1

The

PIANO

of

FRANCOIS RILHAC

Solographer: Jan Evensmo

Last update: June 17, 2018
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Born: France, 1960

Died: France, Sept. 3, 1992

Introduction:
This century came into existence before I heard Francois Rilhac on record for the
first time. Know then that I stayed one year in Paris 1984/85! I could have heard
this magnificent pianist live, an ‘unknown’ French jazz musician comparable to
Django Reinhardt, a ‘well hidden’ white vintage stride pianist comparable to the
great Afro-Americans of the thirties, but nobody told me about him …

History:
Francois discovered jazz ith his older brother Michel, also a pianist, around the
age of 10, and discovered “Fats” Waller at the age of 12. He clearly preferred
piano duets to the classical lessons which he gave up early on. He reached an
impressive speed by strenuously working along with Art Tatum recordings
(notably the Decca 1939-40 ones). He copied “Fats” records by ear and played in
a small local band Poires Cuites at 14, then at the Winston Churchill Pub in Paris
around 1975, where he met Aaron Bridges. He also performed in the bars in the
Pigalle area. Around 1978, he became the steady pianist at the Cardinal Paf where
he met Jean-Loup Longnon who hired him in his 8-piece band as pianist and
arranger. His job with Longnon made him discover a more modern kind of jazz
(block chords, Oscar Peterson, Monk, Bud Powell, Wynton Kelly) and the great
arrangers, notably Duke Ellington and Shorty Rogers. Jean-Loup is certainly
greatly responsible for Francois’ harmonic and rhythmic freedom, and his
whimsical and unusual improvised phrasing. Towards 1982 Francois became the
pianist for Gilbert Leroux and Marcel Zanini, but he also worked as as a soloist or
as a substitute in other bands. Shortly afterwords he created a a piano duet, and
then he formed his own 6-piece band called the Francois Rilhac Harlem Jazz.
During the time when he played with Leroux, Zanini and me (Mazetier), Francois
did a curious about-face, back to a a more “traditional” jazz and studied in depth
stride piano, and his favorite stride pianists: James P. Johnson, “Fats” once again
and Donald Lambert. His style, at the end, with the Harlem Jazz, represents a
synthesis of these odd influences, where stride, block-chords, fast-moving right-
hand phrases, dissonances and harmonic and melodic surprises all combine to
form his own personal style. He had numerous personal problems which threw
him into long periods of depression, hospitalization and various medical
treatments, during which he practically stopped playing. His tragic death put an
end to what seemed to be a hopeless personal battle, and his friends were
devastated (excerpts from Louis Mazetier’s liner notes to the CD “Thank’s A
Million” with some modification).

Message:
Can anybody give information about his birthdate?
I know that lots of privately recorded material by this great pianist exist. It would
be highly appreciated if such information could be included in future updates of
this solography.
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FRANCOIS RILHAC SOLOGRAPHY

FRANCOIS RILHAC Paris, Spring 1978

Francois Rilhac (p). J. M. Rombi (el-b), W. Roudil (dm) added on items 4-5.
TV-program (colour), sent May 3, 1978, five titles:

Just A Gigolo 1:55. (M)

Blues 2:32. (FM)
Ragtime 1:54. (FM)
Autumn Leaves 4:44. (FM)
Night In Tunisia 4:42. (F)
Rather strange that Francois Rilhac’s first appearance should be a TV-program,
seven years before he enters a proper recording studio! This boy-genius, or at
least a very young man, shows great talent and knowledge of jazz music. Looking
at his later career, it is also remarkable that he started out with a broad spectre of
style influences, also modern jazz, as evident in the choice of such vehicles as
“Autumn …”, and above all, “… Tunisia”. Later he retrograded and stuck to
older jazz forms, a sort of development quite unique.
MAXIME SAURY Paris, 1979
Maxime Saury (cl), Francois Rilhac (p), unknown (b), (dm).
TV-program (colour), eight titles:
I Got Rhythm (9:09) Acc. (cl). Solo 5 choruses
of 32 bars. (F)
Lady Be Good (6:29) Acc. (cl). Solo 4 choruses
of 32 bars. (F)
Body And Soul (9:11) Acc. (cl). Solo 32 bars. (S)
Royal Garden Blues (8:46) Acc. (cl). Solo 6 choruses
of 12 bars. (FM)
Georgia On My Mind (9:27) Acc. (cl). Solo 32 bars.
Acc. (b). (S)
Blues (7:48) Acc. (cl). Solo 36 bars. (S)
On The Sunny Side Of TS (10:00) Acc. (cl). Solo 3 choruses
of 32 bars (4 bars missing end
2nd chorus). Acc. (b). (SM)
Tea For Two (NC) Acc. (cl). (FM)
These items confirm the impression we got through the previous program; FR is
still in a development phase, far from the stride he got so famous for later. There
is little bringing associations to vintage swing in the slow and thoughtful titles
like “Georgia …” and “Body …” here. However, there is no doubt about his
enormous talent, just listen to how he treats fast titles like “I Got …” and “Lady
…” with sovereign technique, and even more important, full of exciting phrases
and details, a highly creative musician only 19 years old, still searching.
ARNETT COBB – DANY DORIZ BIGBAND Limoges, May 30, 1983
Bigband personnel including Claude Gousset (tb), Arnett Cobb (ts), Dany Doriz
(vib), Francois Rilhac (p), Pierre-Yves Sorin (b), Michel Denis (dm).
Concert at Hot Club de Limoges, TV (colour), one title:
Air Mail Special (11:33) Solo 3 choruses of 32 bars. (F)
This is quite amazing and valuable, inasmuch as we still hear a modern oriented
FR, not yet started on his process towards the stride. Not particularly exciting as
such, but historically important.
JEAN LOUP LONGNON BIG BAND Paris, July 13/14, 1984
Bigband personnel including Francois Rilhac (p).
Three titles were issued as Torride” on 52 Rue East (F) RE003, but FR cannot be
heard.
FRANCOIS RILHAC Paris, 1984
Francois Rilhac (p, comp).
Three titles were recorded at “Le Petit Opportun”, issued on an LP by ERIC
GEMSA, Carriere 63.122:
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Honky Tonk Speed Boogie 3:37. (F/M/F)

Strange Op’Boogie 7:08. (SM/FM)
Striding The Boogie 2:42. (FM)
Postscript of June 2018: An interesting and very valuable surprise, to hear FR
really go for the boogie! Obviously the session is no casual event but a well
prepared occasion. The highlight is “Strange ...” which in fact is a suite consisting
of three different parts, of which the first part is more than four minutes long,
then going uptempo. “Honky ...” is structured with a medium intermission
between the rolling boogie parts. Only “Striding ...” is a one-piece performance.
Great playing!
MARCEL ZANINI Paris, March 26/27, 1985
Marcel Zanini (cl, ts), Francois Rilhac (p), Marc Edouard Nabe (g), Pascal Chebel
(b), Sam Woodyard (dm-except 002-1), ?? (vo-002,007).
Eleven titles were recorded for Black & Blue, seven issued as “Lotus”:
85-001 Lotus Duet with (cl) (S) to solo 136
bars (M) to duet and coda. (S)
85-002-1 My Buddy Intro 8 bars to acc. (vo) 32 bars to
solo 32 bars. Acc. (vo) 32 bars. (M)
85-002-2 My Buddy As above. (M)
85-005 Hot Brass Solo 6 choruses of 12 bars. (M)
85-006 Je Vole Parmi Les Nuages Acc. (vo) 16 and 8 bars. Solo 64
bars. Acc. (vo) 12 bars to coda. (M)
85-007 Rosetta Duet with (cl) 32 bars to
acc. (vo) 32 bars to solo
64 bars to acc. (cl). (M)
85-008-2 Histoire De Mal 4:14. (S)
85-010 Pele Mele Intro 4 bars to acc. (ts) 36 bars
to solo 24 bars to acc. (ts). (SM)
This is the real beginning of a most important jazz archeological discovery, the
magnificent swing pianist Francois Rilhac! Lucky you French jazz enthusiasts
who had this genius with you, but why didn’t you tell? Swing piano like this has
not been heard since the days of the great Teddy Wilson and Mel Powell, only
challenged by a few postwar Swedes, believe me! Swinging with a sovereign
technique transparent as glass, creative, dynamic and original soli, what more
could you wish for? In this quintet he plays mostly softly with a delicate touch, as
in the blues “Hot Brass” and “Pele Mele” (dig the last chorus!). His two choruses
on “Rosetta” are full of surprises and just great, as is “Je Vole …”. In the bossa
nova “Lotus” he also introduces some of his easily identifiable chords. Finally,
though this is not the right word, “My Buddy” with its two takes is played with
such imagination that one is just hypnotized. Note how he uses his chords at the
end but much stronger on take 2 compared to take 1. Final note, he would not
have been able to perform like this without the fine work of Zanini and the
quintet as a whole! And another postfinal note, “… De Mal” is a solo feature for
FR in a slow tempo, incredibly beautiful!
BUSTER BENTON Paris, May 23/24, 1985
Francois Rilhac (p), Billy Branch (harmonica), Buster Benton (el-g, vo), Carlton
Weathersby (elg), W. J. Williams (b), Mose Rutues (dm).
Nineteen titles were recorded for Black & Blue, issued on CDs BB 728.2, issued
as “Sons Of Blues” and 59.001-2, issued as “Blues At The Top”. Some titles have
(almost) no trace of FR, some have soft accompaniment, where one really has to
struggle to hear any piano, but the following five have prominent FR:
Blues And Trouble Acc. (g/vo/hca) 48 bars to
solo with (hca) 12 to acc.
(vo/g/hca) 24 bars. (S)
I Wish I Knew Acc. (vo) 32 bars to acc. (g)
8 bars to acc. (vo) 16 bars. (S)
The Band Ladies Have The Blues Acc. (g/hca) to solo 24
bars with (hca) acc. (S)
As The Years Go Passing By Solo 24 bars with (hca) acc. (S)
Fours Solo 24 bars. (M)
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These are magnificent blues sessions, but of course, everything revolves around
Buster Benton’s charismatic personality. One has to listen closely to find FR, but
there are some occasional very nice things in the background. That he could play
the slow blues is evident, and the execution is sensitive and delicate.
BERT DE KORT
& HIS DUTCH DIXIELAND PIPERS Hilversum, Holland, June 3, 1985
Bert de Kort (cnt, vo), Dick Sleeman (tb), Frits Kaatee (cl, sop), Francois Rilhac
(p), Adrie Braat (b), Nanning van der Hoop (dm).
Eight titles were issued on Downtown (Swiss) CD9207:

Riverboat Shuffle Solo 32 bars. (FM)

A Song Was Born Solo 32 bars. (FM)
What’s New? Acc. (cnt). Solo 16 bars. (S)
It Don’t Mean A Thing Solo 64 bars. (F)
I Cover The Waterfront Intro 4 bars. Solo 16 bars. (S)
Wrap Your Troubles In Dreams Soli 16 and 16 bars. (M)
Wolverine Blues Solo 32 bars. (FM)
Postscript of June 2018: At last this CD has become available! On this ‘dixieland’
session FR is only one of many good and inspired musicians, and his soli are
mainly of limited length. In uptempo like “... Shuffle”, “... Born” and “... Blues”
he is more modest than in later years. The highlight is “... Thing”, here he offers
some of the surprises that his later works are so full of, note the opening phrase as
a good example and the agitated second chorus! Note however his beautiful slow
soloing on “... New?” and “... Waterfront”, not so many examples of this side of
his artistry.
same date
Francois Rilhac (p) solo, three titles:

Mule Walk 2:59. (F)

It Had To Be You 3:28. (S/FM)
Daintiness Rag 2:03. (F)
To compensate for limited playing time on the collective items, he is allotted
three nice solo items. The most interesting item is “... You” with a slow
introduction interspersed with some flashing runs, then going into stride, well
done!.
FRANCOIS RILHAC Paris, June 14, 1985
Francois Rilhac (p) solo.
Twentythree titles were recorded live at La Table d’Harmonie by Jean-Pierre
Tahmazian, fifteen of which appeared on the CD Black & Blue BB 812 2, as “It’s
Only A Paper Moon”, in October 2016, produced by Louis Mazetier:

I’ve Got The World On A String 3:42. (M)

Somebody Stole My Gal 3:27. (F)
Keepin’ Out Of Mischief Now 3:47. (SM)
Lullaby In Rhythm 3:24. (M)
I Cover The Waterfront 4:21. (M)
Daintiness Rag 2:17. (F)
Ain’t Misbehavin’ 5:59. (SM)
Sugar 6:19. (SM)
Sweet Lorraine 5:24. (M)
La Mere Michel 3:09. (FM)
On The Sunny Side Of The Street 5:16. (SM)
Body And Soul 7:16. (S)
F Minor Stride 4:14. (F)
April In My Heart 4:12. (SM)
It’s Only A Paper Moon 7:27. (M)
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A very valuable addition to the FR-treasury! Excellent sound and variation of

tunes and tempi, and Louis Mazetier has written detailed and informative
comments to each item. There are no superlatives left for me to describe the
originality and creativity of this great piano player. Possibly one might miss some
of the madness (meant positively!) found in other sessions under less controlled
circumstances, this sounds like a proper and supervised studio recording session,
if you understand what I mean. Very difficult to single out particular highlight
items, but I feel confident that the “… Rag” and “… Michel” will find you at
home! The quite long version of “Sugar”, the ‘Tatum-esque’ “… Lorraine”, the
surprising and original “Body …” of full seven minutes, you will enjoy these,
but to mention some is really a shame to the others. Get this CD as soon as
possible and ask for more!
FRANCOIS RILHAC Amilly, France, Sept. 22, 1985
Francois Rilhac (p) solo.
Two titles were recorded live, issued on Hot Club du Gatinais HCG01-02 (CD) as
“Ticklin’ At The District”:

How High The Moon 2:54. (F)

Gone With The Wind 2.24. (M)
FR on his own, how does that work out? There is no doubt that he has heard Art
Tatum, and he har learned his stride, but otherwise he blends everything he has
learned into his own personal style. Two fine items!
GILBERT LEROUX WASHBOARD GROUP Paris, Nov. 2, 1985
Gilbert Leroux (wbd, ldr), Daniel Barda (tb-except “Supraton …”), Alain
Marquet (cl), Francois Rilhac (p), Louis Mazetier (p-“… Wild”), Frederic
“Freddy” Legendre (b).
Amateur videos (colour), recorded at Town Hall of 5th district of Paris during an
event called “Jazz Band Ball”, four titles:

Runnin’ Wild Solo 64 bars (2nd (p)-solo). (F)

Blues My Naughty SGTM Solo 3 choruses of 32 bars. (F)
Weary Blues Solo 5 choruses of 16 bars. (F)
Supraton In Marrakouch Acc. (cl). Solo 32+12 bars. (F)
Found these after having listened to the recording session below, and one must
just throw in the towel to this exciting and violently swinging music! “… Wild”
is just that with LM taking the first brilliant piano solo, FR the second one. Going
to “… My Naughty …”, FR takes three magnificent chorus (dig his opening
phrase!).
late 1985
Same. Filmed at an unknown club, not available:
Supraton In Marrakouch
GILBERT LEROUX WASHBOARD GROUP Paris?, Jan. 7, 1986
Gilbert Leroux (wbd, ldr), Daniel Barda (tb), Alain Marquet (cl), Michel Bescont
(ts), Francois Rilhac (p), Louis Mazetier (p-“… Naughty”, “Weary …”).
Seven titles recorded live at Studio 105, Maison de Radio France, six issued on
Djaz DJ 508-2, the piano duo on “Blue Lou” was not issued but:

Please Don’t Talk About MWIG Solo 64 bars. (FM)

It Don’t Mean A Thing IYAGTS Intro 16 bars. Acc. (tb). Solo
3 choruses of 32 bars. (FM)
These Foolish Things Intro 4 bars. Acc. (cl).
Solo 32 bars. (S)
Somebody Stole My Gal Intro 4 bars. Acc. (cl). Solo
3 choruses of 40 bars. (F)
Blues My Naughty SGTM Duet with (p-LM) intro and
4 choruses of 32 bars. (F)
Weary Blues Duet with (p-LM)
5 choruses of 16 bars. (FM)
For those of you not familiar with French swing and traditional jazz, you are up
for a great and pleasant surprise! The leader with his washboard sets a firm base
for almost fifty minutes of jiving and jumping. Almost five minutes into “Please
…” FR shows his masterly piano capabilities. Although their styles have many
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differences, FR’s dynamic approach to playing, as well as his harmonic surprises
reminds me somewhat of Mel Powell. On “It Don’t …” almost a feature number
for trombone, he picks up the preceding terminating phrase and throws it around
like a ragdoll, going to strong stride in the upper register in the third chorus,
vow!! A sparkling solo on “Somebody …” almost takes the breath out of you.
Finally note a thoughtful slow chorus on “… Things”. No not finally, because on
the two last items the excellent pianist Louis Mazetier joins the ball, and some
two-piano groove is just unforgettable! Highly recommendable session!!
MARCEL ZANINI Paris, March 3, 1986
Marcel Zanini (cl, ts), Francois Rilhac(p).
Three titles were recorded for Black & Blue, two issued:

86-001 Carro Acc. (ts) to solo 24 bars to acc. (ts). (S)

86-003 Thanks A Million Duet with (cl) 32 bars to
solo 32 bars to acc. (cl) 32 bars
to duet 36 bars to coda. (M)
The very slow and pensive “Carro” shows another side of FR not heard in the
previous sessions, beautiful solo and fine cooperation with the tenorsax. “Thanks
…” is just a perfect duo item, brilliant piano chorus and tight cooperation
between the two.
FRANCOIS RILHAC Paris, March 3, 1986
Francois Rilhac (p) solo.
Twelve titles were recorded for Black & Blue, the following three are unissued:
86-011 “Hallelujah”, 86-012 “Runnin’ Wild”, 86-015 “Jeepers Creepers”. The LP
cover states: “Francois Rilhac – Megalo Piano Stride” with James P. Johnson,
Willie “The Lion” Smith, Fats Waller and Art Tatum as astonished bylookers):

86-004 Ain’t Misbehavin’ 4:25. (M/F)

86-005-1 Pilgrim Chorus 2:28. (F)
86-006-2 F Minor Stride 4:05. (F)
86-007-2 Fussin’ 3:27. (FM)
86-008 I’ve Got The World On A String 4:05. (M)
86-009 Russian Lullaby 2:39. (F)
86-010 If Dreams Come True 4:10. (F)
86-013 Mule Walk 2:55. (FM)
86-014 C’Est La Mere Michel 3:22. (FM)
Paris, March 10, 1986
Same. Nine titles were recorded for Black & Blue, the following six are unissued:
86-019 “Believe It Beloved”, 86-021 “Sweet Lorraine”, 86-022 “Blue Lou”, 86-
025 “I Believe In Miracles”, 86-028 “Thou Swell” and 86-030 “I Got Rhythm”
(this one with Louis Mazetier (p) added) but:

86-020 When You And I Were Young, Maggie 3:50. (S/FM)

86-026 The Joint Is Jumpin’ 3:38. (F)
86-027 Two Sleepy People 3:15. (S)
These sessions for B&B are something very special, because they are the only
examples where FR is in a proper recording studio all by himself. If you think
you should sense some claustrophobic vibrations, forget it!! This is some of the
greatest piano sessions I have ever heard!! Although there are those who seem to
think that FR is only a clone of the great stride pianists of the thirties, it is not so.
He knows the history of the tradition down to the smallest detail, and he can
easily copy the old masters soli note by note. However, he has his own emotional
approach, a sense of drama probably connected to the difficult psyche that
eventually broke him down. And he has an amazing technique, so clean and
penetrating, each and every note stands out so clearly and shining. All items here
are just magnificent. They seem to group into three. The first may be called
conventional like “Mule …”, “Fussin’”, “… Maggie”, “… Misbehavin’”, “…
People”, and “… Jumpin’”. The second has “… String” and “… Michel”, not so
easy to classify. The third is the particularly dramatic performances, often in
minor key, like “F Minor …”, “If Dreams …”, “… Lullaby” and “… Chorus”,
and when these are played for unprepared listeners, they usually cannot believe
what they hear. To sum up, this is a perfect session by one of vintage jazz piano’s
very greatest. It should be an international public demand to have Black & Blue
issue everything they have in stock, alternate takes and everything, it is jazz
history!!!
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FRANCOIS RILHAC Villeneuve sur Lot, Nov. 21, 1986

Michel Boss (tp), unknown (tb-“Rosetta”), Bruno Monte (cl, ts), Francois Rilhac
(p), Frederic Legendre (b), Lucien Dobat (dm).
Nine titles were recorded at the club “Jazz 47” by Jean Depoid:

Yacht Club Swing Solo 64 bars. (M)

It’s A Sin To Tell A Lie Intro 8 bars to solo 32 bars.
Solo 3 choruses of 32 bars. (FM)
Blues Intro 4 bars to ens 24 bars.
Solo 36 bars to ens 24 bars. (S)
Unidentified title Acc. (tp) and (ts).
Solo 64 bars. (M)
Honeysuckle Rose Intro 8 bars to ens 32 bars.
Solo 3 choruses of 32 bars.
Solo 8 bars. (M)
Hold My Hand Solo 32 bars to ens 32 bars.
Solo 3 choruses of 32 bars. (F)
I’m Getting Sentimental Over You ? Soli 32 and 32 bars. (S)
Rosetta Intro 8 bars to ens 32 bars.
Solo 3 choruses of 32 bars. (FM)
High Society Solo 3 choruses of 32 bars. (FM)
An inspired jam session, and I cannot be mightily impressed by the quality of
French vintage jazz. It always swings heavily, and this encounter is no exception,
fine soloing by everybody. FR seems to enjoy himself the most, and his piano
playing comes clearly through with excellent sound quality. All items have long
and inspired piano soli, and it is interesting for once to hear him play the slow
“Blues”, pure and simple. Beautiful slow piano also on “… Sentimental …”. A
solid rhythm backing makes the session even more pleasant, and a fine example is
Fats’ “Hold My Hand”. Another highlight is “… Lie”, in fact all items are just
great! If such a jam session was recorded at Villeneuve, there should be many
others lying dormant in some dusty boxes of tapes. Take a look!!
FRANCOIS RILHAC & HIS QUINTET Montauban, 1987
Alain Bouchet (tp), Jacques Montebruno (cl, ts), Francois Rilhac (p), Enzo Mucci
(g), Freddy Legendre (b), Michel Denis (dm).
Concert at Festival Jazz De Montauban, video recording (colour), three titles:
Dinah (9:11) Intro 8+32 bars. Solo
3 choruses of 32 bars. (M)
Way Down Yonder In New Orleans (8:07) Intro 28 bars. Solo 3
choruses of 28 bars. (FM)
Unidentified Tune (6:50) Solo 64 bars. Break. (FM)
same date
Same except Sam Woodyard (dm) replaces Denis. One title:
In A Mellow Tone (9:36) Straight intro. Solo 64 bars. (SM)
Note the laidback intro on “Dinah” with such a determined bridge! The just now
unidentified Fats Waller tune has a fine piano solo, particularly the second chorus
is great, and he is really jumping on “… New Orleans”!
FRANCOIS RILHAC Paris, April 14, 1987
Francois Rilhac (p) solo.
Large number of titles, recorded live at the club “La Table d’Harmonie” by
Emmanuel Jacomy, some are issued on the CD described below (!987/1988).
FRANCOIS RILHAC Paris, 1987/1988
Francois Rilhac (p) solo.
Sixteen titles, recorded live at the club “La Table d’Harmonie” by Emmanuel
Jacomy on the following dates: April 14, 1987, Jan. 19, Feb. 16, Feb. 23, March
29, 1988 (possibly on the first and last of these dates), issued on FR-01 (CD) as
“Thank’s A Million”:

Hallelujah 5:28. (SM/F)

The Mule Walk 3:41. (FM)
Thanks A Million 4:53. (M)
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I Never Knew 3:24. (F)

Just One Of Those Things 4:59. (M/F)
If I Had You 5:05. (M)
Liza 3:44. (SM/F)
Sweet And Lovely 3:23. (S)
Louise 5:10. (SM)
This Can’t Be Love 4:49. (F)
High Society 4:41. (F)
Rosetta 4:40. (FM)
Composition En Re B 1:50. (F)
I Can’t Help Lovin’That Man 3:48. (S)
Oh! Peter 2:07. (FM)
Song Of The Vagabonds 3:21. (F)
These recordings are unique inasmuch as they are the only available from
informal circumstances. They are just incredible, showing how great FR was. At
first listening you will be completely chocked by the ultra-fast “… Vagabonds”
(“The ultra-rapid stride and giddy phrasing of the right hand fall and dazzle you
with their ease and impressive mastery. Few pianists have dared rub up against
this Tatum war-horse. But Francois was crazy enough and gifted enough to
accept the challenge”) and “… Things” (“this tune tells us a long story. The
Tatum-like harmonized statement (sometimes Bud Powell-style) precedes a
brilliant first chorus where the right hand gives its own easy phrasing at a fast
tempo while the left hand only punctuates. Then comes a Don Lambert-inspired
stride take-off. The energy is fabulous. Nobody else could have done it in 1987,
amd no rivals have done so since”). After recovering you can continue on the 14
other tunes, of which I will not select any (okay, “Rosetta” then…), just go ahead
and have an hour of incredible excitement. Then ... the liner notes of Louis
Mazetier states that “out of 7 hours of recordings of 3 different evenings, I had to
make a painful selection …”. Well it is time to issue the rest!!
LOUIS MAZETIER & FRANCOIS RILHAC Rouen, June 12, 1987
Francois Rilhac (p) solo.
Filmed by an amateur, Bernard Creton, three titles (there is also one solo feature
by Louis Mazetier: “Harlem Strut”):

F Minor Stride 3:59. (F)

Pilgrim’s Chorus 2:49. (F)
Smoke Gets In Your Eyes 2:49. (SM)
same
Francois Rilhac, Louis Mazetier (p). Nineteen titles:

The Joint Is Jumpin’ 4:16. (FM)

There’ll Be Some Changes Made 9:28. (SM/FM/F)
Jingles 5:32. (F)
Dinah 5:59. (FM)
Lullaby Of The Leaves 5:49. (SM)
I’m Crazy ‘Bout My Baby 5:15. (FM)
Mule Walk Stomp 3:51. (FM)
Sunday 5:20. (FM)
If Dreams Come True 8:25. (FM)
Love Will Find A Way 6:01. (S/F)
Six Avenue Express 8:44. (M)
High Society 4:45. (F)
Viper’s Drag 6:48. (SM)
 10

On The Sunny Side Of The Street 6:00. (M)

Thou Swell 5:45. (F)
Christopher Columbus 4:54. (M)
Carolina Balmoral 3:53. (F)
Ain’t Misbehavin’ 6:33. (SM)
Breeze 6:49. (M)
This is almost impossible to digest!!! The films are easily available on YouTube,
in a pale green light with Rilhac on the piano furthest away. I have never heard
anything like this in my lifetime, two young pianists, approximately 27 years of
age meet at a friendly cooperation and play together for 2 hours with such
enthusiasm, energy, intensity, creativity and just joy!! To go into details is
absolutely unnecessary,because wherever you start, you will find great piano art.
Warning though, you will not find any pensive, moody, slow music here, there is
stepping on the gas all the time most in quite high tempi. Not necessary a
highlight, I dare you to start with the longest item, “… Some Changes …”, and if
you don’t dig this fantastic ride, just forget it.
HARLEM JAZZ Paris, Dec. 26-30, 1987
Michel “Boss” Queraud (tp), Jacques Montebruno (cl, ts), Francois Rilhac (p,
vo), Enzo Mucci (g, Freddy Legendre (b), Francois Laudet (dm).
TV-program (colour) from club “Le Petit Opportun”, one title:
Maman M’a Dit (2:38) Intro. Vocal. Solo 24 bars. (FM)
A most swinging piece, based on Fats Waller’s “My Mommie Sent Me To The
Store”. Most remarkable is the fact that we see and hear FR singing, highly
enjoyable!
FRANCOIS RILHAC Paris, Jan. 19, 1988
Michel “Boss” Queraud (tp), Jacques Montebruno (cl, ts), Francois Rilhac (p,
vo), Enzo Mucci (g), Freddy Legendre (b), Didier Guero (dm).
Large number of titles, recorded live at the club “La Table d’Harmonie” by
Emmanuel Jacomy, some also piano solo, unissued.
FRANCOIS RILHAC Paris, Feb. 16, 1988
Francois Rilhac (p) solo with probably Christian Hillien (ts) added on some titles.
Large number of titles, recorded live at the club “La Table d’Harmonie” by
Emmanuel Jacomy, unissued.
FRANCOIS RILHAC Paris, Feb. 23, 1988
Francois Rilhac (p) solo.
Large number of titles, recorded live at the club “La Table d’Harmonie” by
Emmanuel Jacomy, unissued.
FRANCOIS RILHAC Paris, March 29, 1988
Francois Rilhac (p) solo with Jacques Montebruno (cl, ts) added on some titles.
Large number of titles, recorded live at the club “La Table d’Harmonie” by
Emmanuel Jacomy, some (piano soli only) are issued on the CD described above
(1987/1988).
HENRI CHAIX / FRANCOIS RILHAC Geneva, July 21, 1988
Henri Chaix, Francois Rilhac (p).
Two titles, “I’ve Found A New Baby” and “Blue Turning Grey Over You”, were
recorded live, supposedly issued on Sackville (Can) SK3CD-6002, but it seems
the record was never issued.
FRANCOIS RILHAC’s HARLEM JAZZ Amilly, France, May 27, 1989
Michel “Boss” Queraud (tp), Jacques Montebruno (cl), Francois Rilhac (p), Enzo
Mucci (g), Freddy Legendre (b), Stephane Roger (dm).
Three titles were recorded live, issued on Hot Club du Gatinais HCG01-02 (CD)
as “Ticklin’ At The District”:
Yacht Club Swing Intro 8 bars. Prominent acc. (ens),
(cl), (tp). Soli 64 and 8 bars. (M)
If Dreams Come True Intro 32 bars (free tempo) to solo 32
bars. Prominent acc. (ens), (tp), (cl).
Solo 4 choruses of 32 bars. (F)
KC Man Blues Intro 12 bars. Prominent acc. (ens),
(cl), (tp). Solo 24 bars. (S)
Quote Ray Brown listening to Francois Rilhac (CD liner notes): “Who’s that
piano player? Jesus, I haven’t heard that piano playin’ for forty years”. Well, this
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session, and “… True”, was my very first encounter with FR, and I had never,
ever in my life heard something like this!!!! From that day I decided to collect all
his records but found there were so few, and not easily available. Starting with an
elegant intro to “Yacht Club …”, then leading the ensemble and actively comps
the trumpet and clarinet. Then, when his turn comes, he surprises with four bars
of unexpected chords to continue with one chorus so delicate with sparse use of
notes, and then back to chords, really heavy this time, a great and original
performance. The solo version of “… True” has already been mentioned, now we
get it in a swing and jam version with a very strong and pushy rhythm section,
and what happens! First FR introduces the theme just by himself, then goes into a
hot chorus with a left hand like an axe, and then follows up the trumpet and
clarinet closely, note how he feeds them chords (trumpet, first bridge!!)!! Then he
takes it out with four choruses that would have put Harlem on fire if he had been
there at the right time; two single notes choruses, one dynamic purely chord
chorus and then one gigantic stride chorus, my goodness! A soft “… Blues”
closes this memorable ball.
LOUIS MAZETIER /
FRANCOIS RILHAC Marne-La-Vallee, Nov. 22/23, 1989
Louis Mazetier (p-except “Love …”, Francois Rilhac (p-except “Echoes …”),
Alain Marquet (cl-“Harlem …”, “Shim- …”, bcl- “… That Way”).
Fifteen titles were recorded for Stomp Off, issued as “Echoes Of Carolina”:

Carolina Shout 2:42. (FM)

If I Could Be With You One Hour Tonight 2:54. (SM/F)
The Mule Walk 3:02. (F)
Harlem Joys 2:51. (F)
Yacht Club Swing 3:14. (M)
Love Will Find A Way Out 2:48. (S/FM/F)
Keepin’ Out Of Mischief Now 2:18. (SM)
Guess Who’s In Town 2:41. (FM)
Shim-Me-Sha-Wabble 3:18. (FM)
Echoes Of Carolina 3:22. (FM)
The Love Nest 5:16. (S/FM)
Blues In C 3:24. (S)
Liza 3:29. (F)
She’s Funny That Way 3:13. (SM)
Keep Off The Grass 3:02. (F)
This is something different!! FR teams up with the great LM (still most active in
2016), and together they create quite a ball on two pianos! Their styles are so
similar that it is difficult to separate one from the other, and most of the time they
are duetting, rarely one has a pure solo. Therefore it is no particular sense in
trying to sort out the details, it is enough to enjoy these two great guys creating
the most delicate of swing and stride piano. Hopefully this music will survive
among all the brainless noise of the 21th century!!
LOUIS MAZETIER / FRANCOIS RILHAC Paris, Feb. 9 or 10, 1990
Louis Mazetier, Francois Rilhac (p).
nd
One title was recorded at 2 Nuit Jazz & Boogie Piano, Hotel Lutetia:
Harlem Boogie Stride (2:04) Duet 9 choruses of 12 bars. (FM)
This is great fun, swinging duo-boogie-woogie, wish I had been there, but of
course the more subtle aspects of FH’s (and LM’s) genius cannot be found here.
MARCEL ZANINI & FRANCOIS RILHAC Hungary, May 1990
Marcel Zanini (cl, vo), Francois Rilhac (p).
One title was recorded at the Nemzetközi Dixieland Fesztival, Salgotarjan, issued
on Pop-Ton (Hun):
If Dreams Come True 4:47. (S/F)
A worthy sortie for this great artist! He chooses the usual format, first a slow
intro and then going into four choruses of stride, lively as always. Then he
accompanies the clarinet two choruses, they take one chorus 8/8, and finally
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conclude with a vocal chorus with FR jumping behind. Oh, why did he choose to
leave us, a brilliant artist with so much to give?

I would like to conclude this solography with another quote from the “Thank’s A
Million” CD: “Perfection was imperative to reach the level of which he aspired:
to be second only to Tatum. Up until around 1990, Francois’ style was
galvanizing for all his fellow musicians and his audience. He was capable of
playing with the same ardor, never-ending inspiration and pianistic quality for
hours on end. This phenomenon struck everybody who heard him. He had a pure
swing, a steady, pulsing tempo and a spirited power all his own on riffs or ultra-
rapid tempos. His ease in all styles of swinging jazz made him the ideal
accompanist. Few living pianists are as wide-ranging as was Francois Rilhac.
First try to find those who swing, then those who haven’t got any technical
problems. After that, after an already murderous sorting-out, find those who have
a musical personality and who are capable of also playing stride and of knowing
how to improvise without copying the masters. Now you’ve found the complete
jazz pianist. I’ll let you think it over, and at the end of this exercise, you will have
understood that Francois was a rare and exceptional artist”.

No further recording sessions.

…ooo…