These recordings were made in 1957 (Mazurkas, mono) and 1965 (Sonatas, stereo). The recorded sound is far short of remarkable even for its time, so expect to have to adjust to its antique quality.
François's rendition of the two sonatas is respectable, but nothing here is remarkable one way or the other. The chief interest for most will be the mazurkas. The artist plays with color and imagination. In my judgment, however, his approach yields mixed results. There's the occasional old-school romantic exaggeration that may be off-putting to some contemporary listeners. That aside, in general François tends to smooth over these pieces' natural accentual gravitation to the second or third beats. While too much emphasis on this intrinsic quality can come off as mannered and cloying, in the hands of François some of the mazurkas sound more like waltzes. A couple or three of them, on the other hand, he plays with a kind of mechanical military precision that is intriguing (e.g., op. 6 no. 3, op. 7 no. 2), but to my ears finally comes across as unsuitable to the music.
On the other hand, there's nothing lackluster here. Occasionally this artist's interpretation yields fine results. His op. 7 no. 1 is one of the most spontaneous-sounding I've ever heard. Here François lets the music speak for itself. Mostly, I find his performance at best controversial and at worst foreign to the genre, a western-European remake of the eastern-European original.
Those who desire completeness should also note that this recording isn't complete.
While there's probably no single completely satisfactory comprehensive recording of Chopin's Mazurkas, my hands-down choice, if I could keep just one, would be Garrick Ohlsson's. I'm glad to have this one as a supplement, because it really helps one hone one's thinking about what makes for a successful rendition of a Chopin mazurka. If the recorded sound were better, I might be tempted to give it four stars, for there's never a dull moment, and tastes vary. As it is, I deem it worthy of only three.