JOSEPH JOSEPH
HOT CLUB DU NAX
SOMGWRITERS: CASMAN NELLIE; NELLIE CASMAN; SAMMY CAHN & SAUL CHAPLIN.
HELP THEM: hotclubdunax.com hotclubdunax.bandcamp.com
COUNTRY: NO ONE INFORMATION ABOUT
ALBUM: WANT RECORD THE FIRST
LABEL: YOUTUBE
GENRE: JAZZ
YEAR: 2019

HOT CLUB DU NAX DEBUT ALBUM ***
Help us record and produce our first Album!
Gypsy jazz(also known as gypsy swing or hot club jazz) is a style of jazz developed by the Romani guitarist Jean "Django" Reinhardt in Paris during the 1930s. Because its origins are in France, and Reinhardt was from the Manouche Sinti clan, gypsy jazz is often called by the French name "jazz manouche", or alternatively, "manouche jazz" in English language sources.
Django Reinhardt was foremost among a group of Romani guitarists working in Paris from the 1930s to the 1950s. The group included the brothers Baro, Sarane, and Matelo Ferret and Reinhardt's brother Joseph "Nin-Nin" Reinhardt.
Many gypsy jazz musicians worked in Paris in popular musette ensembles in which the lead instrument was typically the accordion with banjo accompaniment, the latter played with a plectrum for volume. Elements of both instruments appear in the "gypsy jazz" sound, with arpeggios and decorations typical of accordionists transferred to the guitar, and a right hand attack applied to the lead acoustic guitar to achieve maximum volume in an era of little or no electric amplification. Other elements of the ensemble sound included the use of stringed instruments only, which was unusual for its day.
The absence of brass lead instruments and drums was a novelty in the jazz context (where horn sections and horn soloists were common), as well as the use of the double bass, which had taken over from the sousaphone to play bass lines. The absence of drums was compensated for by a highly rhythmic style of guitar accompaniment called "la pompe" ("the pump") which supplied both rhythm and harmonic structure for the soloists. Gypsy jazz can be performed on guitars alone with or without double bass. But in the Quintette du Hot Club de France, solo work alternated between Reinhardt on guitar and jazz violinist Stéphane Grappelli. Later versions of the Quintette featured clarinet or saxophone as alternate lead instruments to the guitar, and these are sometimes featured in contemporary gypsy jazz ensembles in place of the violin, although obviously departing from the "all-strings" format.
Innsbruck based Gypsy Jazz collective Hot Club du Nax morphed into existence during nocturnal october jam sessions in the year of the lord 2015. At eponymous bar NAX in Innsbruck, of course. The bands characteristics are the enchanting voice of London born singer Isobel Cope, as well as the adorable sizzle of Prague violinist Tomas Novak, as well as the beguiling praising to Django Reinhardts Swing: Innsbruck’s own guitarists Arian Kindl and Lukas Bamesreiter. And last but really not least the irresistible wizard of the double bass, Dario Michele Gurrado from Bologna. Hot Club du Nax is presenting its debut album Love is where you hang your hat in 2019 on tour in Austria, Germany, Italy and France. Among some witty arrangements of carefully chosen standards of the genre, the main part of the album consists of the band’s original compositions, which stylishly transfer the deeply romantic, dreamy and at the same time very hot timbre of Gypsy Jazz into here and now. Psychedelic poems of love entwine themselves with a blazing cold stare around shady fantasies of power, and wonderful sadness dances through the night with endless joie de vivre.
“Ah mon frère. Comme j’aime la musique que vous jouez.” – Django Reinhardt à Stéphane Grappelli
“Oh mein Bruder. Wie ich die Musik liebe die Du spielst.” – Django Reinhardt zu Stéphane Grappelli
Isobel Cope – Vocals
Tomas Novak – Violin
Arian Kindl – Solo Guitar
Lukas Bamesreiter – Rhythm Guitar
Dario Michele Gurrado – Double Bass

A certain maid I know
Is so afraid her beau
Will never ask her
Will she name the day
He calls on her each night
And when she dims the light
It's ten to one
That you would hear her say

Oh Joseph, Joseph
Won't you make your mind up
It's time I knew just how I stand with you
My heart's no clock
That I can stop and wind up
Each time we make up after being through

So listen Joseph, Joseph time is fleeting
And here and there my hair is turning grey
My mother has a fear
Wedding bells I'll never hear
Joseph, Joseph
Won't you name the day

Oh Joseph, Joseph
Won't you make your mind up
It's time I knew just how I stand with you
My heart's no clock
That I can stop and wind up
Each time we make up after being through

Oh Joseph, Joseph, Joseph, time is fleeting
And here and there my hair is turning grey
Yeah ¡
My mama has a fear, wedding bells I'll never hear
Oh Joseph, Joseph, won't you name the day
Oh Joseph, Joseph, won't you name the day
Oh Joseph, Joseph, won't you name the day.
BESAME MUCHO
AVALON JAZZ BAND
HANTEUSE: TATIANA EVA MARIE
COMPOSITOR: CONSUELO VELÁZQUEZ
VERSIÓN FRANÇAISE
PAYS: FRANCO-AMERICAIN
ALBUM: AVALON JAZZ BAND
RECORD: AVALON JAZZ BAND
GENRE: JAZZ
ANNÉE: 2018

Avalon Jazz Band est un groupe-orchestre de jazz vintage franco-américain, de french-jazz vintage parisien, formé à New York en 2012, par les jazzmen Tatiana Eva-Marie et Adrien Chevalier.
Ce groupe international de french-jazz vintage parisien est créé à Brooklyn à New York en 2012, par les jazzmen Tatiana Eva-Marie et Adrien Chevalier. Il est baptisé «Avalon Jazz Band» rapport à l’île légendaire imaginaire d'Avalon du roi Arthur, de la légende arthurienne, et se produit avec succès à New York, Paris, et en tournée mondiale, ou il partage la scène avec Norah Jones, Harry Connick Jr., ou Stéphane Wrembel...
Son répertoire de compositions et de reprises de prédilection est inspiré de Standards vintages de la chanson française et de standard de jazz américains (Great American Songbook) de l'Ère du Jazz, Jazz Nouvelle-Orléans, hot jazz, french-swing-zazouparisien, ou jazz manouche emblématique des années 1930 et années 1940, avec des reprises entre autres de Django Reinhardt et Stéphane Grappelli (fondateurs du Hot Club de France), Charles Trenet et Johnny Hess, Yves Montand, Henri Salvador, Ray Ventura, Jean Sablon, Juliette Gréco, Lucienne Delyle, Frank Sinatra, Nat King Cole, Fats Waller, ou Cole Porter.
Besame besame mucho
Cette chanson d'autrefois je la chante pour toi
Besame besame mucho
Comme une histoire d'amour qui ne finirait pas
On l'a chantée dans les rues
Sous des ciels inconnus et dans toute la France
On la croyait oubliée
Et pour mieux nous aimer voilà qu'elle recommence
Besame besame mucho
Si dans un autre pays ça veut dire embrasse-moi
Besame besame mucho
Toute ma vie, je voudrais la chanter avec toi

On ne demande à l'amour
Ni serment de toujours ni décor fantastique
Pour nous aimer il nous faut
Simplement quelque mots qui vont sur la musique
Besame besame mucho
Si dans un autre pays ça veut dire embrasse-moi
Besame besame mucho
Toute ma vie, je voudrais la chanter avec toi
Besame besame mucho.
AUTUMN LEAVES
MANUELA MAMELI'S
SONGWRITERS: Jacques Prévert & Joseph Kosma
PROJECT: Jazz.Samba.Project /Français version /
WHERE: Sweden 2011
ALBUM: WITHOUT INFORMATIONS
LABEL: YOUTUBE
GENRE: JAZZ SAMBA
YEAR: 2011


"Autumn Leaves" is a French popular song and jazz standard composed by Joseph Kosma with original lyrics by Jacques Prévert in French, and later by Johnny Mercer in English. An instrumental version by pianist Roger Williams was a number 1 best-seller in the US Billboard charts of 1955.
Kosma was a native of Hungary who was introduced to Prévert in Paris. They collaborated on the song Les Feuilles mortes("The Dead Leaves") for the 1946 film Les Portes de la nuit (Gates of the Night)where it was sung by Irène Joachim. Kosma was influenced by a piece of ballet music, "Rendez-vous" written for Roland Petit, which was itself borrowed partially from "Poème d'octobre" by Jules Massenet. The first commercial recordings of "Les Feuilles mortes" were released in 1950, by Cora Vaucaire and by Yves Montand. Johnny Mercer wrote the English lyric and gave it the title "Autumn Leaves". Mercer was a partner in Capitol Records at the time, and Capitol recording artist Jo Stafford made the first English-language recording in July, 1950. The song was recorded steadily throughout the 1950s by leading pop vocalists including Bing Crosby(1950), Nat King Cole(1955), Doris Day(1956), and Frank Sinatra(1957). It was also quickly adopted by instrumental jazz artists including Artie Shaw(1950), Stan Getz(1952), Erroll Garner and Ahmad Jamal(separately in 1955), Duke Ellington (1957), and Cannonball Adderley and Miles Davis (together in 1958). In 2012, jazz historian Philippe Baudoin called the song "the most important non-American standard" and noted that "it has been recorded about 1400 times by mainstream and modern jazz musicians alone and is the eighth most-recorded tune by jazzmen."
I DO'NT HAVE INFORMATIONS ABOUT THE SINGER, I HAVE MADE SOME SEARCH, BUT I DON'T HAVE CONCLUSION ABOUT IT.
Oh ! je voudrais tant que tu te souviennes
Des jours heureux où nous étions amis.
En ce temps-là la vie était plus belle,
Et le soleil plus brûlant qu'aujourd'hui.
Les feuilles mortes se ramassent à la pelle.
Tu vois, je n'ai pas oublié...
Les feuilles mortes se ramassent à la pelle,
Les souvenirs et les regrets aussi
Et le vent du nord les emporte
Dans la nuit froide de l'oubli.
Tu vois, je n'ai pas oublié
La chanson que tu me chantais.

C'est une chanson qui nous ressemble.
Toi, tu m'aimais et je t'aimais
Et nous vivions tous les deux ensemble,
Toi qui m'aimais, moi qui t'aimais.
Mais la vie sépare ceux qui s'aiment,
Tout doucement, sans faire de bruit
Et la mer efface sur le sable
Les pas des amants désunis.

Les feuilles mortes se ramassent à la pelle,
Les souvenirs et les regrets aussi
Mais mon amour silencieux et fidèle
Sourit toujours et remercie la vie.
Je t'aimais tant, tu étais si jolie.
Comment veux-tu que je t'oublie ?
En ce temps-là, la vie était plus belle
Et le soleil plus brûlant qu'aujourd'hui.
Tu étais ma plus douce amie
Mais je n'ai que faire des regrets
Et la chanson que tu chantais,
Toujours, toujours je l'entendrai !
AUTUMN LEAVES
MILES DAVIS
Songwriter: pervert, kosma
Country: u. s. a.
How: trumpeter
Álbum: autumn leaves
Label: newsound
Genre: jazz
Year:1997

Miles Dewey Davis III(May 26, 1926 – September 28, 1991) was an American jazz trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz.
Born in Alton, Illinois, and raised in East St. Louis, Davis left to study at the Juilliard School in New York City, before dropping out and making his professional debut as a member of saxophonist Charlie Parker's bebop quintet from 1944 to 1948. Shortly after, he recorded the Birth of the Cool sessions for Capitol Records, which were instrumental to the development of cool jazz. In the early 1950s, Miles Davis recorded some of the earliest hard bop music while on Prestige Records but did so haphazardly due to a heroin addiction. After a widely acclaimed comeback performance at the Newport Jazz Festival in 1955, he signed a long-term contract with Columbia Records and recorded the 1957 album 'Round About Midnight.  It was his first work with saxophonist John Coltrane and bassist Paul Chambers, key members of the sextet he led into the early 1960s. During this period, he alternated between orchestral jazz collaborations with arranger Gil Evans, such as the Spanish-influenced Sketches of Spain(1960), and band recordings, such as Milestones(1958) and Kind of Blue(1959). The latter recording remains one of the most popular jazz albums of all time, having sold over five million copies in the U.S.
Davis made several lineup changes while recording Someday My Prince Will Come(1961), his 1961 Blackhawk concerts, and Seven Steps to Heaven(1963), another mainstream success that introduced bassist Ron Carter, pianist Herbie Hancock, and drummer Tony Williams. After adding saxophonist Wayne Shorter to his new quintet in 1964, Davis led them on a series of more abstract recordings often composed by the band members, helping pioneer the post-bop genre with albums such as E.S.P (1965) and Miles Smiles(1967), before transitioning into his electric period. During the 1970s, he experimented with rock, funk, African rhythms, emerging electronic music technology, and an ever-changing line-up of musicians, including keyboardist Joe Zawinul, drummer Al Foster, and guitarist John McLaughlin. This period, beginning with Davis' 1969 studio album In a Silent Way and concluding with the 1975 concert recording Agharta, was the most controversial in his career, alienating and challenging many in jazz. His million-selling 1970 record Bitches Brew helped spark a resurgence in the genre's commercial popularity with jazz fusion as the decade progressed.
After a five-year retirement due to poor health, Davis resumed his career in the 1980s, employing younger musicians and pop sounds on albums such as The Man with the Horn(1981) and Tutu(1986). Critics were generally unreceptive but the decade garnered the trumpeter his highest level of commercial recognition. He performed sold-out concerts worldwide, while branching out into visual arts, film, and television work, before his death in 1991 from the combined effects of a stroke, pneumonia and respiratory failure. In 2006, Davis was inducted into the Rock and Roll Hall of Fame, which recognized him as "one of the key figures in the history of jazz." Rolling Stone described him as "the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century," while Gerald Early called him inarguably one of the most influential and innovative musicians of that period.