FRANCIS CABREL, Maurice Tejedor’s professional archives, 1982–1985:

A significant collection from the professional archives of Maurice Tejedor, producer and tour organiser for Francis Cabrel in France and abroad during the first half of the 1980s. From 1979 onwards, Francis Cabrel entrusted Maurice Tejedor with organising his shows and tours, a collaboration that took them not only to stages across France but also to Switzerland, Quebec, the Pacific and both sides of the still-divided Berlin. Preserved by Tejedor as part of this very activity, these archives document several particularly significant years of this collaboration. Among the most significant documents is a letter from the Théâtre de l’Olympia dated 31 January 1984, addressed to Maurice Tejedor and announcing the payment of an initial deposit of 300,000 francs for a Francis Cabrel show. A few weeks later, Cabrel recorded the concerts on that very stage, from which his first live album, *Cabrel Public*, was taken. Several sets of documents also cover the tours of the Pacific in 1982, Switzerland in 1983 and Quebec in the spring of 1984; the latter documentation notably details the line-up of musicians and technicians accompanying the singer. Finally, a significant section concerns the German tour of December 1985: contracts, correspondence and administrative documents relating to the concerts in Stuttgart, Bonn, West Berlin and East Berlin. A letter from the Institut français in Stuttgart refers to Cabrel’s success in both Berlins and announces the forthcoming radio broadcast of his Stuttgart concert. There are also documents relating to his participation in the event organised by SOS Racisme at the Place de la Concorde in June 1985. Alongside this collection of contractual and administrative documents is a substantial collection of visual and promotional material: portraits and photographs of Francis Cabrel, photographic documents and negatives, programmes and tour files, documents from the ‘Maurice Tejedor presents Francis Cabrel’ series, posters and promotional material, tickets and travel mementoes, as well as CBS promotional cards, two of which bear the artist’s signatures. Gathered directly by the man responsible for organising these tours, these documents offer a particularly vivid insight into the behind-the-scenes aspects of Francis Cabrel’s stage career at a time when he was establishing himself firmly amongst the leading figures of French chanson.

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