Words by Justin Turford

Some people are cooler than the rest of us, that’s just the way it is. Pierre Barouh was one such cat. He could have been a megastar with his Gallic film star looks, singing talents and early success but instead, he chose to take the trickier road, a more worthwhile trip where great art was created under his watch. In doing so, he became a legend in France, a country that has always recognised the visionary artist as someone worthy of praise. Propelled to fame as the male vocalist, soundtrack co-composer (with Francis Lai) and actor in the iconic 1966 Cannes Film Festival Grand Prix winner, ‘Un Homme Et Une Femme’, Barouh had the world at his feet. He said '“non” (maybe) to these new possibilities, instead teaming up with his old friend Fernand Boruso to develop his Saravah Publishing into an independent recording studio and label. From this new base, Baraouh would produce some incredible music that moves easily from the avant-garde to the irresistibly groovy. Always classy and never obvious. The music was ready when it was ready.

“There are years when you want to do nothing”- slogan of the Saravah house

On this, the first ever vinyl retrospective of Saravah (overseen by Pierre Barouh's son and Saravah historian, Benjamin Barouh), WEWANTSOUNDS have given us a superb overview of the label’s output, touching on jazz, samba and funky pop as well as music from Brazil and Africa ( Gabonese artist Pierre Akendengue’s ‘Orema Ka Ka Ka’ a particular standout from 1976). This was a pioneering move for a European label during the period this compilation covers (1965-76).

Showcasing Barouh and Boruso’s eclectic circle of talent and contacts, Art Ensemble of Chicago are included three times as a (more than) backing band on the record, bringing their revolutionary edge to Marva Broome’s funky jazz belter ‘Mystifying Mama’, African actor Alfred Panou’s ‘Je Suis Un Savage’ and the seductively tribal 1969 recording, ‘Comme A La Radio’ by the French underground heroine Brigitte Fontaine, who would go on to record many times for the label. The sense that Saravah was a cultural lab of its times permeates every song. A protégé of the great Brazilian composer and polymath Vinícius de Moraes, Barouh was a European with a uniquely global outlook for the times and this attitude of borderless creation comes directly from his own enigmatic character.

There’s plenty of what we might now call Fourth world or Outernational jazzy sounds on the record. Baroque Jazz Trio’s ‘Delhi Daily’ is a supremely groovy (in the 60s sense) affair with violins, tablas and other stringed instruments that works its way into a cosmic tizzy, ‘Monsieur Chimpanzee’ by Michel Roques is all killer percussion and ranting until it takes off with brilliantly expressive flute playing, bass and a discordant horn section. Jacques Higelin's wildly hypnotic psychodrama 'Je Jouais le Piano', was one of the first songs recorded for the label and has never been reissued since, another gem in a trunk full of jewels.

Another side to the music included is the gentle French pop and Brazilian atmospheres of Brigitte Fontaine & Jacques Higelin’s ‘Cet Enfant Que Je T’avais Fait’ and the solitary song here that has Pierre Barouh singing in a collaboration with the great Brazilian guitarist Baden Powell. ‘Saudade (Un Manque Habité)’ was recorded in 1965 during the same Rio session as 'Samba Saravah', the song that was included in the soundtrack to ‘Un Homme et un Femme’ and the reason why Barouh was invited by the director Claude Lelouch to be such a key part of it.

This is such an exceptional compilation, I could go on and on about each individual track but I’ll leave to you the joy of discovery. There’s more out there as well. Barouh also directed 'Saravah' a fascinating documentary about the Rio music scene with Baden Powell, Maria Bethania, Paulinho da Viola and Pixinguinha in 1969 (watch HERE) and apparently his son, Benjamin, is overseeing a new documentary “L’État de Vacance” about Saravah in the 70s which I’m very excited about!

So, in a year already drenched in extraordinary reissues and compilations, WEWANTSOUNDS (surely in the top shelf of labels dedicated to excavating the treasures of the past) has delivered a remarkable collection that offers new delights on every listen. As good as it gets. 10/10