Alexandre Stellio’s *1929-1931 Intégrale*, issued by Frémeaux Heritage in 2007, assembles a trove of 40 tracks that map the clarinetist’s early forays into French jazz and calypso. Recorded at the cusp of the 1930s, these pieces—like the featured “Sepent maigre”—capture Stellio’s deft articulation and melodic phrasing, anchoring the Caribbean lineage within the Parisian jazz milieu. The set includes titles such as “Paris biguine” and “Mussieu satan fache,” evoking the traditional rhythms and local vernacular that permeated Stellio’s work.This compilation offers a clear signal of the clarinet’s role in bridging island traditions with the urban jazz pulse of interwar France. Stellio’s recordings, though modest in contemporary scrobble counts, remain a valuable artifact for those tracing the nuanced intersections of French jazz and Caribbean sound in the early 20th century.

Alexandre Stellio’s *1929-1931 Intégrale*, issued by Frémeaux Heritage in 2007, assembles a trove of 40 tracks that map the clarinetist’s early forays into French jazz and calypso. Recorded at the cusp of the 1930s, these pieces—like the featured “Sepent maigre”—capture Stellio’s deft articulation and melodic phrasing, anchoring the Caribbean lineage within the Parisian jazz milieu. The set includes titles such as “Paris biguine” and “Mussieu satan fache,” evoking the traditional rhythms and local vernacular that permeated Stellio’s work.This compilation offers a clear signal of the clarinet’s role in bridging island traditions with the urban jazz pulse of interwar France. Stellio’s recordings, though modest in contemporary scrobble counts, remain a valuable artifact for those tracing the nuanced intersections of French jazz and Caribbean sound in the early 20th century.