Philippe Briand’s Memories of Jazz from the 1950s to the Present Day

Papamutt, Michel Goldberg Au Pub Le Paddy, Vannes, juin 2006

Michel Goldberg, Philippe Briand (Papamutt) & Marc Fossett (Au Pub Le Paddy, Vannes, juin 2006)

Last year I was very fortunate to befriend Philippe Briand through Fest Jazz, Chateauneuf-du-Foau in Brittany, and since then we have kept in touch online. Philippe hails from Carhaix in Brittany. Although he doesn’t play so much these days, not only is he a jazz musician, he is also a jazz historian and his memories of jazz range from way back in the 1950s right up to the present day.

What’s more, he features them on his wonderful website, LA JAZZ-ITUDE DE PAPAMUTT CARHAIX (with the option of English translations).

Michel Goldberg, Papamutt, Philippe Dardelle, (Au Manoir des Indes, Quimper)

Michel Goldberg, Philippe Dardelle, Philippe Briand (Papamutt) Au Manoir des Indes, Quimper.

The subhead to Philippe’s site states: “My memories of jazz since the 1950s , with texts (some in English), unpublished translations , audio files, videos, photos.” And they are incredible memories and amazing photos!

So Jazzers everywhere, here is the link to La Jazz-itude de Papamutt Carhaix.

I’m sure you find it as well worth visiting as I did – plus he has included a link to Jazz&Jazz!

But Philippe, you’ll need to translate  “PAPAMUTT” for us!

Peter M Butler
Editor & Proprietor Jazz&Jazz

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Comments

  1. Thank you Peter, much obliged. Indeed there’s a story behind Papamutt. Your people at Jazzandjazz will certainly be aware of Papa “Mutt” Carey, (1900-1948), a New Orleans trumpeter, contemporary with King Oliver. My friend Gilles Gourmelon liked to point out his limitations as a bass player by referring them to Papa Mutt : “I can’t play modern jazz, he would say. I only understand jazz as far as Papa Mutt Carey. I’m comfortable with Papa Mutt. Papa Mutt Carey is my limit, beyond Papamutt I’m out of my depth etc.” That was Gilles’s hobby-horse. So I chose “papamutt” as an alias, and “carhaix” first because it was the cradle of my family, and because it reflected the way Gilles sounded the name “Carey”. Now I’ve given up playing completely, due to a stroke I suffered a few years ago, and that has put my right arm and hand out of sync. Forget about drums and vibes. I am trying to play the piano, for finger-practise, rather than with any dreams of making Carnegie Hall. I started this blog in 2007, and it has made me more contemplative than I used to be. I’m writing some notes in English, because I love the language, which I taught at the chalk face for all of 37 years. Also, I think English is the language of jazz. Anything that’s written in English appears under “pages”. There are also some translations (one from Spanish, about Joan Chamorro). I would particularly recommend Careers in Jazz by the Seattlle pianist-cum-writer Bill Anschell. It’s bitterly hilarious. The blog unrolls downwards.
    Excuse my French !

    • Peter Butler says:

      Thank YOU Philippe, for such an interesting post. And thank you also for “LA JAZZ-ITUDE DE PAPAMUTT CARHAIX” – it’s a wonderful site. And for explaining the context of PapaMutt! Do keep in touch with us all. Don’t let those piano keys rest!

    • Gary Carner says:

      Was there also a Papamutt in Quimper who played drums and ran a recording studio? My understanding is that he (“Papamutt”), Pepper Adams, Louis Stewart and Patrice Galas made a recording that Papamutt discarded. Was that Philippe Briand instead?

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