Robert Mavounzy was born in Colón (Republic of Panama) on April 2, 1917, to a Guadeloupean father and mother. His parents had gone there to work on the construction of the Panama Canal. A young prodigy, he displayed musical talent at a very early age. In 1928, his family settled in Guadeloupe, where he became acquainted with local folklore. Around the age of 17, he took up the alto saxophone. Fellow artists of the era all acknowledged his exceptional skill as a horn player.

During the German occupation, jazz was not banned. A large clientele of officers ensured that Parisian cabarets remained permitted to operate. Caribbean musicians Al Lirvat and Robert Mavounzy—referred to as "colonial musicians"—were able to continue practicing their craft, even though certain venues were off-limits to Jews and black people. For a time, American song titles were renamed to suit the tastes of the  Nazi propaganda.

Shortly after his appearance at the 1937 Paris International Exposition, he returned to France to pursue his career, beginning at the Café de Paris and Le Chantilly. During the Occupation, he caused a sensation at La Cigale and took part in numerous concerts for the Hot Club de France. On December 19, 1943, the Hot Club de France presented a "Colonial Hot Club" event at the Salle Pleyel, featuring a large orchestra conducted by Félix Valvert, a quintet, a traditional-style ensemble, and Robert Mavounzy with his new orchestra. In Paris, Robert performed alongside trumpeter Bill Coleman at the Café de Paris and later at Le Chantilly. In 1942, he appeared at La Cigale, playing alongside trombonist Al Lirvat. A sought-after accompanist and instrumentalist, he recorded playing alto sax on July 7, 1943, with guitarist Django Reinhardt and his orchestra, contributing to the tracks "Gaiement," "Blues d’autrefois," and "Place de Brouckère." He also made recordings for the label "Swing" with the Afro-American musician Harry Cooper (who became a French citizen in 1941), as well as with Léo Chauliac, Gus Viseur, and Hubert Rostaing.

In 1945, Robert left La Cigale for L’Élysée Montmartre. Around the time of the Liberation, he was seen on Rue Chaptal participating in a jam session with two American musicians. In 1947, he recorded for the "Swing" label with a group called the "Bebop Minstrels," which included Allan Jeffrey, Jack Carmon, André Persiany, Emmanuel Soudieux, and Benny Bennett. From 1947 to 1949, Robert Mavounzy served as bandleader at La Boule Blanche. He subsequently frequented jam sessions and performed in various cabarets. In 1956, he was at La Canne à Sucre. He toured Guadeloupe in 1957, followed by Martinique in 1958. In 1960, he accompanied Joséphine Baker at the Olympia, toured Greece with Al Lirvat, and later rejoined the orchestra at La Canne à Sucre, led by Gérard La Viny.

He took part in numerous concerts—at the École Normale, the Théâtre Marigny, the Salle Pleyel, and elsewhere—followed by a series of engagements between 1947 and 1949 at venues including L’Étincelle, Le Parnasse, Melody’s, and Le Rêve; this was succeeded by a series of tours throughout France and abroad. In 1954, he made recordings for the Pathé label alongside Sonny Grey, Bill Tamper, Sam Walker, Art Simmons, Buddy Banks, and Benny Bennett. He also recorded a series of 78 rpm discs with Al Lirvat—notably the track “Chauffé biguine là”—and collaborated with Paul-Émile Haliar and his orchestra, “Jeunesse,” to record works by Jean Bordin.

Between 1955 and 1960, Robert Mavounzy and Al Lirvat enjoyed great success at the club “La Canne à Sucre.” During this period—likely in January 1960—they also took part in Josephine Baker’s revue, "Paris mes Amours," at the Olympia, an engagement initiated by Bruno Coquatrix. At the end of 1964, he left for a five-year stay in Guadeloupe, remaining there until 1970. Marcel Mavounzy recounts that, in response to requests from fans, he arranged for Robert to return from mainland France in 1956. “The day he arrived in the harbor of Pointe-à-Pitre, the excitement reached its peak: there were banners draped over buildings in the port and throughout the city streets, local orchestras playing, flowers everywhere, car horns blaring, and a police escort—in short, everything befitting a major star or a national representative.” Since jazz and biguine go well together—or so enthusiasts believe. Upon returning to Paris in 1970, he resumed his position at La Cigale within Al Lirvat’s orchestra. One evening, during a performance, he suffered a sudden illness and subsequently passed away at the hospital in Créteil on March 24, 1974. A prodigious improviser and a virtuoso gifted with an infallible ear and flawless technique, Robert Mavounzy was a saxophone genius who has never been equaled.

—Jean-Pierre NEUNIER (Mano Radio Caraïbes)

—Marcel Mavounzy