The one we affectionately called «Mamy Scopitone» has left us. A producer of jazz shows, she has worked with the greatest artists since the beginning of her career, from Django Reinhardt to Dizzie Gillespie, before organizing the tours of Edith Piaf, Charles Trenet and Charles Aznavour.
In the 1960s, Daidy Davis-Boyer tapped into the Scopitone vein and managed to convince record companies of the usefulness of filming their artists. Installed in all the cafés of France, the imposing Scopitone machine that broadcast clips in color, made the fine days of the variety. Novice filmmakers, such as Alexandre Tarta or Claude Lelouch, were embarked on this «family adventure».
The Davis-Boyer productions represent a real treasure, they manage and preserve an exceptional repertoire of songs representing twenty years of Scopitone adventure, from 1959 to 1979. Annie Cordy, Johnny Hallyday, Claude Nougaro, Petula Clark, Line Renaud, Dalida, Luis Mariano: few artists of the time could do without. This sound and visual continent, sometimes outdated, sometimes naive, sometimes surreal, has shaped the cultural imagination of “all boys and girls” in the sixties.
Daidy Davis-Boer built this undeniable audiovisual heritage, a memory of an era of variety and song, in the carefree and good mood of the recordings of the villa Relache in Antibes, in this city where she produced, alongside her husband Roby Davis, more than 200 shows as part of the jazz festival.
An impresario, producer of jazz shows and director, Daidy Davis-Boyer was a woman-orchestra. She has, so to speak, passed lightly through the «Thirty Glorious Songs and Television», of which she was a central figure and a creative pioneer.