Jazz a la Gitane - Bands of Gypsies

SAG0044 2011-01-11

Track List

Hungaria - 2:27
When Day Is Done - 3:13
Black Gipsy - 2:28
Tears - 2:38
Echoes of Spain - 3:08
Andalousie - 2:41
Mama Don\'t Allow It - 2:38
Daphné - 2:55
La valse des niglos - 3:13
Swing Valse - 2:34
Nuages - 3:01
Swing Valse - 2:40
Madam\'s - 2:43
Les Yeux Noirs - 2:15
L\'Oeil Noir - 2:28
Meditatie - 2:36
La Rapide - 2:49
Deux Guitares - 2:25
Gitan Swing - 2:46
Switch a Plac (Laughing and Crying) - 2:58
J\'en ai marre - 2:58
Wabash Blues - 2:42
Celesta - 2:41
Suzy - 2:38


"01 Hungaria (traditional, arr. D. Reinhardt) Swing
André Ekyan et Son orchestre (F): André Ekyan (as); Django Reinhardt (g solo); Eugène Vées (g); Emmanuel Soudieux (b); Pierre Fouad (d).
Paris, 11 Sep. 1941.

02 When Day Is Done (R. Katscher, B. G. DeSylva) Pathé Marcorni
Quintette du Hot Club de France (F): Stéphane Grappelly (vln); Jean-Baptiste ‘Django’ Reinhardt (g solo); Marcel Bianchi, Pierre ‘Baro’ Ferret (g); Louis Vola (b).
Paris, 22 April 1937.

03 Black Gipsy (E. South) Brunswick
Eddie South (USA/Netherlands): Eddie South (vln); David Martin (p).
Hilversum, 13 March 1938.

04 Tears (Muri Wachsella an u Sennelo Weesch) (traditional, arr. D. Reinhardt, S. Grappelly)
His Master’s Voice
Quintette du Hot Club de France (F): Stéphane Grappelly (vln); Django Reinhardt (g solo);
Marcel Bianchi, Pierre ‘Baro’ Ferret (g); Louis Vola (b).
Paris, 21 April 1937.

05 Echoes of Spain (D. Reinhardt) Swing
Django Reinhardt (F) (guitar solo).
Paris, 30 June 1939.

06 Andalousie (Wind and Strings) (P. Ferret, G. Viseur) Swing
Albert Ferreri et Le Trio Ferret (F): Albert Ferreri (ts); Pierre ‘Baro’ Ferret (g solo); Jean ‘Matelo’ Ferret, René ‘Challain’ Ferret (g); Maurice Speilleux (b).
Paris, 20 Oct. 1938.

07 Mama Don’t Allow It (C. Davenport, J. Feline) Panachord
Secco’s Gitanos (Netherlands): Leo Borgart (cl, as); Secco Selichson (vln, lead); Jaap Valkhoff (acn); Martin Roman (p, arr); Lex Vervuurt (g); Leo Askenase (b); Secco & Roman (spch).
Casino Hamdorff, Laren, March 1938.

08 Daphné (D. Reinhardt) Swing
Gus Viseur’s Music (F): Gus Viseur (acn); Pierre ‘Baro’ Ferret (g solo); Jean ‘Matelo’ Ferret,
René ‘Challain’ Ferret (g); Maurice Speilleux (b).
Paris, 28 Sep. 1938.

09 La Valse des Niglos (G. Malha) Columbia
Le Trio Ferret (F): Pierre ‘Baro’ Ferret (g solo); Jean ‘Matelo’ Ferret, René ‘Challain’ Ferret (g);
Maurice Speilleux (b).
Paris, 2 March 1939.

10 Swing valse (P. Ferret, G. Viseur) Columbia
Gus Viseur et Son Orchestre (F): Gus Viseur (acn); Jean ‘Matelo’ Ferret (g solo); René ‘Challain’ Ferret (g); Maurice Speilleux (b).
Paris, 9 Aug. 1940.

11 Nuages (D. Reinhardt) Columbia
Gus Viseur et Son Orchestre (F): André Lluis (cl); Gus Viseur (acn); Eugène Vées (g solo);
Joseph Sollero (g); Maurice Speilleux (b).
Paris, 23 Sep. 1942.

12 Nobody’s Sweetheart (E. Schoebel, E. Erdman, B. Meyers, G. Kahn) Columbia
Freddy Valier’s String Swing (Norway): Arild Iversen (vln); Robert Normann (g solo); Freddy Valier (Fidjof Linnaae) (g, voc); Finn Westbye (g); Fred Lange-Nielsen (b).
Oslo, 5 Dec. 1938.

13 Madam’s (T. Muréna, P. Fontaine) Odéon
Tony Muréna et Son Ensemble Swing (F): Tony Muréna (acn); Étienne ‘Sarane’ Ferret (g solo);
prob. Pierre ‘Baro’ Ferret (g); Jacques Petitsigne (b).
Paris, 14 May 1939.

14 Les Yeux noirs (Dark Eyes) (Otchitchorniya) (traditional, arr. D. Reinhardt) Swing
Django Reinhardt et Le Quintette du Hot Club de France (F): Hubert Rostaing (cl); Django Reinhardt (g solo); Joseph Reinhardt (g); Tony Rovira (b); Pierre Fouad (d).
Paris 13 Dec. 1940.

15 L’Œil noir (J. Reinhardt) ABC -Jazz Club Français
Joseph Reinhardt et Son Ensemble (F): Claude Laurence (André Hodeir) (vln); Joseph ‘Nin-Nin’ Reinhardt (g solo); Pierre ‘Baro’ Ferret (g); Emmanuel Soudieux (b); Gaston Léonard (d).
Paris, Dec. 1943.

16 Meditatie (J. Mol) Decca
Jan Mol en Zijn Electro Kwartet (Netherlands): Jan Doedel (Willy van der Mandele) (vln); Jan Mol (g solo); John Nijsten (g); Pim Kruyt (b).
Hilversum, Aug. 1942.

17 Le Rapide (J. Ferret) Pathé
Jean Ferret et Son Sixtette (F): André (Sylvio) Siobud (cl); Camille Martens (vib); Jean ‘Matelo’ Ferret (g solo); René Duchossoir (g); Marcel Fabre (b); Saki (Jacky) Bamboo (Jacques Bourgarel) (d).
Paris, 15 Dec. 1943.

18 Deux Guitares (traditional, arr. S. Ferret) Odéon
SARANE FERRET ET LE SWING QUINTETTE DE PARIS (F): Rob Bermoser (vln); Étienne ‘Sarane’ Ferret (g solo); Pierre ‘Baro’ Ferret, Jean ‘Matelo’ Ferret (g); Maurice Speilleux (b).
Paris, June 1941.

19 Gitan Swing (T. Muréna, P. Ferret) Odéon
Tony Muréna et Son Ensemble Swing (F): prob. Pierre Delhoumeau (cl); Tony Muréna (acn);
Étienne ‘Sarane’ Ferret (g solo); Pierre ‘Baro’ Ferret (g); Jacques Petitsigne (b); Pierre Fouad (d).
Paris, 19 June 1941

20 Smich a Plac (Laughing and Crying) (J. Zednîk) Esta
Karel Moravec Sextet (Czechoslovakia): P. Karda (vln); Karel Moravec (hca, lead); Jiri Zednîk (p, arr); J. Fiedler, M. Kubka (g); S. Perina (b); unidentified (d).
Prague, mid-1945.

21 J’en ai marre (M. Yvain, G. Arnoux, A. Willemetz) ABC-Jazz Club Français
Sarane Ferret et Son Orchestre (F): Étienne ‘Sarane’ Ferret (g solo); prob. Jacques Montagne (Mala) (g); unidentified (b); Baptiste ‘Mac Kac’ Reilles (d).
Paris, mid-Feb. 1944.

22 Wabash Blues (F. Meinken, D. Ringle) Columbia
Jerry Thomas Swingtette (Switzerland): Gaston Genet (tp); Antoine Franchi (vln); Georges Schaller (acn); Jim Ambrust (p); Marcel Bianchi (g solo); Billy Toffel (g); Kurt Grieder or Albert Thirry (b); Jerry Thomas (d).
Zurich, c. Nov. 1942.

23 Celesta (L. Unia) Odéon
Quartette de Tomas et Ses Merry Boys (F): Louis Unia (cel); Marcel Bianchi (g); Louis Lignières (b); Napoléon (poss. ‘Mac Kac’ Reilles) (d); Tomasi (or Tomasini) (lead).
Paris, c. 26 May 1946.

24 Suzy (B. G. DeSylva, M. Tabányi) Tonalit T
Tabanyi Mihaly es sZolistai (Hungary): Rudolf Wirth (cl); Mátyás Csányi (vln); Mihály Tabányi (acn, lead); prob János Orosz (p, cel); Elec Bacsik or Gábor Sárkösi (g); Jószef Boros (b); unidentified (d).
Budapest, Spring 1949.

Echoes of Gipsy Jazz in Europe
Tziganskaia, Jazz Gitan, Swing Zigeuner,
Manouche Partie, Gipsy Project, Rêves Bohémiens,
Django Legacy, Nuits Rabouines, Zingarissimo…
There has been a whole string of record titles whereas the music follows the same lines – beautiful and generous, inflamed and romantic, lyric and moving and yet in constant mutation.Varied,aware of changing times, the evolution of other musical genres and of the world in general. Tzigane jazz is not a rough diamond enclosed in its gangue, it is a
veritable gem, the facets of which have been cut over the passing decades by musicians from every walk of life – those from the violent East and the deep South. Earth, water, air and fire all contribute to this paradoxically secret music, brimming with mystery and legend,which is nevertheless available to all, provided that each artist is respectful and audacious. However, although Tzigane music is the ageless fruit of their wandering across lands and centuries, Tzigane jazz would never existed without its ‘Deus ex machina’, its guru, Django Reinhardt.
“Django Reinhardt was the brightest star in the constellation of the Gypsy Jazz genre that he created. But sadly, his brilliance eclipsed numerous other musicians whose recordings and influence have long been forgotten. Now, finally, the light is shining on these other stars.” (Michel Dregni, “Vintage Guitar Magazine”). Active members of the European jazz scene as from the thirties, Joseph Reinhardt, Django’s younger brother, the Ferret Bros.,Oscar Aleman,Robert Normann, Ivor Mairants, Albert Harris, Alfio Grasso, Jan Mol and others all suffered from his shine.With such a genius on board,
his contemporaries were reduced to mere dogsbodies. The conjunction of cultural heritage and the jazz of Afro-Americans, Italo-Americans, Germano-Americans, Irlando-Americans, Judeo-Americans, all constituents of the US melting-pot, prompted Django’s fulgent and irreversible creativity.
European jazzmen had forever been conscious of the sounds of the masters from across the Atlantic. Following their example, some of the more gifted ones managed to invent their personal language. The musical universe cradling Django Reinhardt, Stéphane Grappelli, Bernard Peiffer, Lars Gullin and Tete Montoliu and which still enfolds Martial Solal, Eddie Louiss, Toots Thielemans and even Paolo Fresu and Richard Galliano, benefits from personal wealth as much as foreign influence.
On the other hand,celebrated American musicians such as Mel Powell and John Lewis,Gil Evans and Bill Evans, Dave Amram and Ran Blake, Eddie Sauter and Wynton Marsalis, among others, found these European sounds appealing and made good use of them. Eddie South also. Born in 1904, this violin whizz-kid was a kind of black Chicago-based Yehudi Menuhin. The prodigious young South could have become a brilliant concert performer, a prominent name in the world of ‘classical’ music.
However, segregation objected to his projects, so Eddie turned to jazz.Backed by his classical training, his interest in Tzigane music and its violinists led him to Budapest where he became a diligent pupil of Jenô Hubay and even adopted one of his compositions, Hejre Kati as his signature tune which his recorded with his group for Victor. Strangely enough, South’s hot style also inspired certain Hungarian violinists to swing, such as Gábor Radics, Lászlo Radics, Elemér Kiss, Lexi Rács, Bertalan Bujka and Mátyás Csányi, who can be appreciated here in Suzy with the outfit of accordionist Mihásli Tabányi.While on a trip to the Netherlands in 1938"