The composer of No, I don’t regret anything for Édith Piaf left us on November 18. Madelen invites us to see or re-watch the songs he performed with talent after the disappearance of “La Môme”.
“A song is almost nothing, a song…” . For Charles Dumont, author and composer of this title which, curiously, had never been taken, that was everything, for more than eight decades. He actually started on stage at six years old by performing in a café, at the request of his uncle, Volga boatmen. He thus received his first pill, a glass of grenadine.
In the extract that Madeleine invites you to discover or rediscover, which dates from the 70s, Danièle Gilbert drinks the words of an interpreter who owes a lot, if not everything, to Piaf. “You’re going to win a fortune!” »she says, one evening in 1959, to the young composer who has just played her for the first time, the melody of No, I don’t regret anything. It hides a very understandable surprise. He is in fact convinced that Edith hates him, even if he does not know the reason and does not have the slightest proof. At the beginning, after having received in Deauville the Prix Edith Piafhe regularly played melodies to him. Each time, she rejected him, for reasons that never seemed credible to him. She has obviously forgotten this form of rejection, or will pretend to never remember it. He will in fact sign 13 of the 15 new songs recorded before his death.
Also read Charles Dumont, a “kid” by Edith Piaf
One evening in 1961, he offered her a melody entitled The lovers. She accepts it on one condition: that he performs it with her. In order for him to achieve what she considers to be a “suitable level”she teaches her to breathe, to position her voice so as not to tire her. The song was a success which opened the doors of Parisian cabarets to his young protégé. It goes from Jacob’s Ladder has The head of art with a detour through At my cousin’s. He appeared for the first time on television in variety shows, admitting to not being really comfortable in front of the cameras.
From their first meetings, Piaf criticized him for this almost unhealthy shyness. “You have long been the jack of all trades, doing anything for anyone, any way. You must now fight to bring out the best in yourself!”. The form was undoubtedly correct but, true to her reputation and her character, she had added a little. Before meeting her, it had still been sung, among others, by Bourvil, Dalida, Juliette Gréco, Luis Mariano, Yves Montand, Tino Rossi and Fernandel. Not following this advice, after the death of The Kidhe experiences a crossing of the desert. Every time a journalist questions him, he only talks about Piaf! He then feels the feeling of being part of the monuments of the past and seems convinced that he will no longer interest anyone.
A cigarette after sex…
At the beginning of the 70s, he crossed paths with Sophie Makno, artistic director of a record company, but also a songwriter. She offers him a text to which he immediately adds a melody. After a long moment of hesitation, he agreed to record Your cigarette after love. The 45 rpm is immediately rejected by the radio listening committees who judge it “without interest”. This refusal triggers a trigger. Stung, no longer accepting being treated like a plague victim, he took back the tapes and offered them, through a friend, to another record company. The managers accepted it with enthusiasm and gave him the green light to produce an album. Privacy becomes his first success. Two years later, the Charles Cros Academy awarded him a grand prize. The small screen follows the movement. He is now regularly present in the shows of Danièle Gilbert and Michel Drucker. He experienced his first form of recognition in 1976 with the broadcast of his recital at a time that was not yet called prime time.
Throughout the four decades that followed, he regularly found himself headlining in the major Parisian music halls and numerous tours which took him to Japan and the USSR, where he was considered an ambassador of the French song. Between two recordings, he also signed the original soundtracks for soap operas and TV mini-series, including Michael Vaillant et From thrushes to wolves. Before his farewell to the stage, the day after his 90th birthday, he spoke of his long journey, specifying that he had gone through life, ignoring fashions, and remaining resolutely on the fringes of show business. He assured that his songs today could have been born yesterday, and expressed the wish that they would still be performed tomorrow. Judging by their takeovers by new generations, it should not fail to be fulfilled.
**Beyond “Non, Je Ne Regrette Rien”: What other songs in Charles Dumont’s catalog showcase his versatility and unique musical style?**
## Interview: Remembering Charles Dumont, the Composer Behind Piaf’s Iconic Song
**Introduction:**
Welcome to World-Today-News. Today, we’re honoring the legacy of Charles Dumont, the composer behind Édith Piaf’s iconic song “Non, je ne regrette rien,” who recently passed away. Joining us are [Guest 1 Name], a music historian specializing in French chanson, and [Guest 2 Name], a renowned singer who has performed Charles Dumont’s works.
**Section 1: The Piaf Connection**
* **Host:** Charles Dumont had a complex relationship with Édith Piaf. On one hand, she famously embraced “Non, je ne regrette rien,” propelling it and Dumont into the spotlight. Yet, there were moments of tension and rejection. [Guest 1], how would you describe the dynamic between these two musical giants? What factors might have influenced their unique connection?
* **Host:** [Guest 2], you’ve performed some of Charles Dumont’s work. How do you interpret Piaf’s role in shaping his musical identity and career trajectory? Do you believe their collaboration was ultimately beneficial or detrimental to his artistic growth?
**Section 2: Overcoming the “Piaf Shadow”**
* **Host:** After Piaf’s death, Dumont faced a period of uncertainty and struggled to break free from her shadow. [Guest 1], what challenges do you think composers face when closely associated with a single iconic figure? How did Dumont overcome these challenges to carve out his own path?
* **Host:** [Guest 2], as a performer, how do you approach interpreting a song so closely tied to a legendary figure like Piaf? Do you try to stay faithful to the original interpretation or bring your own artistic perspective?
**Section 3: Dumont’s Legacy Beyond Piaf**
* **Host:** While “Non, je ne regrette rien” remains his most famous work, Charles Dumont composed a diverse catalog of songs encompassing various genres and themes. [Guest 1], how would you characterize Dumont’s musical contribution outside his association with Piaf? What makes his compositions unique and timeless?
* **Host:** [Guest 2], which of Charles Dumont’s songs resonate most with you personally? Why do you think his music continues to connect with audiences across generations?
**Section 4: Lasting Impact and Future of His Music**
* **Host:** Charles Dumont insisted his songs could have been written today and hoped they would be performed tomorrow. [Guest 1], do you believe his music will continue to be relevant in the future? What makes his songwriting style adaptable and enduring?
* **Host:** [Guest 2], how do you see Charles Dumont’s influence continuing through modern musicians and performers? Do you think his music will inspire new interpretations and adaptations?
**Conclusion:**
We thank our guests for offering their insights into the multifaceted life and legacy of Charles Dumont. His enduring talent and the captivating story of his collaborations and struggles will forever be a treasured part of French musical history.
