| What A Difference A Day Made |
Coleman Hawkins (ts) |
|
acc. by Michel Warlop et son Orchestre: Arthur Briggs, Nöel Chiboust, Pierre Allier (tp); Guy Paquinet (tb); André Ekyan, Charles Lisée, A)ix Combelle (s); Stéphane Grappelli (p); Django Reinhardt (g); Eugène d’Hellemmes (b); Maurice Chaillou (dm)
Django’s 1935 March 2 Recording Session - Paris |
| What A Difference A Day Made |
Alix Combelle (ts & cl) |
|
acc. by Stéphane Grappelli (p); Django Reinhardt (g solo); Joseph Reinhardt (g); Louis Vola (b); Jerry Mengo (dm)
Django’s 1935 spring Recording Session - Paris |
| What A Difference A Day Made |
Django Reinhardt and Stéphane Grappelli |
|
Stéphane Grappelli (vln); Django Reinhardt (g); Gianni Safred (p); Carlo Pecori (b); Aurelio de Carolis (dm)
1949 January-February - RAI Studios, Rome |
| What Is This Thing Called Love |
Django Reinhardt et le Quintette du Hot Club de France |
|
Stéphane Grappelli (v); Django Reinhardt (g solo); Joseph Reinhardt, Eugène Vées (g); Fred Ermelin (b)
Django’s 1947 November 14 Recording Session - Swing, Paris |
| What Is This Thing Called Love |
Django Reinhardt and Stéphane Grappelli |
|
Stéphane Grappelli (vln); Django Reinhardt (g); Gianni Safred (p); Carlo Pecori (b); Aurelio de Carolis (dm)
1949 January-February - RAI Studios, Rome |
| When Day Is Done |
Django Reinhardt et le Quintette du Hot Club de France, avec Stéphane Grappelli |
|
Stéphane Grappelli (v); Django Reinhardt (g solo); Pierre "Baro" Ferret, Marcel Bianchi (g); Louis Vola (b)
Django Reinhardt opens this version of "When Day Is Done" with a dramatic unaccompanied guitar cadenza.
One suspects he was trying to emulate Louis Armstrong's introduction to West End Blues and indeed,
one can imagine young guitarists being bowled over by the recording.
It impresses one as well, but the solo that follows is quite special for what "isn't" there.
As the introduction has plenty of contrast between chorded sections and single lines,
the ensuing solo is entirely comprised of single line melody and embellishment.
The filigrees are tasty, the bent notes are heart-rending, and the atmosphere is so engulfing that it's
hard not to imagine yourself floating in a canoe down the Seine as Django and his friends serenade you.
The mood breaks as Django picks up the tempo and Grappelli enters.
While the final choruses are well-played, this time the disconnect is too great from what came before
and this part of the recording just sounds like more of the same.
Time to go back and listen to the first half of the record again!
1937 April 22 - Columbia, Paris |
| When My Ship Comes In |
Patrick et son Orchestre, direction of Guy Paquinet |
|
Gaston Lapeyronnie, Alphonse Cox, Nöel Chiboust (tp); Guy Paquinet, Pierre Deck, René Weiss (tb); André Ekyan, Andy Foster,Charles Lisée, Alix Combelle (s); Jean Chabaud (p); Django Reinhardt (g); Louis Pecqueux (b);
Maurice Chaillou (dm & vo); Roger Chomer (vb)
Django’s 1934 December 12 Recording Session - Paris |
| Who? |
Arthur Briggs (tp) - acc. by Stéphane Grappelli (v & p); Django Reinhardt (g); Louis Vola (b) |
|
Django’s 1935 September Recording Session - Paris - (unissued) |
| Whoa Babe |
Philippe Brun (tp solo) |
| Whoa Babe - ? |
acc. by Stéphane Grappelli (p); Django Reinhardt (g); Louis Gaste (g); Eugène d’Hellemmes (b)
Django’s 1937 September 9 Recording Session - Swing, Paris |
| Why Shouldn't I ? |
Django Reinhardt et le Quintette du Hot Club de France, avec Stéphane Grappelli |
|
Stéphane Grapelli (v); Django Reinhart (g solo); Joseph Reinhardt, Eugène Vées (g); Roger Grasset(b)
Django's 1938 August 30 Recording Session - London |
