Friday, February 20, 2015

Joe Louis Stomp

Joe Louis, The Brown Bomber
Joe Louis (1914–1981), known as the Brown Bomber, was the World Heavyweight Boxing Champion from 1937 to 1949 holding the title longer than anyone else in boxing history. A career profile is available here

Bill Coleman (1904-1981)
Trumpeter Bill Coleman composed and recorded a swing tune as a homage to the rising boxing star in January 1936, Joe Louis Stomp. At that time Bill Coleman resided in Paris, France, where he had been engaged by Freddy Taylor late 1935 as a member of Taylor's orchestra, but already in 1933 Coleman had been in France as a member of Lucky Millinder's orchestra, and this time he would stay in Paris as his residence until 1940. During this period Bill Coleman also had his own orchestra in Paris that had regular performances at a venue called Villa d'Este, members were  Bill Coleman (tp, ldr), Eugène d' Ellemmes (b), Edgar "Spider" Courance (ts, cl), Oscar Alemán (g) and William Diemer (dm) as shown at the picture below (l to r)
Bill Coleman Et Son Orchestre De La Villa D'Este, c.1936
On January 31th, 1936 Bill Coleman and his Orchestra recorded 'Joe Louis Stomp' in Paris, it was issued on a 78 rpm disc at the French Gramophone label, a devsion of HMV, as the A-side (mx. OLA-851-1, Gramophone (HMV) K-7705), while the B-side had a recording of the tune 'Coquette' (mx. OLA-852-1, Gramophone (HMV) K-7705).
Gramophone (HMV) K-7705
The Coleman quintet is extended to a sextet in this recording, John (Jean) Ferrier is added as the piano player - remaining personnel as mentioned above. 'Joe Louis Stomp' is a great swing tune, both Coleman and Edgar Courance have great solo spots, but here we should also focus on Oscar Alemán's 16 bar guitar solo. This is in fact the first swing/jazz solo recorded by Alemán. It is documenting an already mature and personal style that distinguishes him from other guitarists at the time. Enjoy the tune as recorded on January 31th, 1936 in the inserted video below.



Oscar Alemán recorded and released a version of 'Joe Louis Stomp' in Buenos Aires much later, but not during his contract with Odeon from 1941 to 1957. However, during the 1960s, when he had semi-retired from the scene as a performer and recording artist after dissolving his orchestra in 1959, he was from time to time a featured guest performer in radio and TV programs accompanied by a quintet named Cinco Caballeros consisting of cl or vln, p, rh g, b and dm.
Oscar Alemán & Cinco Caballeros, 1960s
With the Cinco Caballeros Alemán performed his own arrangement of 'Joe Louis Stomp' at several live appearances in radio programs during the 1960s as documented in unissued recordings saved by keen collectors. One of the hottest versions I have heard was performed in a program at Radio el Mundo on September 2nd, 1965, inserted in the audio-video below



Note that the speaker of the program mentions Duke Ellington as the composer of the tune, although it rightly should have been Bill Coleman. However, the studio audience probably would not have cared anyway, as Bill Coleman's name and output probably was rather unknown in Argentina at the time. On the other hand, Alemán's version of the tune gets a deserved enthusiastic applause and points to the fact that 'Joe Louis Stomp' had become a part of his standard repertoire at the time. 

As mentioned, he recorded the tune much later, now in a slower and more subdued version, but still with great guitar work showing off his excellence even in his late career. The tune was recorded in September 1974 on the last LP album for the Redondel label titled 'En Todos Los Ritmos' (L-809). Alemán is accompanied by Juan José Gonzalez (cl), Dario “Johnny” Quaglia (rh g), Norberto Villa (b) and Mario Raffaelli (dm). This version has been uploaded at YouTube and is inserted in the video below - a worthy contribution to mark the 106th anniversary of Oscar Alemán and a great swing jazz tune, enjoy!



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Jo
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Monday, January 26, 2015

15th Anniversary of QUATRE TICKETS DE SWING

November last year, the Dutch string swing quartet in the ‘Django Reinhardt’ Hot Club  tradition, Quartre Tickets de Swing, celebrated its 15th anniversary. Below follows a short review of the career of the ensemble.

Georg Lankester
It was at the end of the Nineties of last century that guitarist Georg Lankester took the initiative to form - with three other Dutch musicians - a swing quartet in the ‘Hot Club’ style and he called it Quatre Tickets a French song from the mid Forties. They were inspired by the European Jazz which, in 1934, was created by the “Hot Club de France ‘ Quintet with the legendary gypsy guitarist Django Reinhardt & violinist Stéphane Grappelli. It was the first string jazz quintet and only around 1940 this changed in such a way that the violin was replaced by a clarinet. Their unforgettable swing style was – next to several other European groups -  in Belgium adopted by the great WASO quartet which, however, broke up around 1985  

Quartre Tickets de Swing in the beginning
Quatre Tickets de Swing chose for the same line-up as WASO : a reed man, two guitarists and a double bass player. And the enthousiasm of the formation soon brought a lot of performances. Moreover their first cd recordings were made, which in  addition to the many Django compositions included several track from the American ‘Swing’ period.

Quartre Tickets de Swing in ‘Monte Porzio’ near Rome, 2005
In 2005 the quartet was invited to play at an Italian Django-festival nearby Rome. A few years afterwards followed by a visit to the Vosges in France for several concerts. Again a new cd was issued with a variety of swing and ballads in the French way.

Quartre Tickets de Swing with singer Ita van Dijk
Since 2009 lady singer Ita van Dijk came to join the band till end 2013. Starting from 2014 she was succeeded by Inge Alberts and the band repertoire now  includes new songs, many of them again in the French language.

Quartre Tickets de Swing today with singer Inge Alberts
Apart from performances in theatres and jazz clubs, Quatre Tickets took part in the unique Guitar Festival 2014 in Enkhuizen (Holland) and launched their cd  called ‘Swinging and Singing. These recordings can be ordered by e-mail

The CD 'Swinging & Singing' by Quartre Tickets de Swing (click to enlarge)
In November 2014 special swing sessions were organised in Deventer to celebrate the band’s 15th anniversary, whereby several guest musicians were invited. Among them the Lammy Bruyn Combo (Swing Musette), several guest soloists and singers.  It was a swinging performance for a full house.

Quartre Tickets de Swing at the jubilee performance, November 2014
Here are the members of Quartre Tickets de Swing: Peter Swart (clar/sax), Georg Lankester (solo g), Arthur Siero (g), Eric  van Buysen (b), Inge Alberts (voc.). Together a swinging ensemble, listen to Quartre Tickets de Swing in the inserted audio-videos below.

Quartre Tickets de Swing plays ‘Swing 42’, a composition by Django Reinhardt and Stéphane Grappelli, enjoy!


Finally, Quartre Tickets de Swing with vocalist Inge Alberts plays the standard ‘For Me Formidable’ with lyrics in French, enjoy!


Further  info on Quartre Tickets de Swing available here or here 

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Jo
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Monday, January 12, 2015

Jacob Fischer Trio - Two CDs Recorded In Two Days!

Jacob Fischer (photo: Ina Løndal)
The Danish jazz guitarist Jacob Fischer (b 1967) made his debut at the Copenhagen jazz festival at 17 and has since then been one of the hardest working musicians in Scandinavia. Jacob Fischer has worked with the best Scandinavian musicians as well as with visiting jazz greats. His versatile virtuosity can be heard on about 200 CDs. Since 1992 he has been a member of violin legend Svend Asmussens quartet and in 2008 he finally decided to release his first album in his own name, Jacob Fischer Trio featuring Svend Asmussen. This was followed by two more CDs by a Jacob Fischer Trio recorded in Copenhagen, in 2010 was released a CD titled Blues featuring Jacob Fischer's Organ Trio and in 2011 the CD titled Django - a tribute to the Gypsy legend featuring accordionist Francesco Cali. During a guest performance at The Fourth Annual Arbors Records Invitational Jazz Party (Fl., USA) in January 2012 Jacob Fischer recorded a CD titled Guitarist under his own name featuring fellow guitarist Bucky Pizzarelli in a quartet setting. More about the mentioned CDs at the official website, here.
Jacob Fischer (photo: Morten Langkilde)
Jacob Fischer has toured Scandinavia, Great Britain, Japan, Brazil and several European countries and he has recorded with internationally acclaimed musicians both in Denmark and abroad. In June 2013, he was in New York to record material for the Japanese Venus Records to be released in Japan, the recordings were done in two days, June 20 and 21, and the recorded material was released on two CDs in Japan later that year. Now the music of both CDs finally is available outside Japan and accessible for purchase at Amazon, Itunes a.o.
CD-front: My Romance (Venus Records, VHCD-1132)
As mentioned, the two days recording session in New York was released on two CDs, in all 25 tracks of which 13 are accessible on the shown My Romance, a tribute album to the inventive jazz piano player, Bill Evans. Jacob Fischer is accompanied by double bass player Martin Wind  and drummer Tim Horner, both acclaimed and New York based musicians.
Martin Wind - photo: All About Jazz web
The repertoire of the disc is concentrated on ballads and lyrical standards like the title tune by Richard Rodgers and there are four compositions in this genre by Bill Evans, "Time Remembered" and "Waltz For Debby", further "Show Type Tune" and "Interplay". Bill Evans and Miles Davis' collaboration is remembered in a reading of Davis' "Nardis" and modern jazz ballads like "I Fall In Love Too Easily" (Styne/Kahn), "My Foolish Heart" (V. Young), "Come Rain Or Come Shine" (H. Arlen) and "Polka Dots And Moonbeams" (J. Van Heusen) are also presented, the last mentioned as a solo guitar piece. A complete tracklist is available here.
Tim Horner - photo: Tim Horner website
The complex yet lyrical interpretation of the music reflects Bill Evans' ideas of using standard jazz tunes as a stepstone for reharmonisation and modulations of themes thus creating a tonal improvisation and motivic development of the music. This consept of jazz improvisation resembles the ideas applied by other modern jazz piano players like Thelonius Monk and Bud Powell, however, each of them are distinct and different in their own specific way, of course. Here on the CD by Jacob Fischer Trio no piano is playing, nevertheless Fischer's guitar playing reflects Evans' ideas convinsingly with great support by his two sidemen. Fischer's approach reminds me of fellow guitarist Lenny Breau, who also excelled in the exploration of jazz and standard tunes with ideas 
from the field developed by modern piano players like Bill Evans a.o..
CD-front: Black Orpheus (Venus Records, VHCD-1138)
The second CD from Jacob Fischer Trio recorded in the June 20 and 21 New York session is titled Black Orpheus  containing 12 tracks of Brazilian or Brazilian inspired tunes and may be considered a tribute to bossa nova and the roots of this style of music. Jacob Fischer, guitar, is again accompanied by Martin Wind on double bass, however, Brazilian drummer Duduka Da Fonseca has replaced Tim Horner.
Duduka Da Fonseca - photo: All About Jazz web
The title track of the CD refers to the famous 1959 film Orfeu Negro made in Brazil by French director Marcel Camus based on the play Orfeu da Conceição by Vinicius de Moraes, which is an adaptation of the Greek legend of Orpheus and Eurydice, set in the modern context of a favela in Rio de Janeiro during Carnaval. The film is particularly noted for its soundtrack by two Brazilian composers, Antônio Carlos Jobim and Luiz Bonfá, who - together with vocalist João Gilberto -  introduced the bossa nova internationally with this film. The music from the film has since been absorbed in the standard jazz repertoire and recorded numerous times by various artists. 
Original film poster (source: Wikipedia)
The tune "Black Orpheus" is also known as "Manhã de Carnaval", composed by Luiz Bonfá, and there is one more composition by Bonfá included, "Gentle Rain", which introduces the CD. A.C. Jobim is represented through five compositions - "Triste" (from the Black Orpheus film), "How Insensitive", "Once I Loved", "Desafinado" and "This Happy Madness" - the last mentioned here performed as a solo guitar piece. The remaining repertoire is represented by three compositions by choro mandolinist Jacob Bittencourt (aka Jacob do Bandolim) - "Assanhado", "Bole-Bole" and "Doce de Coco" - and two compositions by Jacob Fischer, "Little Teardrop" and "Sonho Carioca", both also recorded at the Django tribute CD from 2011 and reflecting Fischer's adoption of Brazilian choro. The trio again delivers a great musical output, the support of the rhythm section is excellent and Fischer's guitarplaying marvels throughout, his approach to this repertoire pays its due to other guitarists like Charlie Byrd and Gene Bertoncini a.o. as well as modern jazz influence, however, arrangements and interpretation are his own.

The music on the two mentioned CDs is a splendid example of the span of Jacob Fischer's musical universe and his capacity as a musician and guitarist, here exposed in a trio setting that shows off the best both in solo playing and support. Highly recommended!

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Jo
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Saturday, December 27, 2014

Dexter Payne Quartet + 1 - Pra Você

Dexter Payne
Since the bossa nova wave hit the music scene in the U.S.during the 1960s there has been a growing interest in Brazilian music traditions among non-Brazilians, some of this interest naturally generated inspiration in musicians to further explore the vast musical landscape of Brazil. Clarinetist Dexter Payne is an example of a musician who has seriously devoted his interest and skill to explore and incorporate Brazilian music in his own musical repertoire with success. According to his website, Dexter Payne went on a walk-about playing with bands and artists from Tijuana to Buenos Aires, during this odyssey he stayed in Brazil for ten months where he recorded with samba vocalist Beth Carvalho and met composer and percussionist Thiago de Mello with whom he collaborated and recorded four acclaimed CDs (- more info on Dexter Payne's CDs, here ). Back in the U.S. he founded his own quintet that has specialized in Brazilian instrumental music from samba and choro to baião and other traditions from the Northeast of Brazil. Earlier this year this ensemble released a CD titled Pra Você (- in English meaning 'for you') that is in focus here.
CD front: Pra Você, DEXOFON 1401
The shown CD was recorded in 2012 and Dexter Payne (clarinet) is accompanied by Bill Kopper (guitar and 7-string guitar), Dave Willey (accordion), Raoul Rossiter (drums, pandeiro) and Victor Mestas Pérez (piano), all very competent musicians with a deep understanding of various Brazilian instrumental music genres. There are nine tracks on the CD and the over-all impression of the performed music is an uplifting experience. The music clearly reflects the gafiera repertoire and atmosphere, the genuine Brazilian ball-room tradition of danceable instrumental music with roots in samba and choro - a well known example of this music style is the gafieira jazz project initiated by pianist Cliff Korman in collaboration with Brazilian clarinetist Paulo Mouro a.o., read more here.
Clarinetist Dexter Payne
Dexter Payne and his musicians pay tribute to one of the originators of the gafieira tradition on the CD, Severino Araújorecording their version of Araújo's 'Chorinho pra você'. Zeca Freitas' 'Alma Brasileira' introduces the CD and the lighthearted atmosphere of the disc, and there are further two famous choros by Jacob do Bandolim, 'Doce de coco' and 'Assanhado', the last mentioned in a new arrangenment, 'Conversa de botequim' by samba composer Noel Rosa, three modern pieces: 'Sampa' by Caetano Veloso, 'Playground' by renowned guitarist Nelson Faria, 'Lembrei do Ceará' by composer, accordionist Marcelo Caldi and finally an example of the collaboration between Dexter Payne and Thiago de Mello, 'No Wolf at the Door'. - Below I'll insert some examples of the recorded music that has been uploaded on YouTube. The CD is available for purchase here, and you have the opportunity to listen to all tracks in streaming audio here 
Dexter Payne (cl), Victor Mestas Pérez (p), Bill Kopper (g), Dave Willey (acc)
As mentioned above, the CD takes off with Zeca Freitas' 'Alma Brasileira', here recorded live in a concert last year featuring guest performer Mitchell Long on electric guitar


The tune 'Playground' by Nelson Faria was recorded live in an intimate video-performance


Finally, from the same intimate session here is Dexter Payne Quartet + 1 performing Caeteno Veloso's 'Sampa'



The music presented here are great examples of the Brazilian influence on skilled musician like Dexter Payne and his quintet, and the CD is well worth lending your attention for listening and dancing celebrating the new year in a couple of days ahead.

A Happy New Year 2015 to all readers of the blog - and thanks for your support so far!
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Jo
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Tuesday, December 2, 2014

After You've Gone

Sheet music front
'After You've Gone' is a 1918 popular song composed by Turner Layton, with lyrics written by Henry Creamer. It was recorded by Marion Harris on July 22, 1918 and released on Victor 18509. 'After You’ve Gone,' joins 'St. Louis Blues' (1914) and 'Indiana' (1917) as the top three pre-1920s jazz standards. Few compositions of the early 20th century endured the transition to the smooth swing sound of the 1930s and beyond. - Al Jolson introduced 'After You’ve Gone' to the vaudeville audience in 1918. Within a year several other artists had recorded the song, but it was Marion Harris’s rendition that became the most popular.

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In the early 1920s Harris was a popular singer in vaudeville and Broadway shows. One of the first white women to sing blues and jazz songs, she favored songs by African-American writers.

Marion Harris
Marion Harris explained her preference by saying, “You usually do best what comes naturally, so I just naturally started singing Southern dialect songs and the modern blues songs.” Harris recorded 'After You’ve Gone' for the Victor Record label, but in 1920 when that label refused to allow her to record W.C. Handy’s 'St. Louis Blues,' she left the label and moved over to Columbia Records, where she did record 'St. Louis Blues,' which became a hit.

Bessie Smith
Another female singer, Bessie Smith - The Empress of The Blues - recorded 'After You've Gone' in 1927, and this version adds the true blues feeling to the tune, a magnificent example of how a natural talent transforms the lyrics of the song to a personal statement - the core experience of blues as well as jazz, I think



Benny Goodman Trio
As mentioned above, 'After You've Gone' was one of the pre-1920s tunes that endured the transition to the swing sound of the 1930s. Many jazz artists and bands recorded the tune in the 1930s and made it a part of the standard repertoire. One of the recordings since hailed as a classic was made by the Benny Goodman Trio in July 1935. Enjoy this swinging version featuring Benny Goodman (clarinet), Teddy Wilson (piano) and Gene Krupa (drums)



Freddy Taylor
One of the famous European recordings of 'After You've Gone' was made on May 4th 1936 by Django Reinhardt and the Quintette du Hot Club de France featuring Freddy Taylor as vocalist. Personnel featured are: Stéphane Grappelli (v); Django Reinhardt (g solo); Joseph Reinhardt, Pierre "Baro" Ferret (g); Lucien Simoens (b); Freddy Taylor (vo)



Despues de haberte ido ( =After You've Gone)
Oscar Alemán y su Conjunto de Jazz recorded 'After You've Gone' for Odeon on October 29th 1955, and only Alemán's great guitar solo in this recording rescues the tune from the syrupy strings in the accompaniment, - an example of a jazz standard almost being spoiled by the usual expectations of record producers and a public only interested in pop ditties. However, mind Alemán's excellent playing and timing that exposes the tune on the edge of swing jazz and pop

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Jo
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Sunday, November 23, 2014

The Entertainer - HAMADA Takasi, Contemporary Ragtime Guitarist

Sheet music front page
Ragtime dawned in the USA in the late 19th Century as a style of popular music influenced by European classical tradition as well as African rhythm. One of the trademarks of ragtime is syncopation, a characteristic 'delay' in the rhythm pattern generating a certain pulse to the melody line, which is a normal feature in African music - and in jazz. Ragtime was primarily composed by piano players, and today ragtime music is best remembered through the works of ragtime composer-pianists like Scott Joplin, James Scott, Arthur Marshall, Joseph Lamb a.o. - pioneers of the classic ragtime repertoire.

At a time before gramophones, records, radio and modern mass media ragtime became popular in the public through published sheet music scores designated for piano players and home entertainment, however, ragtime was also often performed by brass bands performing in street parades, at sport games and other public events. A branch of ragtime performance was offered by virtuosic banjo players, who played classic ragtime pieces on 5-string banjo in concert, and stringbands composed of various string instruments also performed ragtime music in tent shows and at private parties helping to spread the music to a broad audience and making ragtime a hype that put the swing to things in the era before The Jazz Age of the 1920s.

The public taste gradually changed after WW 1 with the emergence of jazz and other popular genres, however, ragtime never disappeared, but was rediscovered from time to time during the 20th Century. In the 1970s, a very popular movie, 'The Sting', used music by Scott Joplin in the soundtrack and generated a renewed interest for Joplin and ragtime. This time guitar players were also attracted to the music and a selection of the classic rags by Joplin and other ragtime composers were transcribed for solo guitar and mostly performed in the folk club circuit and released on LP records. Ragtime played on solo guitar is a challenging experience and demands great technical skills  - a contemporary master of ragtime guitar shows off the needed dexterity in a performance of Scott Joplin's popular rag, 'The Entertainer'


The featured guitarist in the video is HAMADA Takasi, a Japanese guitar player (b.1964) from Otaru City, Hokkaido Island, Japan. He has specialized in ragtime and ragtime influenced music, and he has transcribed both classic ragtime compositions by Scott Joplin and others for solo guitar and furthermore contributed with several of his own compositions in the ragtime genre. His guitar style is quite unique. He can play in standard tuning, but more often he plays in a special "Otarunay-Tuning" (EbAbCFCEb : 6 to 1) that fits well for arranging piano rags for solo guitar. More info on HAMADA Takasi at his website in English, here

HAMADA Takasi (source: YouTube)
HAMADA Takasi has released several CDs since 1992 featuring both own compositions and compositions by well known American ragtime artists, a selection of his CDs are available for purchase here . - Below I'll insert more examples of his magnificent playing from the videos he has uploaded at YouTube. 

Here is first HAMADA Takasi playing a popular, modern ragtime piece composed by David Thomas Roberts - 'Roberto Clemente'


Last year HAMADA Takasi released his latest CD, Tanne Nay, containing sixteen compositions of solo guitar pieces, from original ragtime to tango, blues, ballad, caprice, including 2 rag-medleys by Blind Boone.

CD front: Tanne Nay (Otarunay Records, OTR-033)
One of the featured original ragtime compositions on the Tanne Nay CD is 'Merry's Fish Market', here performed live in a video recording

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If you like contemporary solo guitar playing of high standard, I recommend HAMADA Takasi's recordings, his skills both as a composer and as a musician are unique. To end this small presentation, I'll insert the uploaded audio track of the title composition from 'Tanne Nay' - a modern classic rag by HAMADA Takasi   


The Tanne Nay CD is available for purchase here

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Jo
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Monday, November 10, 2014

Louis Vola Del Quinteto Del Hot Club De Francia (1944-46)

Louis Vola
Louis Vola (1902-1990) was a French double-bassist famous for his work with the Quintette du Hot Club de France featuring the star soloists Django Reinhardt (g) and Stéphane Grappelli (violin). According to some sources, Louis Vola discovered Django and his brother Joseph in Toulon, France early 1930s at the time he led his own orchestra in Cannes. Vola invited them to sit in with his band, however, the co-work with Dango and his brother was not a big success, as the brothers had troubles keeping up with appointments. Then another co-work with Django in 1934 was more successful. At that time Vola led his orchestra in a distinguished hotel in Paris, and members of the band comprised both Django Reinhardt (g) and Stéphane Grappelli (violin). During intermission of performance in the hotel Django and Grappelli had fun in a stage room playing together for themselves, later bandleader and bassist Vola joined them together with guitarist Roger Chaput and encouraged the quartet to work out arrangements for an all-strings jazz ensemble. Django demanded that his brother Joseph, who was used to accompany him, joined the group and this was the birth and original formation of the Quintette du Hot Club de France, which had this name thanks to Charles Delaunay, who engaged the quintet as the house orchestra of the Hot Club de France organisation and later arranged numerous recording sessions, performances and tours promoting the first ever European string swing jazz ensemble.

The original Quintette du Hot Club de France
The original Quintette du Hot Club de France (- including changing members of the rhythm section from time to time) had success all over Europe until the outbreak of WW2 in 1939, when the group dissolved and the members of the ensemble went for a career in other combinations. Louis Vola had been a stable member of the group most of its time, but he had also participated in various other bands featuring both French and foreign musicians on the Parisian music scene. You can read more about his engagements outside the QHCF in a previous article by Georg Lankester, here.

In 1940, Vola had joined Ray Ventura's orchestra and went with the band in exile on its tour of South America the next year. Recently Georg Lankester has given an account of the career of Ray Ventura in two published articles, the second has info on Ventura's tour of South America and is accessible here.

Ray Ventura and band members with guitarist Henri Salvador ( Buenos Aires) ( 1943)
Ray Ventura's orchestra had success in Rio de Janeiro, the first destination of the South American tour, and when the band arrived in Buenos Aires in July 1942, the sucess continued with both live performance and recordings for the Odeon label. In between contracted performances with the Ventura orchestra members of the band were free to establish contacts with other musicians and the local music scene to support expenses of living in exile. On these conditions Louis Vola formated a group similar to the Quintette du Hot Club de France late 1942 or early 1943.

Hernán Oliva
Among others, the ensemble comprised guitarist Henri Salvador, who also was a member of the Ventura orchestra, and the Chilean violinist Hernán Oliva, who had been a member of Oscar Alemán's first Quinteto de Swing 1941-42, but by then had abandoned further cooperation with Alemán due to an incompatibility of tempers. Together with two local rhythm guitarists this group named Louis Vola del Quinteto del Hot Club de Francia recorded four (test-)sides for the small, local Sincopa y Ritmo label, which never were issued (- according to discographical info by Tom Lord, the four recorded titles  were 'Viper's Dream', 'Mabel', 'Stardust' and 'Rosetta' with the mx-numbers from BAVE2720-BAVE2723, all well known tunes from the repertoire of the original QHCF).

Excerpt of Tom Lord's discographical info (click to enlarge)
As the stay in Buenos Aires was extended because of WW2 that prevented the Ray Ventura orchestra to return to Europe, Louis Vola continued his own musical project with a new formation of the quintet, which had a recording contract with the Argentine division of Victor records. The first session recorded for Victor was made in October 1943 accompanying a vocal ensemble named The Blackbirds and resulted in two sides. According to Tom Lord's discography, the two titles recorded were 'For Me And My Gal' and 'I'm Old Fashioned' (issued on Vic 60-0282). The quintet now comprised Hernán Oliva (violin), Luis Silva, Musco Milton, Hector Condro (guitar) and Louis Vola (ldr, bass).

The Victor recordings 1944-46 (source: VirgilJazz CD 111)
Louis Vola stayed in Argentina until 1948 and thus did not leave the country together with Ventura, who headed for the U.S.A. in 1945 after WW2 had ended and then returned to France to continue his career. From September 1944 to April/May 1946 Vola continued recording with his quintet in Buenos Aires. Twenty four sides were cut for the Victor label during this period as shown in the listing above. There was some changes of personnel in the quintet from time to time, however, Hernán Oliva had a leading instrumental voice in the ensemble and he is featured on all listed sides. As the quintet emulated the sound of the original QHCF, the choice of a lead guitarist to perform the 
guitar solos also was crucial. The first eight sides as shown feature Luis Silva as lead guitarist in the ensemble with remaining personnel as listed in Tom Lords discography for the October 1943 session.

Luis Silva
Luis Silva (1915-1987) was a Chilean guitarist, who had started his career playing jazz in his homeland in the 1930s and further had founded the QUINTETO SWING HOT DE CHILE after discovering Django Reinhardt. He made some records with this combination in Chile 1943-44, and according to the scarce discografical info the 1943 sides also comprised Hernán Oliva on violin. Silva might have come to Buenos Aires in 1944 at the request of Hernán Oliva, but info on the circumstances of his involvment with Vola's quintet is not available. Fact is, however, that Silva had the  guitar solo part in the eight sides with Vola's quintet for Victor recorded from September to December 1944. 

Silva's technique is well developed and he has some great solo spots (- very different from Django) as well as competent interplay with Oliva and the rhythm section on the eight sides with Vola's quintet. Here is an example of Silva's fretwork in the recording of 'The Sheik of Araby' from September 1944.


After Luis Silva left Vola, he returned to Chile and gave up playing jazz continueing his career in Chilean folk music. You have the opportunity to read more about Luis Silva in an article in Spanish published here.

Henri Salvador
 The March-April 1945 sessions have changes in personnel, another lead guitarist named A.Rivera of whom no info is available takes over Luis Silva's chair, and there is added vocal by a female singer named Alice Burton, who contributes the lyrics in English on 'Undecided'. Alice Burton may be a stage name for a local artist, again no info is to be found, however, she also contributes with her vocal on a few more sides of the remaining Victor recordings by Louis Vola's quintet. 

The May-June and August 1945 sessions reunite Henri Salvador with the quintet, he is now featured as the lead solo guitarist and contributes with some noteworthy solo spots, i.e. in the recording of 'Django Blue(s)'


Henri Salvador (1917-2008) was a member of Ray Ventrua's orchestra like Louis Vola and had embarked on the tour of South America with the band, where he both had vocal spots and played the guitar. The career of Henri Salvador is too extensive to refer here, enough to tell that he had learned guitar from his brother, Tony Salvador, and that he knew Django and had recorded with him in France before the war in the orchestra of Fred Adison

His style of playing the guitar is more modern than Luis Silva's and he is said to have prefered chord solo contributions instead of single string. However, his playing on the shown 'Django Blue(s)' has fine examples of single string playing, and the same technique is used in one of the highlights of the Victor recordings by the Louis Vola's quintet - 'Tiger Rag' - a show piece for Hernán Oliva's violin


The last four recordings for Victor April-May 1946 again have a change of personnel. Henri Salvador had left Buenos Aires at the end of the war in August '45 together with Ventura, as replacement his brother Tony Salvador sat in with the quintet in three of the sides as a piano player. Further, Oscar Alemán's rhythm guitarist of his first quintet, Dario 'Johnny' Quaglia, also is featured and female vocalist Alice Burton again contributes with lyrics in English. The last recording, 'You Never Say Yes...', replaces Tony Salvador with Jorge Curutchet on el-guitar.

Private issue (Virgil Jazz, CD 111)
The Victor recordings by Louis Vola's quintet (1944-46) have never been reissued by an ordinary company, however, private collectors in Argentina of the original discs have released  the 24 sides on a CD, which may be hard to find outside Argentina. The shown CD from Virgil Jazz (CD 111) is an example of such a collection. A similar collection was also issued by the Buenos Aires Tango Club (CD Jazz 8004). 

Nevertheless, these recordings are of historic importance and document the direct influence of the original QHCF in 
Argentina by one of its founding members, double-bassist Louis Vola.


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Jo
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