{"id":5060,"date":"2014-04-11T14:09:05","date_gmt":"2014-04-11T14:09:05","guid":{"rendered":"https:\/\/jacques-canetti.com\/en\/histoire-j-canetti\/"},"modified":"2016-09-01T13:19:11","modified_gmt":"2016-09-01T11:19:11","slug":"story-j-canetti","status":"publish","type":"page","link":"https:\/\/jacques-canetti.com\/en\/story-j-canetti\/","title":{"rendered":"Story"},"content":{"rendered":"

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\u00ab My joy and my invincible enthusiasm are my driving force! I\u2019ve always considered myself an enthusiast because enthusiasm is a state of grace\u00bb<\/em><\/p>\n

Jacques Canetti<\/strong><\/p>\n

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<\/div>[vc_column_text]Surely a water-diviner, perhaps a sorcerer, Jacques Canetti needed only his own talent to make others blossom. An untiring explorer, an unrepentant discoverer and insightful pioneer, for decades he was the Christopher Columbus of chanson fran\u00e7aise<\/em>, revealing the greatest to themselves when they were still unknown. Combining faith and instinct, Jacques Canetti made the sun rise upon great careers: from la m<\/em>\u00f4<\/em>me<\/em> Piaf<\/strong> to Georges Brassens<\/strong>, from Charles Trenet<\/strong> to Jacques Higelin<\/strong>, not forgetting Brigitte Fontaine, Jacques Brel, F\u00e9lix Leclerc, Boris, Guy B\u00e9art, Serge Gainsbourg, Fernand Reynaud, Raymond Devos, Michel Legrand, Serge Reggiani<\/strong>\u2026 and many more.<\/p>\n

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\u00ab Jacques Canetti managed to be the first, the one who understands, the one who unveils, a real discoverer of talent<\/em>\u00a0\u00bb<\/em><\/p>\n

V\u00e9ronique Mortaigne in\u00a0Le Monde<\/i><\/strong><\/p>\n

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His life, his passions, his convictions<\/h3>\n

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<\/div>[vc_column_text]Born in 1909 in Roustouck, Bulgaria and raised in England, Jacques Canetti studied in Vienna, Frankfurt and Lausanne before immigrating to France in 1926 during the rise of Nazism.<\/p>\n

Cultivated and European before his time, he spoke 4 languages, played the piano and possessed an excellent knowledge of music.[\/vc_column_text]

<\/div>[vc_column_text]In 1928, he was accepted at the HEC Business School and then discovered music hall. He dropped out and in 1930 he started working for Polydor, the company that represented the prestigious Deutsche Gramophone and its treasures of classical music. Jacques Canetti was 21 years old. He wandered the studios and attended the recordings of Bol<\/em>\u00e9<\/em>ro<\/em> directed by Maurice Ravel<\/strong> himself. He was responsible for the first ever recording of Alban Berg\u2019s<\/strong> Suite lyrique<\/em> with the Galimir Quartet<\/strong> and recordings by the young pianist Clara Haskil<\/strong>.<\/p>\n

In 1934, Jacques Canetti managed to record the inimitable Marlene Dietrich<\/strong> with songs that he had specially written for her in French.[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”His discovery of jazz (click to read more)” tab_id=”story-jazz”]

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<\/div>[vc_column_text]Crazy about jazz, Canetti hosted the first hot jazz radio show every Monday night on the Poste Parisien<\/em>. In 1932, he became the French correspondent of Melody-Maker. In 1931, Jacques Canetti brought Duke Ellington<\/strong> to France for the first time, followed by Louis Armstrong<\/strong> and the Mills Brothers<\/strong> in 1933. He organized their first concerts and tours in Europe.[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”A pioneer of the radio” tab_id=”story-radio”]
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<\/div>[vc_column_text]In 1935, he was \u201cspotted\u201d by Marcel Bleustein-Blanchet<\/strong>, the founder of Publicis, who had just created Radio-Cit<\/em>\u00e9<\/em>. Artistic director of the station between 1935 and 1940, he invented, with Marcel Bleustein-Blanchet, all the concepts for radio that still exist today: outside broadcasting, \u201clive\u201d shows, one minute reviews, soap operas, advertising, sponsorship by big brands, jingles\u2026 in particular with the Dop<\/em> and Monsavon<\/em> ad campaigns.<\/p>\n

We also owe the creation of radio competitions and the Music-hall des jeunes <\/em>to Jacques Canetti. Thanks to these, listeners of Radio-Cit<\/em>\u00e9<\/em> discovered a number of budding young artists such as Charles Trenet<\/strong>, Lucienne Delyle<\/strong> and Edith Piaf<\/strong> for whom he produced the first records.[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”War time & shows for the mutual aid funds of the Resistance” tab_id=”story-war”]

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<\/div>[vc_column_text]After the debacle and the arrival of anti-Jewish laws, Jacques Canetti left Paris in the beginning of 1940 for the southern zone (Toulouse) with Pierre Dac<\/strong>, Jeanne Sourza<\/strong>, Raymond Souplex<\/strong> and Fran<\/strong>\u00e7<\/strong>oise Rosay<\/strong>. Canetti had the idea of creating the first Artist\u2019s Cooperative, the ACPA, which toured the free zone.<\/p>\n

Thanks to Fran\u00e7oise Rosay, he made it to Algiers on the 11th<\/sup> of November 1942 at the time of the Allied landings. He then took over the management of Radio-Alger<\/em> and immediately renamed it Radio France<\/em>. But Jacques Canetti quickly left his position. He made a decisive encounter: that of Ren<\/strong>\u00e9<\/strong> Capitan<\/strong>, General de Gaulle\u2019s representative in North Africa.<\/p>\n

In Algiers, Canetti founded the troupe du Th<\/em>\u00e9\u00e2<\/em>tre des Trois Anes<\/em> with the songwriters Pierre-Jean Vaillard<\/strong>, Georges Bernardet<\/strong>, Christian Vebel<\/strong> and the singers Lucienne Vernay<\/strong>, Genevi<\/strong>\u00e8<\/strong>ve Mesnil<\/strong> and Clairette May<\/strong>. From 1943 to 1945, the troupe des Trois Anes<\/em> travelled across all of North Africa \u2013 from Algeria to Egypt \u2013 and collected funds for the COMBAT<\/strong> movement.[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”From the Th\u00e9\u00e2tre des Trois Anes to the creation of the Th\u00e9\u00e2tre des Trois Baudets” tab_id=”story-postwar”]

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<\/div>[vc_column_text]In 1946, having returned to Paris, Jacques Canetti went back to work as artistic director for Polydor. The catalogue had grown old, with the exception of Edith Piaf. La m<\/em>\u00f4<\/em>me<\/em> Piaf had become Edith Piaf<\/strong>. Despite their friendship, Edith had musical demands that Polydor could meet and so the catalogue needed rebuilding. The first beginner recorded by Jacques Canetti in 1948 was Charles Aznavour,<\/strong> who was at the time in a two man show with Pierre Roche<\/strong>.<\/p>\n

Records are good\u2026but they are only a partial answer to the question: how to promote new artists and build new careers ? That is where Jacques Canetti had the wonderful idea of combining three \u201cprofessions\u201d that until then were quite distinct: the stage, recordings and tours. The combination of the three resulted in the development of a veritable \u201claunch pad\u201d that Jacques Canetti constructed from A to Z.<\/p>\n

At the end of 1947, Canetti opened the Th<\/em>\u00e9\u00e2<\/em>tre des Trois Baudets<\/em>. In 1950, having obtained his license to organise tours, he created the company Radio-programme which organised tours for more than twenty years in all the francophone countries. Finally, in 1951, Philips bought the Polydor record label. All of the artists from Polydor followed as one their artistic director : Jacques Canetti.[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”The Trois Baudets venture ” tab_id=”story-3-baudets”][vc_single_image image=”809″ img_size=”medium” alignment=”center” img_link_large=”yes”]

<\/div>[vc_column_text]In 1947, Jacques Canetti found a rundown dancehall on Rue<\/em> Coustou<\/em>. He rented it and decided to create the Th<\/em>\u00e9\u00e2<\/em>tre des Trois Baudets <\/em>from scratch. After heavy construction work, the Th<\/em>\u00e9\u00e2<\/em>tre des Trois Baudets <\/em>was inaugurated on the 15th<\/sup> of December 1947. The theatre had 247 red velvet seats, a small 15m2 <\/sup>stage and four dressing rooms for the artists. After a difficult slow start, it was at the Th<\/em>\u00e9\u00e2<\/em>tre des Trois Baudets <\/em>that the era of singer-songwriter-performer<\/strong> was born with which Jacques Canetti\u2019s name will forever be associated.<\/p>\n

\u00ab I love unexplored paths, trials, hope, struggles, I either like or I don\u2019t, but I always try to understand\u00bb\u00a0<\/em><\/p>\n

Jacques Canetti<\/strong><\/p>\n

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<\/div>[vc_column_text]That\u2019s the place where, during 2, 3 or maybe even 4 years, as yet unknown artists such as F<\/strong>\u00e9<\/strong>lix Leclerc<\/strong>, Georges Brassens<\/strong>, Jacques Brel<\/strong>, Guy B<\/strong>\u00e9<\/strong>art<\/strong>, Serge Gainsbourg<\/strong>, Francis Lemarque<\/strong>, Anne Sylvestre<\/strong>, Bobby Lapointe<\/strong> and Raymond Devos<\/strong>, to mention only a few, performed every<\/em> night.[\/vc_column_text]
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<\/span>A nursery of talent <\/span><\/div><\/div>
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<\/div>[vc_column_text]Under the impulse of Jacques Canetti, the Th<\/em>\u00e9\u00e2<\/em>tre des Trois Baudets<\/em> became an extraordinary \u201cnursery of talents\u201d, which gave artists the time to grow<\/em><\/strong>. Meaning being able to write and try out their songs and lyrics, fine tune them in front of an audience, become stage artists, overcome their stage fright, polish their repertoire, and work every day whether or not they met with success<\/u>. Thanks to the Trois Baudets<\/em>, the tours he organised throughout France, and the records, Jacques Canetti gave artists a chance to work regularly and to build themselves slowly<\/em><\/strong>.<\/p>\n

\u00ab\u00a0Developing an artist\u2019s career\u2026 means having patience, talking, being persistent, defending them, believing in them for the long term, giving them self-confidence. It means imagining what they can become and showing them how to get the best out of themselves \u00bb\u00a0<\/strong><\/em><\/p>\n

Jacques Canetti<\/strong><\/p>\n

From 1947 to 1967, the shows that took place at the Th<\/em>\u00e9\u00e2<\/em>tre des Trois Baudets <\/em>were all put together in a similar way. Every night, approximately fifteen artists would go up on stage. During the first part, 5 or 6 artists would go through their repertoire (3 to 5 songs or skits). Interlude. The second part was an author\u2019s creation (Pierre Daninos, Raymond Queneau<\/strong>, Boris Vian<\/strong>, Pierre Kast<\/strong>, Francois Billetdoux<\/strong> etc\u2026).<\/p>\n

It was at the Baudets<\/em> that over a hundred artists, musicians, poets, entertainers, authors and comedians began their prodigious careers. With the utmost confidence and patience, Jacques Canetti doggedly supported \u201chis\u201d artists through thick and thin.[\/vc_column_text]

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<\/span>Jacques Canetti\u2019s talent pool<\/span><\/div><\/div>
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<\/div>[vc_column_text]The pool of talent at the Trois Baudets<\/em> was made up of singer-songwriters<\/u> amongst whom we could mention, Francis Lemarque<\/strong>, Henri Salvador<\/strong>, F<\/strong>\u00e9<\/strong>lix Leclerc<\/strong>, Georges Brassens<\/strong>, Jacques Brel<\/strong>, Guy B<\/strong>\u00e9<\/strong>art<\/strong>, Boris Vian<\/strong>, Serge Gainsbourg<\/strong>, Jean-Roger Caussimon<\/strong>, Anne Sylvestre<\/strong>, Boby Lapointe<\/strong>, Leny Escudero<\/strong>, etc\u2026With performers<\/u> such as Catherine Sauvage<\/strong>, Juliette Gr<\/strong>\u00e9<\/strong>co<\/strong>, Patachou<\/strong>, Jacqueline Fran<\/strong>\u00e7<\/strong>ois<\/strong>, Marcel Amont<\/strong>, Philippe Clay<\/strong> etc\u2026The Fr\u00e8res Jacques stayed for a short while after \u201cla Rose Rouge<\/em>\u201d (they were to record Jacques Pr\u00e9vert\u2019s first songs with Jacques Canetti).<\/p>\n

Comedians<\/u> such as Pierre Dac<\/strong>, Francis Blanche<\/strong>, Fernand Raynaud<\/strong>, Robert Lamoureux<\/strong>, Raymond Devos<\/strong>, Bernard Haller<\/strong>, Darry Cowl<\/strong>, Jean Yanne<\/strong>, G<\/strong>\u00e9<\/strong>rard Sety<\/strong>, Christian Duvaleix<\/strong>, Pierre <\/strong>\u00c9<\/strong>taix<\/strong>, Jean-Marie Proslier<\/strong>, Pierre Repp <\/strong>began their careers there as well as actors<\/u> such as Michel Roux<\/strong>, Rosy Varte<\/strong>, Philippe Noiret<\/strong>, Pierre Darras<\/strong>, Robert Rochefort<\/strong>, Roger Carel<\/strong>, Henri Virlojeux<\/strong> etc\u2026<\/p>\n

Certain pianists<\/u> also began their careers there: Michel Legrand<\/strong>, Pierre Arnaud de Chassy-Poulay<\/strong>, Andr<\/strong>\u00e9<\/strong> Popp<\/strong>, Darry Cowl<\/strong> and Alain Goraguer<\/strong>.<\/p>\n

Lastly, some stage directors<\/u> contributed to the success of the shows at the Trois Baudets<\/em>: Michel de R<\/strong>\u00e9<\/strong>, Yves Robert<\/strong>, Olivier Hussenot<\/strong>\u2026<\/p>\n

Other artists were also to shine there: Ren\u00e9e Lebas, Jacques Grello, the painter Georges Arditi, Alexandre Jodorowski, Ren\u00e9 Cousinier, B\u00e9atrice Moulin, Pierre Dudan, Nicole Louvier, Simone Langlois, Bob Dupac, Denise Beno\u00eet, Jean-Claude Darnal, and singing ensembles: Les Gar\u00e7ons de la rue, les Quatre Barbus, les Trois Horaces, Les Trois M\u00e9nestrels, les 5 P\u00e8res\u2026[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”The Trois Baudets Venture (part 2)” tab_id=”story-3-baudets-2″]

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<\/span>Family Spirit<\/span><\/div><\/div>
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<\/div>[vc_column_text]For the public, the Th<\/em>\u00e9\u00e2<\/em>tre des Trois Baudets<\/em> had a new tone, an ambiance, it was daring and eclectic\u2026 it was a hotbed of talent and, above all, it had a sense of family.<\/p>\n

A feeling of companionship and of work reigned between the artists, whose names were practically the same size on the posters. After the show they would get together around Canetti to work on their repertoires, the lights, the music\u2026Certain artists such as Georges Brassens<\/strong>, Boris Vian<\/strong> or Jacques Brel<\/strong> played the role of catalysts and were able to find the right words to encourage artists that had a tough start.[\/vc_column_text]

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<\/span>The end of the Trois Baudets<\/span><\/div><\/div>
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<\/div>[vc_column_text]At the end of 1962, when Jacques Canetti left Philips to create his independent label, he decided to entrust the Trois Baudets<\/em> to Jean M\u00e9jean. He didn\u2019t go back until 1964, for two seasons and with new singers including Maurice Fanon<\/strong>, Jean Arnulf<\/strong> and Brigitte Fontaine<\/strong>\u2026there was also the return of F<\/strong>\u00e9<\/strong>lix Leclerc<\/strong> with the show le Petit Bonheur<\/em>.<\/p>\n

Facing financial difficulties, Jacques Canetti closed down the Th<\/em>\u00e9\u00e2<\/em>tre des Trois Baudets <\/em>for good in July 1967\u2026.The last show at the Baudets<\/em> was L\u2019affaire de la rue Lourcine<\/em> by Eug\u00e8ne Labiche, staged by the novice Patrice Ch<\/strong>\u00e9<\/strong>reau<\/strong>.[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”Jacques Canetti, show promoter for Chevalier, Montant and Brassens” tab_id=”story-show-promoter”]

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<\/div>[vc_column_text]He was also an important show promoter. Jacques Canetti organized Maurice Chevalier\u2019s<\/strong> concerts including the one at the Alhambra in 1956\u2026 He asked Michel Legrand<\/strong> to manage the music for the show and the great Alexandre Jodorowski<\/strong> to take care of stage design. He organised Maurice Chevalier\u2019s shows until October 1968, when he said his goodbyes to the Th<\/em>\u00e9\u00e2<\/em>tre des Champs Elys<\/em>\u00e9<\/em>es<\/em>.<\/p>\n

As for Yves Montand<\/strong>, with whom he had built a solid friendship, he organised all his recitals in Paris from 1954 to 1968: at the Th<\/em>\u00e9\u00e2<\/em>tre de l\u2019Etoile<\/em> in 1954 and 1958 and at the Olympia<\/em> in 1968. Jacques Canetti was also the architect of his international success by organizing his first concerts in New York in 1960 and his tour of Japan in 1962.<\/p>\n

Lastly, did you know that Jacques Canetti was the one who introduced chanson fran<\/em>\u00e7aise <\/em>into the temple of all theatres, Jean Villard\u2019s Th<\/em>\u00e9\u00e2tre National Populaire\u00a0<\/em>? There he organized the show \u201cGeorges Brassens \u2013 Juliette Gr\u00e9co\u201d, which played to sold-out audiences for over six weeks from 16th<\/sup> September to 22nd<\/sup> October 1966.<\/p>\n

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<\/div>[vc_column_text]In the field of literature, Jacques Canetti \u201cinvented\u201d the collection \u201c20th<\/sup> century authors\u201d for Philips, with prestigious authors such as: Julien Green<\/strong>, Colette<\/strong>, Malraux<\/strong>, Mauriac<\/strong>, Romain Rolland<\/strong>, Pierre Mac Orlan<\/strong>, Jacques Pr<\/strong>\u00e9<\/strong>vert<\/strong>, Georges Simenon<\/strong> etc\u2026<\/p>\n

He launched the series \u201cPiccolo, Saxo et Cie<\/em>\u201d with Andr<\/strong>\u00e9<\/strong> Popp<\/strong> and Jean Broussolle <\/strong>and a repertoire for a \u201cyoung public\u201d with his wife Lucienne Vernay <\/strong>and Les Quatre Barbus.<\/strong>[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”The beginnings of rock” tab_id=”story-rock”]

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<\/div>[vc_column_text]On his return from the USA in 1956 with Michel Legrand, more amused than convinced by rock music, Jacques Canetti asked Boris Vian<\/strong> to write the first French rock songs which were to be sung by Henri Salvador<\/strong> and then by Magali N<\/strong>\u00f6e<\/strong>l<\/strong> accompanied by the music of Michel Legrand<\/strong> and Alain Gorraguer\u2019s<\/strong>.<\/p>\n

In 1957 he entrusted Boris Vian with the artistic direction at Fontana records for jazz and song.[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”The independent producer” tab_id=”story-producer”][vc_single_image image=”821″ alignment=”center”]

<\/div>[vc_column_text]In September 1962, Jacques Canetti resigned from Philips, for whom he had created the most prestigious catalogue of chansons fran\u00e7aises\u00a0<\/em>and founded his own record label : Les Productions Jacques Canetti.<\/strong><\/p>\n

By doing so he continued to produce music as a \u201ccraftsman\u201d, as he always had done. At the height of the pop music revolution when singles were taking over the music market, he produced albums for which he created a house-style book (his handwriting signed off on the black and white photographs of \u201chis\u201d artists). In 1964, Jacques Canetti produced the album Jeanne Moreau chante Bassiak<\/strong>. In 1965, he convinced Serge Reggiani<\/strong> to take his first steps as a singer. In 1965 and 1967, he produced his two mythical albums (les Loups, le Petit Gar\u00e7on, Ma Libert\u00e9\u2026). In 1966, he produced the first albums of two young unknown performers: Jacques Higelin <\/strong>and Brigitte Fontaine<\/strong> who were not immediately successful. They would be\u2026but only much later. In 1967, he recorded a collection of Boris Vian\u2019s songs, in 1975 one by Jacques Pr\u00e9vert and in 1985 songs by Jean Cocteau.<\/strong><\/p>\n

In 1974, Jacques Canetti was impressed by Eric Robrecht,<\/strong> the singer songwriter performer whose albums met with respectable success, then in 1984 by Jean-Marie Hummel<\/strong> whose career was taking off in Germany. Between 1978 and 1988, he created and produced shows of songs that he presented to the Off Festival in Avignon. His last show was a show including hitherto unheard songs by Jean Cocteau at the Th<\/em>\u00e9\u00e2<\/em>tre du Rond-Point<\/em>.<\/p>\n

Up until the end of his life on 7th<\/sup> June 1997, in Suresnes (Hauts de Seine d<\/em>\u00e9<\/em>partement<\/em>), Jacques Canetti remained a discreet and enthusiastic man who would wander round the venues every night to listen to young singers, songwriters and performers.[\/vc_column_text][\/vc_tta_section][vc_tta_section title=”Apr\u00e8s Jacques Canetti” tab_id=”story-after”]

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<\/div>[vc_column_text]Jacques CANETTI has three children :\u00a0Colette<\/strong>, Fran<\/strong>\u00e7<\/strong>oise<\/strong> and Bernard<\/strong>, all of whom are active in cultural circles. On the death of her father Fran\u00e7oise took over the management of the record label LES PRODUCTIONS JACQUES CANETTI. Through this independent label distributed by BECAUSE\/WARNER, she promotes the catalogue created by her father, Jacques Canetti, and hopes to produce new artists.<\/p>\n

In February 2009, at the initiative of Daniel Vaillant and Bertrand Delano\u00e9, the town hall of Paris reopened the Trois Baudets<\/em>, the venue that Jacques Canetti had created in 1947.[\/vc_column_text][\/vc_tta_section][\/vc_tta_accordion][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_single_image image=”82″ img_size=”medium” alignment=”center”][vc_column_text] \u00ab My joy and my invincible enthusiasm are my driving force! I\u2019ve always considered myself an enthusiast because enthusiasm is a state of grace\u00bb Jacques Canetti [\/vc_column_text][vc_column_text]Surely a water-diviner, perhaps a sorcerer, Jacques Canetti needed only his own talent to make others blossom. An untiring explorer, an unrepentant discoverer and insightful…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"Biography | %%sitetitle%%","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"class_list":["post-5060","page","type-page","status-publish","hentry","description-off"],"_links":{"self":[{"href":"https:\/\/jacques-canetti.com\/en\/wp-json\/wp\/v2\/pages\/5060","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jacques-canetti.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/jacques-canetti.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/jacques-canetti.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jacques-canetti.com\/en\/wp-json\/wp\/v2\/comments?post=5060"}],"version-history":[{"count":0,"href":"https:\/\/jacques-canetti.com\/en\/wp-json\/wp\/v2\/pages\/5060\/revisions"}],"wp:attachment":[{"href":"https:\/\/jacques-canetti.com\/en\/wp-json\/wp\/v2\/media?parent=5060"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}