condition (record/cover): NM / EX- (minimal wear) - Pour Le Kama Soutra / Concordances on Concert Hall pairs Jacques Charpentier and Charles Chaynes, two composers we've already encountered separately. Charpentier brings the Kamasutra into the title, provocative gesture for Gaullist France of the 1960s: Indian eros translated into Western orchestra, intertwining bodies rendered in fusing timbres.

Chaynes responds with Concordances, a title announcing harmony, agreement, the opposite of collision. The two composers don't directly dialogue but juxtaposition creates meaning: desire on one side, resolution on the other, tension followed by release.

Concert Hall was a popular label, associated with budget recordings for the mass market rather than heroic cultural enterprises. Finding Charpentier and Chaynes in this context suggests popularizing ambitions, an attempt to bring new French music beyond specialist circuits. The attempt deserves respect, regardless of its commercial success.