PARIS – It has been a long time since I’ve been to a new open mic in Paris, so it was a strange but exhilarating experience on Saturday night to finally get over to the open stage of a little, tiny, minuscule bar/venue/theater space in Montmartre, called the Petit Théâtre de Bonheur and perform in front of the absolutely jam packed space of about 25 square meters.
I had discovered this place while working on an article about Paris’s small theaters, but I wasn’t sure the place really fit in. One thing is sure: It only just fits into its Montmartre location on a stairway steeply climbing up the slope towards the Sacre Coeur. You find yourself, in fact, on simply a midway up landing on the slope, not even on any kind of a street as such.
The venue is also jam-packed into the tiny space, and the open mic takes place in front of the seated spectators, seated in rows of available chairs as in a theater. These are moveable chairs, so while it is cramped quarters for everyone if the open mic is as well attended as it was on Saturday, you can move the chairs about to find the best squeeze…!
While I call it an open mic, they have another name for it: Cabaret Voltaire! It is open to anyone, musicians, comics, you name it. We saw several comics and the rest musicians – even some who had no instruments but just sang their texts unaccompanied.
The place is so small and intimate that I decided to perform without a mic or pickup on my guitar. It was one of the first times that I actually really enjoyed that, since it was so intimate a space, and I knew I did not have to strain my voice (or guitar) to be heard.
Anyway, it was really unlike any open mic I have attended in Paris so far. If you are looking for “different” then this is it! Not to mention the fabulous location on the hill leading up to Montmartre.
PS, This open mic was the last before they close down for a few weeks for renovations – so be sure to check the web site for the program to make sure they have reopened.
In fact, the only update is to bring back a listing for the fabulous Paris Songwriters Club open mic of Paddy Sherlock, which has already had five editions at its new location, O’Sullivans Rebel Bar. It had previously been at the Tennessee Bar before seeking a new home for many months, and finding this fabulous, intimate place. Check it out!
PARIS – Just a very short post to celebrate that in this time Paris when night music joint after night music joint is closing down as the Parisian population becomes more and more bourgeois and gentrified and refuses to accept the sound of music at nighttime, I can celebrate with a few words to say that a longtime mainstay of the Paris live music scene has returned after months of being closed down. The Caveau des Oubliettes on the Rue Galande in the 5th Arrondissement, near Shakespeare and Company and Notre Dame, has re-opened after its change in ownership and renovation. And it looks the same as it ever did.
Well, of course, the little problem of paying 12 euros for a 50 cl of IPA beer will steer away many a poor musician. Or at least no doubt limit their spending to say, one beer, rather than probably three beers at 5 euros each (and therefore earning more money for the bar).
In any case, the jam I attended on Sunday night was one of the many it has during each week, and this one was the blues jam, now led by Youva Sid, who I met a few years ago at his own bar venue in Menilmontant.
The great news is that this place looks as if it has basically not changed at all. It has just cleaned everything up to make it look more stylish – but the jam principle is the same. Bring your instruments, make your presence known, get up on stage and play!
PARIS – I have always said that for an open mic to be a success it is necessary to have three essential ingredients. And the new version of the Rush bar open mic has proven this to be true again:
First, a great location both within the city, but also the nature of the bar room itself. There has to be a bar that lends itself to intimacy for the musicians and the spectators. But it should also have a way in which the spectators can listening quietly to the music, or go to another part of the bar (or outside) in order to talk and socialise. This the Rush bar has in spades. Something about this room and the precise location on the corner of a couple of quiet streets really works.
Second, an owner of the bar that loves music and really wants to have an open mic, and understands what is necessary to ensure that the musicians and spectators are happy. The Rush bar changed owners last year and while I had met one of the two new owners before they took over, and they said they were really enthusiastic about keeping the open mic, that is not something that you can believe in until you see it. Well, attending the open mic on Monday night I found the owner I had met before and he seemed even MORE enthusiastic now about the open mic than he was before he bought the place.
Third, you must have someone running the open mic who has a knack for doing this highly specialized job. The knack involves a nice way with people – both musicians and spectators – and a love of music, and even sometimes a little bit of a side to them that is happy to see a big party…. Igor and the gang from the Escargot Underground Radio fit this bill entirely.
And that is why the old Rush bar has managed to successfully make the transition from its status a year ago to what it is today, as I saw on Monday. The open mic had been run from its inception only around a year or so earlier by Charlie Seymour, who ended up moving on when the management changed, and who now runs the Bootleg bar open mic near the Bastille. Charlie did such a great job at the Rush bar that I was very worried that this great open mic would die upon his departure.
It went through some months of I don’t know what – since I never went – until the open mic became the new Rush bar open mic, with Igor and the gang running it. And it looks like it has saved one of Paris’s great new open mics, and given it a different twist too. Like I said, it needed all of the ingredients to be a success – and it now has them all. Oh, and I really must add that an open mic also needs understanding neighbors who are inevitably exposed to the cacophony of music and talk that a great open mic invariably produces – and for the moment it seems the Rush bar has this ingredient too.
There are not a lot of changes. Mostly just the addition of the Olympe bar open mic that I wrote about yesterday, which is located beside the Parc des Buttes Chaumont; and the removal of the Paradis bar open mic, which ended months ago or even longer, but which I had overlooked taking off the list…. (By the way, the end of that open mic was marked by the beginning of the Carré jam that I wrote about recently, which takes place in the Don Camilo Cabaret, located next to Serge Gainsbourg’s old place. So no huge regrets about that one!) Check it out!
PARIS – Is it just my impression, or are there more than the usual number of open mics in Paris that have closed down for the summer – or the month of August? In any case, I managed to find a new open mic last night that is open all summer. The Olympe bar open mic located at the top of the beautiful Parc des Buttes Chaumont.
I have never been to an open mic in that part of Paris, and strange as it may seem, I’ve never set foot in the Parc des Buttes Chaumont, which is surely one of the most beautiful in Paris.
The open mic is located in a bar that clearly loves music, as there were instruments hanging from the wall around the makeshift stage in a front window with red curtains, closed to create the stage effect. The instruments on the wall were a stringed instrument like a little bouzouki, a banjo and an oud.
It was a very well organized open mic, with a maximum of 12 performers each Thursday, with the need to call up in advance and book a slot with Guillaume, the organizer of the Olympe open mic*, and with a precise starting time of 20:15, and an ending time just before midnight.
Too bad the place was not quite packed to the full last night – but that is part of the risk of running an open mic in August in Paris, no doubt, when the locals all head to the seas for the month. So thank goodness there are still a few bars that remain loyal to the residents who do not leave for the seas, and the tourists who come only for the month of August and still want an open mic!
* I have found out since publication of this blog item that Guillaume was just replacing the usual organizer of this open mic, whose name is James Z.
PARIS – Sunday night I suddenly discovered that one of the coolest jam joints in Paris, the Carré jam of Thursday nights, run by Olivier Domengie, had decided recently to try out a singer-songwriter night, at least once a month. So I thought this a perfect moment to get back to the street-level barroom of the legendary Don Camilo cabaret in the Latin Quarter, to play my own songs, in a completely different environment. And two days later, I ended up doing a hugely satisfying private moment at a reception in Paul Ricard’s offices off the Champs Elysées in honor of a book launch before the French Grand Prix, of an oeuvre dedicated to the Circuit Paul Ricard in the south of France. A crazy fabulous couple of moments….
I was hugely surprised and delighted to see that Olivier Domengie was using the Don Camilo room where I attended the jam a few weeks ago to host a singer-songwriter night. That meant not having to do cover songs, going into the same environment and doing something completely different, and depending only on my guitar and voice – as with everyone else – to communicate with this great audience and room. (Which, I remind readers, is located just around the corner from Serge Gainsbourg’s old home….)
As it turned out, everyone was invited to do two songs, and there was still a second round to do another two. By then, I had been preceded by a cool little band on its first public appearance – that’s what I think it was – and I was so bothered by their level and use of guitar, keyboards, vocal and bass, that I jumped at the opportunity to have this other guy play along with me on my second set. He had the coolest, strangest, instrument that sounded variously like a saxophone or a flute, and was, yes, some kind of synthesised “wind” instrument.
Anyway, there were lots of cool musicians, the usual neat vibe of this unique place that has been around for half a century or so, and a thoroughly agreeable evening. I hope they continue this singer-songwriter night (and don’t clash with the neighbourhood’s other such night, at the Tennessee with Paddy Sherlock).
The book, called, “Circuit Paul Ricard: Les Seigneurs de la F1” traces the story of the circuit, as well as Paul Ricard – the man who created the “vrai Pastis de Marseilles,” a wonderfully refreshing alcoholic drink à la anis. The book covers in text an photos, the whole history, in an entertaining and highly readable and visually beautiful manner. (Photos by my former colleagues Bernard Asset and Bernard-Henri Cahier, or the latter’s father, Bernard.)
Anyway, when I accepted the invitation to the event, much to my surprise and satisfaction, Daniel invited me to bring my guitar, as well. He knew about my adventures around the world playing music at all the open mics and jams in the cities of the Formula One race, and he thought it could be fun to have me there to play a mini-set. I was kind of worried, and a little modest, as this was, after all, taking place at the Salon Paul Ricard, at the posh offices and reception area in a building off the Champs-Elysées.
But Daniel’s invitation looked genuine. So I went with my guitar, and ended up doing exactly the mini-set he suggested, and it turned out to be a fabulous moment, and a great evening with many former colleagues and other interesting people from French motorsport, including the former director of the Paul Ricard Circuit, Gerard Neveu, who is now the C.E.O. of the World Endurance Racing series.
So, could I have possibly had two different kinds of musical moments and locales in Paris? Probably not – nor two equally fabulous moments either.
Oh, of course, my nerves had a bit of help last night with the imbibing of a 51 Picard before I played….