those who hâve lost it, and no
longer know who they are”. I asked you where you found the strength
from to still put so much rage into your songs, and you answered:
“It isn’t rage, it’s vehemence”. I then asked you how you still found
the strength to still be putting that “vehemence” into your songs, and
you answered: “Me, I’m alive. I’m not dead. And I ask myself, how can
I ignore it, what’s the point in that?” I asked you how you hâve achieved
“ail that”, and you answered: “I’ve never asked myself: “How do you
plan to do that?” I ask my questions afterwards, if there are any left to
ask”. I asked you how you had managed to live with so many immense
émotions in a single life. And your response was: “I don’t hâve much
time for émotions. I leave that to the audience”.
So, in a way it’s our album, us, your audience.
SOPHIE FONTANEL
WRITER AND jOURNALIST
Je vous ai demandé dans quelle langue c’était le plus difficile de chanter
et vous m’avez répondu : «Je chanterais en Patagon, s’il le fallait».
Je vous ai demandé comment ça allait et vous m'avez répondu :
«Ça va à pied, mais ça va», et vous m’avez expliqué que les calembours
passaient les frontières. Je vous ai demandé si les artistes qui
chantaient avec vous étaient impressionnés, et vous m’avez répondu
que oui, mais vous vous les mettiez à l’aise en blaguant que «C'est pas
une question de vie ou de mort». Je vous ai demandé où 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 l’autre côté, ce que ça va donner». Je vous ai demandé
comment vous aviez fait pour vivre en une seule vie autant d'incom¬
mensurables émotions. Et vous m'avez répondu : « C'est pas moi,
les émotions. Les émotions, c’est le public».
Donc, c’est un peu notre album, à nous votre public.
SOPHIE FONTANEL
ÉCRIVAIN ET JOURNALISTE
3 5
TOI IT MOI
WITH CÉLINE DION
(CHARLES AZNAVOUR / JACQUES REVAUX
JEAN-PIERRE BOURTAYRE)
ÉDITONS 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 ; LOÏCTAILLEBREST
KEYBQARDS L PROGRAMMINGS : ERICK BENZI
CÉLINE DION APPEARS COURTESY
OF SONY BMC MUSIC (CANADA), INC.
2
QUE C'EST TRISTE VENISE
WITH JULIO IGLESIAS
(FRANÇOISE DORIN / CHARLES AZNAVOUR)
ÉDITIONS 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 PLÂCIDO DOMINGO
(BERNARD DIMEY/CHARLES AZNAVOUR)
ÉDITIONS 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'AOÛT
WITH LAURA PAUSINI
(CHARLES AZNAVOUR/
GEORGES GARVARENTZ)
ÉDITIONS 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)
ÉDITIONS 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)
ÉDITIONS 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 BOHÈME WITH NANA MOUSKOURI WITH JOSH GROBAN
(CHARLES AZNAVOUR)
ÉDITIONS 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)
ÉDITIONS 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)
ÉDITIONS 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 ÉDITH PIAF
(PIERRE ROCHE / CHARLES AZNAVOUR)
ÉDITIONS 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 STÉPHANE/CHARLES AZNAVOUR)
ÉDITIONS 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/
AÎ.M RECORDS
(CHARLES AZNAVOUR)
ÉDITIONS MUSICALES DjANIK
PRODUCED BY ERICK BENZI î. 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 GRÔNEMEYER
(CHARLES AZNAVOUR)
ÉDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI
ARRANGEDBY DEL NEWMAN
RECORDED BY ALEX SYLVA AT HANSA
TONSTUDIOS (BERLIN, GERMANY)
«L BY GÉRARD 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)
ÉDITIONS MUSICALES DJANIK
PRODUCED BY PATRICK SHARTt STEVE JEFFRIES
ADAPTED BY HERBERT KRETZMER
RECORDED AT GUILLAUME TELL STUDIOS
(SURESNES. FRANCE) £ SILENT SOUND
STUDIOS (ATLANTA, USA)
MIXED BY PATRICK SHART £ STEVE JEFFRIES
AT ATLANTIC SEVEN STUDIOS (LONDON, UK)
ELTON JOHN APPEARS COURTESY
OF MERCURY RECORDS LTD.
(CHARLES AZNAVOUR)
ÉDITIONS MUSICALES DJANIK
PRODUCED BYPHIL RAMONE
ARRANGED BY PHILIPPE SAISSE £ 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)
ÉDITIONS CHERIO CORPORATION BMI /
JUNE’STUNESUS
©2008 FRANK SINATRA ENTERPRISES, LLC
ORIGINAL RECORDING PRODUCED
BYSONNYBURKEt ARRANGED
BY NELSON RIDDLEFROM THE ALBUM
'SINATRA'S SINATRA”
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 STÉPHANE /
CHARLES AZNAVOUR)
ÉDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI £ PHIL RAMONE
ADAPTED BY MARCEL STELLMAN
RECORDED AT LAKE HOUSE STUDIOS
(SALISBURYWILTSHIRE, UK) £ 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 /
A£M RECORDS
TO DIE OF LOVE
WITH NANA MOUSKOURI
(CHARLES AZNAVOUR)
ÉDITIONS 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
£ PROGRAMMINGS: ERICK BENZI
NANA MOUSKOURI APPEARS COURTESY
OF MERCURY, A DIVISION OF UNIVERSAL
MUSIC FRANCE
SHE
WITH BRYAN FERRY
(HERBERT KRETZMER/CHARLES AZNAVOUR)
ÉDITIONS MUSICALES DJANIK FOR FRANCE
SACEM TERRITORIES / STANDARD MUSIC
FORTHERESTOFTHEWORLD
PRODUCED BY ERICK BENZI ET PHIL RAMONE
ARRANGED BY ANDRÉ 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 £ 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)
ÉDITIONS 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 CÉLINE DION
10 14 12
(CHARLES AZNAVOUR/JACQUES REVAUX
JEAN-PIERRE BOURTAYRE)
ADAPTED BYDEE SH IPMAN
ÉDITIONS ART MUSIC FRANCE / ÉDITIONS
MUSICALES DJANIK
PRODUCED BY ERICK BENZI £ 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 £ FLUTE : LOÏCTAILLEBREST
KEYBOARDS £ PROGRAMMINGS : ERICK BENZI
CÉLINE DION APPEARS COURTESY OF SONY
BMG MUSIC (CANADA), INC.
9
LA BOHÈME (ENGLISH VERSION) WITH JOSH GROBAN
(JACQUES PLANTE / CHARLES AZNAVOUR)
ÉDITIONS 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 PLÂCIDO DOMINGO
YOU1 VE GOT TO LEARN
WITH JOHNNY HALLYDAY
(BERNARD DIMEY/CHARLES AZNAVOUR)
ÉDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI
ARRANGED BY ROGER LOUBET
ADAPTED BY PASCAL NOÉL
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)
ÉDITIONS 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 £ KEYBOARDS : ERICK BENZI
GUITARS: NICOLAS MINGOT
JOHNNY HALLYDAY APPEARS COURTESY
OF WARNER MUSIC FRANCE
(CHARLES AZNAVOUR)
ÉDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI £ 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 £ 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)
ÉDITIONS MUSICALES DJANIK
PRODUCED BY R4TRICK SHART £ STEVE JEFFRIES
ADAPTED BY BRUNO PALLESI
RECORDED AT GUILLAUME TELL STUDIOS
(SURESNES, FRANCE) £ OLIVETA RECORDING
STUDIOS (CASTELBOLOGNESE, ITALY)
(MYSPACE.COM/ORSRECORDINGSTUDIOS)
MIXED BY PATRICK SHART £ STEVE JEFFRIES
AT ATLANTIC SEVEN STUDIOS (LONDON, UK)
LAURA PAUSINI APPEARS COURTESY
OF WARNER MUSIC ITALY
ALS ES MIR BESCHISSEN GING
WITH HERBERT GRÜNEMEYER
(CHARLES AZNAVOUR)
ÉDITIONS MUSICALES DJANIK
PRODUCED BY ERICK BENZI
ARRANGED BY DEL NEWMAN
ADAPTED BY MICHAEL KUNZE
RECORDED BYALEX SYLVA AT HANSA
TONSTUDIOS (BERLIN, GERMANY)
£ BY GÉRARD DE HARO £ NICOLAS BAILLARD
AT STUDIO LA BUISSONNE (PERNES-LES-
FONTAINES, FRANCE)
MIXED BY ERICK BENZI AT STUDIO LE CHALET
(BOIS-COLOMBES, FRANCE)
HERBERT GRÜNEMEYER APPEARS COURTESY
OFEMI M USIC GERMANY GMBH £ CO. KG
15
EVERYBODY LOVES SOMEBODY SOMETIME
WITH DEAN MARTIN
(KENLANE IRVINGTAYLOR)
ÉDITIONS SANDS MUSIC CORP.
@2007 CAPITOL RECORDS INC
ORIGINALARRANGEMENT BY KEN LANE
£ JIMMY BOWEN
ADAPTED BYTOM RANIER
ADDITIONAL ENGINEER: ROLAND GUILLOTEL
ARTISTIC ADVISER : LÉVON SAYAN
CHARLES AZNAVOUR'S VOCALS RECORDED
AT STUDIO GUILLAUMETELL (SURESNES,
FRANCE)
DEAN MARTIN APPEARS COURTESY
OF CAPITOL RECORDS