‘When You Read This Letter’
To be frank, I went to see Jean-Pierre Melville’s Quand tu liras cette lettre (When You Read This Letter) at the BFI last night simply out of curiosity to see what sort of a leading actress Juliette Gréco was in 1953. Screened in a beautifully restored 35mm print, the film is an old-fashioned melodrama in which Gréco plays a novice nun who leaves the convent in order to look after her younger sister, the naive victim of a handsome, libidinous rotter. There’s a rape, a murder, an accidental death under the wheels of an express train, a very nice Cadillac Series 62 convertible, and some lovely scenes of the Cannes waterfront before it all got spoiled.
There’s also a soundtrack, featuring harpsichord doodling and sepulchral church organ. It was composed by Bernard Peiffer, a French pianist who worked with Django Reinhardt and many big American names in Paris in the early ’50s before emigrating to the US in 1954, where he settled in Philadelphia and earned the praise of critical heavyweights such as Barry Ulanov and Leonard Feather. Kidney surgery preceded his death in 1976, at the age of 53, two years after his final appearance in New York, at the Newport Jazz Festival. He had spent the last years of his life teaching piano — among his students was the young Uri Caine — and performing in clubs in his adopted home city.
I was familiar with his name, but I’d never really listened to him. So I went on to YouTube, and was immediately entranced by his versions of “Lullaby of Birdland”, made in Paris just before he left Europe, and “All the Things You Are”, a late recording from Philadelphia. Here, then, is another fine French jazz pianist of the post-war years, to rank with René Urtreger and Martial Solal, with a profound gift for improvisation and a technical imagination and a highly chromatic sensibility that may have been set free during his early studies with Pierre Maire, a student of the great Nadia Boulanger, and later at the conservatoires in Marseilles and Paris.
Thanks to the programmers at the BFI, then, for an unexpected bonus from their excellent Melville season. This was the second and last screening of Quand tu liras cette lettre, but the programme continues through September and includes the director’s classics: Le Deuxième souffle, L’Armée des ombres and Le Samouraï.
Maybe not quite up to the standard of Urtreger or the astounding Solal there was another fine French pianist in Henri Renaud. Particularly liked the session he did with Bobby Jaspar covering Gigi Gryce compositions
I remember a school-friend had (half a century ago) an LP of Peiffer which included a piece of his, “Poem for a Lonely Child”, dedicated to his son who had suffered brain damage – a haunting piece. When I checked up on him more recently, I had the impression that he’d become celebrated for his great speed; but there’s more than that to his music, obviously.
Thanks, by the way, for your piece on the Coltrane film, which I managed to see at the ICA – incredible sound, and some great photos. I could have done with more about his last years, and the group with Sanders – but one can’t cram everything into 90 minutes.