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Vocal Jazz Band Lausanne Switzerland

The origin of “Mad about The Boy” comes from Gallavin’s will to find his own vocal identity and to different himself from the classical jazz crooner figure. It is when he learns the bisexuality of Cole Porter – jazz composer still highly interpreted nowadays – in the film “De-Lovely” that everything falls into place. Gallavin is seduced by the idea that some of Cole Porter songs might have been written for some of his male lovers. The question of gender was not a problem as these songs were meant to be sung by female vocalists, which turned out to be a nice way to overcome the taboo of homosexuality in the aristocracy of the twenties. Gallavin recalls, “It was there right in front of me waiting to come out!”

In order to complete his project, Gallavin does a little research and discovers that Noël Cowards – British author of many plays as “The Vortex” and composer of many songs including “Mad about The Boy” and the well known song “Mad Dogs and Englishmen” – lived his homosexuality discretely and never acknowledged it openly. His attraction for men was only revealed after his death and “Mad about The Boy”, though it was written for a female interpreter, refers to Noël’s attraction for men.

The concept and its legitimacy are then born. The authors and hearers’ sexuality have no longer any importance. “Mad about The Boy” opens new perspectives to explore some of the greatest jazz standards, which resources appear to be infinite and inexhaustible. Gallavin interprets an intimate, personal, strong, and sometimes fragile and vulnerable, album. Arranged and orchestrated by Pierre Sottas, the album is intended for all and recovers some of most beautiful and most known standards as “The Man I Love” or “My Baby Just Cares for Me”.

The band: Steven Derendinger, Pierre Sottas, Jean-Georges Linsig, Dominic Frey, Florian Favre

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