BENNY CARTER AND HIS ORCHESTRA – 1937-1939 | The Classics Chronological Series – 552 (1990) FLAC (tracks+.cue), lossless

The fourth CD in Classics' complete chronological reissue of Benny Carter's early recordings as a leader finds Carter (on alto, trumpet, clarinet, tenor and even one vocal) leading orchestras in London, Laren, the Hague, Paris and (for the final three selections) New York. Highpoints include "Nagasaki," "I'm in the Mood for Swing," "Blues in My Heart," "I'm Coming Virginia" (from a three-song session that also features Django Reinhardt) and "Melancholy Lullaby." In addition, the great tenor Coleman Hawkins plays a prominent role on four of the performances. Carter is in top form throughout these often formerly rare but very vital swing recordings. His fans should quickly acquire all of these invaluable Classics releases. Scott Yanow     Tracklist + Credits :

DJANGO REINHARDT – 1934-1935 | The Classics Chronological Series – 703 (1993) FLAC (tracks+.cue), lossless

This first installment in Classics' multi-volume Reinhardt series is a fine place to start your Django collection. Recorded between 1934-1935, the 23 tracks include many of first sides from the Quintet of the Hot Club of France, which Reinhardt formed with frequent cohort and violinist Stephane Grappelli. Cut for the French Ultraphone label, the material includes such top-notch QHCF sides as "I Saw Stars," "I'm Confessin'," and "Dinah." There's also a few numbers Reinhardt cut with the Michel Warlop Orchestra before teaming up with QHCF. And while JSP's Reinhardt discs often beat out many of the Classics titles for sound quality, this early offering ranks as one that stands up just fine. Stephen Cook       Tracklist :

DJANGO REINHARDT – 1935-1936 | The Classics Chronological Series – 739 (1993) FLAC (tracks+.cue), lossless

Moving on from its initial Ultraphone sides, the Quintette du Hot Club de France hit a sort of early zenith with two 1936 sessions cut for the HMV label. This volume of Classics' Chronological series features 12 sides from those May and October HMV dates, including such perennial Reinhardt and Grappelli performances as "Shine," "After You've Gone," and "Georgia on My Mind" -- Freddy Taylor, the fine Armstrong-inspired vocalist, only adds to the charm of these and a few other numbers here. The disc also finds the guitar and violin duo on two dates headed up respectively by pianist Garnet Clark and bandleader Michel Warlop (the handful of Warlop numbers also feature the great French clarinetist Alix Combelle). Topped off with some nice trumpet work by American ex-pat Bill Coleman, this Reinhardt disc qualifies as one of a handful of top-notch retrospectives of the guitarist's prime '30s output. Stephen Cook   Tracklist :

DJANGO REINHARDT – 1937, Vol. 2 | The Classics Chronological Series – 762 (1994) FLAC (tracks+.cue), lossless

This volume of the Classics Django Reinhardt chronology was expressly dedicated by the producers to the memory of Philippe Brun, a fine and forceful trumpeter whose primary inspiration was Louis Armstrong. Brun, who passed away in 1994, seems to have recorded regularly with Django and company. In addition to a fascinating version of Larry Clinton's "Whoa Babe" -- made famous among jazz fans after Lionel Hampton recorded it with Johnny Hodges and Cootie Williams in April 1937 -- Brun's two essays on the blues are honest and subtle, while his "College Stomp" is a fine example of Parisian big-band swing. The other noteworthy guest instrumentalist is violinist Michel Warlop, who appears either as a member of the Quintet of the Hot Club of France or as featured fiddler leading his own ensembles. Warlop's pleasantly looming "Taj Mahal" typifies a European's idyllic notion of a scene in "exotic" southern Asia. Anyone familiar with Fats Waller's monumental 1934 recording of Reginald Foresythe's "Serenade for a Wealthy Widow" will derive a new thrill from Warlop's equally feisty rendition. This disc also contains several unforgettable experiments by the Quintet. A marvelous "Minor Swing," with vocal exclamations and encouragements by Django, is perfectly amended by the famous "Viper's Dream." Everything recorded on December 14, 1937, has a pleasantly bracing dissonance about it, beginning with a hypnotic set of bolero variations played by a 13-piece band featuring flutist Maurice Cizeron and three violinists. But the real feature seems always to be Django Reinhardt, guitarist supreme. He is prominently featured on "St. Louis Blues" and "Bouncin' Around," accompanied only by a second guitar and string bass, and on a lovely series of duets with either bassist Louis Vola ("You Rascal You") or violinist/pianist Stéphane Grappelli. arwulf arwulf         Tracklist :

DJANGO REINHARDT – 1937-1938 | The Classics Chronological Series – 777 (1994) FLAC (tracks+.cue), lossless

Here's another in a long line of chronological Reinhardt discs on the Classics label. This time up, more from the Quintet of the Hot Club of France, featuring Reinhardt cohort and violinist Stephane Grappelli, guitarist Roger Chaput, and bassist Louis Vola. Having already cut many sides for the Ultraphone and HMV labels, Reinhardt and company were now recording for Decca; most of these performances were taped in London. Highlights include such Reinhardt and Grappelli staples as "Daphné," "Souvenirs," and "Paris Swing," not to mention fine renditions of "Honeysuckle Rose" and "Sweet Georgia Brown." There are also cuts spotlighting French harmonica great Larry Adler and trumpeter Philippe Brun. With many Reinhardt collections to choose from, this somewhat below-par addition to the Classics series is probably best left to completists. Stephen Cook       Tracklist + Credits :

DJANGO REINHARDT – 1939-1940 | The Classics Chronological Series – 813 (1995) FLAC (tracks+.cue), lossless

In addition to providing a wonderful photograph of Django Reinhardt having his palm read by Edith Piaf, this segment of the guitarist's chronology documents the recordings he participated in during the months leading up to the outbreak of the Second World War. On May 17, 1939, the famous Quintet of the Hot Club of France scrubbed, jogged, and trotted their way around two Tin Pan Alley standards and the Reinhardt/Grappelli original "Hungaria." They also tiptoed delicately through "Japanese Sandman" and took their time relishing the verse section of "Tea for Two." One week later, alto saxophonist Andre Ekyan assembled a jam band involving three seasoned U.S. musicians: Louisiana's Frank "Big Boy" Goudie (usually a reed player, heard here on trumpet), Baltimore piano legend Joe Turner, and world-class drummer Tommy Benford of Charleston, WV. Ekyan, who played a whole lot of funky clarinet during this blowing session, struck gold when he blended the artistry of six men from such diverse backgrounds. Two of the five tunes recorded that day feature the French half of this band in a more intimate setting. On June 30, 1939, the Quintet made another landmark recording, Django's harmonically intriguing "Stockholm," fascinating in its eccentric gait and wistful changes. After recording a sunny version of Noël Coward's "Younger Generation" for the flip side, Django reduced the group to a trio for "I'll See You in My Dreams" and finished the session all by himself. "Echoes of Spain" recalls the magical mind of Enriqué Granados, the landscape of Andalusia, and almost certainly the tragic political realities of Spain during the late '30s. "Naguine," a softly rendered daydream, sounds as if it were improvised on the spot. Four sides waxed in London on August 25, 1939, include a pair of vocals by Beryl Davis. Hearing an American female vocalist singing with the Quintet is an unusual experience, and not at all unpleasant. The instrumental "The Man I Love" is a profound example of the group's collective creativity. This would be the final session involving the original Quintet, and the last Reinhardt/Grappelli collaboration to occur for more than five years. Although they were planning to tour Australia and India, Hitler's invasion of Poland on the first of September caused them to cancel this promising mission and Django hotfooted it back to Paris while Stéphane remained in London. Reinhardt's next adventure in a recording studio took place on February 22, 1940, as an honored member of trumpeter Philippe Brun's Jam Band, an exciting ensemble including trombonist Guy Paquinet, the great Alix Combelle playing both tenor sax and clarinet, American pianist Charlie Lewis, and H.P. Chadel on drums. Any questions regarding this group's attitude toward the Axis powers are resolved by their recording of a "Stomp" bristling with quotes from John Philip Sousa's "Stars and Stripes Forever." arwulf arwulf          Tracklist :

DJANGO REINHARDT – 1940 | The Classics Chronological Series – 831 (1995) FLAC (tracks+.cue), lossless

For fans mostly enamored with Reinhardt and Grappelli's vintage Quintet of the Hot Club of France (QHCF) sides from the '30s, this collection of 1940 recordings might not the best disc to get. Reinhardt completists, however, will certainly find plenty here to admire. The start of The War had broken up the original QHCF, as Grappelli opted to pursue a career on England's relatively safe shores and Reinhardt went solo in Paris. This Classics disc finds a Grappelli-less Reinhardt with a new incarnation of the Quintet, plus several cuts where the guitarist is featured in groups led by such other French musical luminaries as trumpeter Hubert Rostaing and tenor saxophonist Noel Chiboust. Reinhardt regulars like trumpeter Philippe Brun and reed player Alix Combelle also make fine solo contributions to this set of both hot swingers and dance band smoothies. Unessential, but enjoyable all the same. Stephen Cook         Tracklist :

DJANGO REINHARDT – 1940-1941 | The Classics Chronological Series – 852 (1995) FLAC (tracks+.cue), lossless

All of these sides but one (a pop vocal by Charles Trenet) were made in December 1940, just half a year into the Nazi occupation of Paris. People are still marveling over the fact that Django Reinhardt, a Gypsy who played music closely aligned with Jews and Afro-Americans, was not arrested and put to death by the invasive regime, for these collective jams were and are the antithesis of fascist ideology. It just so happens that this little slice of the chronology contains some of Reinhardt's most interesting material, wonderfully evolved from the earlier Hot Club de France, yet filled with premonitions of how jazz would come to sound ten or even 20 years later. Hubert Rostaing was an inventive clarinetist, sounding something like Marshall Royal, and is featured on most of these sides. Alix Combelle blew a boisterous, Coleman Hawkins-inspired tenor saxophone (as does Rostaing on the sessions of December 18 and 19). Present throughout all of these sessions is a wonderful percussionist by the name of Pierre Fouad, who recorded as a leader for the Swing label a few years later. Tony Rovira deserves to be remembered as a gifted bassist, particularly for the sensitivity he demonstrates on these recordings. The most precious and musically inventive track is "Oiseaux des iles," a brilliantly constructed gypsy-jazz fantasy of such ethnic potency that it would have given Dr. Goebbels a case of non-Aryan indigestion. Trumpeter Pierre Allier, sort of a French person's Frankie Newton, leads a couple of bands, both small and not-so-small, providing one or two examples of how Reinhardt sounded as part of the rhythm section in a large jazz orchestra. The crowning glory of this wonderful album is "Festival Swing," a four-minute all-star big band blowout, with Charles Delaunay introducing each and every member of the band in French, providing English-speaking people with a valuable pronouncing lexicon for all of those wonderful French names. arwulf arwulf     Tracklist :

BUCK CLAYTON – 1949-1953 | The Chronogical Classics – 1362 (2004) FLAC (tracks+.cue), lossless

It wasn't until Buck Clayton made the European scene in 1949 that he had a chance to begin making records as a leader. Clayton cooked up 13 exceptionally fine tracks before heading back to New York. "High Tide" was a modern notion of Count Basie's. "Swingin' at Sundown" is immediately recognizable as "At Sundown," an old Walter Donaldson tune dating from the 1920s. The composer does not receive credit. Saxophonist Don Byas interacts busily with Clayton on "Who's Sorry Now" and the venerable "Sugar Blues." The trumpet is solely featured on "Blues in First," while "Blues in Second" is taken at almost exactly the same tempo, amounting to little more than a second take. "Don's Blues" is based on "Lester Leaps In." The second of the Parisian sessions brought in saxophonists Armand Conrad and Alix Combelle, trumpeter Bill Coleman, and the young pianist André Persiany. Clayton and Coleman interact on "Uncle Buck" and blend dazzlingly during "B.C. and B.C.," a walking blues for two in which they are billed as Duo de Trompettes. The ensemble's third-chair trumpeter, Merrill Stepter, is brought in to form the Trio de Trompettes on "Sweet Georgia Brown." Crucial support throughout all of these developments is provided by bassist Georges Hadjo. The four tracks recorded back in New York in September of 1951 seem strangely foolish by comparison. Vocalist Johnny Davis comes across as a bit of a twit, although it is interesting to hear the lyrics to "The World Is Waiting for the Sunrise." During "Whispering" he keeps whispering the word "whisper" and is loudly answered by the band hollering "Don't shout!," "Don't scream!," and "Don't yell!" It's really kind of stupid. "Sixty Minute Man" is not the R&B hit, but "The Syncopated Clock" is played by the rhythm section only. Davis tries scatting like early Babs Gonzales on "Smooth Sailing," an easygoing boppish bit of blues. The saving graces on this date are the presences of trombonist Kai Winding, clarinetist Peanuts Hucko, and pianist Bernie Leighton, who held the somewhat dubious distinction of being the leader. In February of 1953, Buck Clayton sat in with the Marlowe Morris Trio, an early modern organ combo. Morris sounds uncannily like later-period Fats Waller as he tickles the upper registers of the Hammond organ on "I Want a Little Girl." Organ and guitar devise an ostinato backdrop for Clayton's horn on "Blue Moon." The guitar handles the bridge and the organ solo is tough. The final two tracks are extended jams. "Basic Organ Blues" walks an exceedingly cool path with Clayton in fine, sassy form. The electrified guitar lays down a boogie and commences to rock. The piece even turns into "Night Train" for a while. This smart little band's take on "'S Wonderful" gradually comes to a boil as Clayton enunciates the melody with elegant precision. arwulf arwulf  
Tracklist + Credits :

BUCK CLAYTON – 1953 | The Chronogical Classics – 1394 (2005) FLAC (tracks+.cue), lossless

The third installment in the Classics Buck Clayton chronology documents the trumpeter's European adventures with recordings made between April 2 and October 21, 1953. Clayton had toured Europe in 1949, and after savoring the social atmosphere in the U.S. was happy to head back to France in February 1953 with drummer Kansas Fields, pianist Red Richards, and trombonist Big Chief Russell Moore, a Native American whose Pima heritage places his ancestral turf within the Gila and Salt River valleys in southern Arizona. In addition to playing live gigs with Mezz Mezzrow, the North Americans made phonograph records. On April 2, the Buck Clayton Quintet cut five sides for the Vogue label; "Patricia's Blues" is a particularly attractive example of Clayton at his most subtle, sensual, and soulful. A concert performance by this band led by Mezzrow with Gene Sedric in the front line took place at the Theatre de Champs-Elysee near the end of May. The recordings made at that event have been reissued under Mezzrow's name. Buck Clayton and Kansas Fields participated in four different recording sessions in Brussels, Belgium, between August and October, 1953. These would be the only records ever released under the name of Marion Joseph "Taps" Miller, a trumpeter and rowdy vocalist who became marginally famous for a minute when Count Basie named a tune after him in 1944. The heavy-handed Belgian musicians who participated in these sessions made enough noise to match Miller's extremely boisterous vocals. "Hot Dog," with its repeated demands for mustard and pickles, epitomizes Miller's approach to entertainment. Fortunately, tracks 16-23 find Clayton sitting in with a big band led by Django Reinhardt session man Alix Combelle, an intelligent, hip, and sophisticated tenor saxophonist whose complete chronological recordings occupy their own niche in the Classics Chronological series. arwulf arwulf  
Tracklist + Credits :

FREDDY JOHNSON AND HIS ORCHESTRA – 1933-1939 | The Classics Chronological Series – 829 (1995) FLAC (tracks+.cue), lossless

Freddy Johnson was a talented swing-oriented pianist who spent the 1930s playing in Europe. This Classics CD contains all five of his sessions, a song ("Wo Ist Der Mann?") on which his band accompanies Marlene Dietrich, plus a date with trumpeter Louis Bacon's septet. In addition to Johnson's many piano solos, the top players are trumpeter Arthur Briggs, Frank "Big Boy" Goudie on tenor, trombonist Herb Flemming, tenorman Alix Combelle, and Bacon. Four songs recorded in 1934 with a Dutch band have delightful vocals from the completely obscure Rosie Poindexter. This CD is a must for collectors of small-group swing. Scott Yanow
Tracklist + Credits :

BILL COLEMAN – 1936-1938 | The Classics Chronological Series – 764 (1994) FLAC (tracks+.cue), lossless

With such trumpet stars as Louis Armstrong, Red Allen, Rex Stewart, and Cootie Williams grabbing the headlines and the gigs, Bill Coleman found it hard to make a name for his own considerable talents during the nascent swing years. Like many other jazz figures (Coleman Hawkins, Benny Carter, etc.), Coleman looked to France and Europe for a chance to make a name for himself and catch a break from stateside racism. And while his trip to Paris came about with some luck -- thanks to old friend Freddie Taylor and his need to recruit players for a nightclub stint -- Coleman soon became an in-demand soloist for both live gigs and recording dates overseas. This generous Classics collection brings together his initial dates in the City of Light, both as a leader and with various top local outfits. Featured throughout the 22 tracks are such Parisian jazz luminaries as Django Reinhardt, Stephane Grappelly, Eddie Brunner, and Alix Combelle. Along with a solid batch of tunes, excellent playing all around, and Coleman's own melodiously clear solos, specific highlights include the Coleman-Reinhardt duet, "Bill Coleman Blues," the trumpeter's vocal turn on "Indiana," and two momentous takes of "After You've Gone." An excellent chronicle of one of jazz's most unsung talents. Stephen Cook  
Tracklist + Credits :

ALIX COMBELLE – 1935-1940 (1993) The Classics Chronological Series – 714 | FLAC (tracks+.cue), lossless

Anybody who's listened to Django Reinhardt records from the late 1930s has probably heard the saxophone of Alix Combelle, but few seem to know him by name. Featured in front of the 1935 Hot Club of France Quintet, this fellow demonstrates why he was such a sensation in Europe. During "Crazy Rhythm" he rapidly alternates between gutsy tenor sax and gritty clarinet, switching back and forth without missing a beat. Leading his own band two years later, Combelle has a pair of accomplished American musicians sitting in. Bill Coleman scats and blows his horn beautifully during his own "Hangover Blues." Bassist Wilson Myers might be best remembered for the records he made with Sidney Bechet. "Avalon" boils over with a rigorous vitality typical of the late-'30s Parisian swing scene. The tenor sax is warm and feisty. Comparison with Bud Freeman seems inevitable. Two sides by Combelle's Hot Four are largely driven by Joseph Reinhardt's rhythm guitar and the powerfully plucked bass of Louis Vola. Paring his band down to a trio, Alix presents two original compositions in the company of pianist Ray Stokes and Django's trustworthy percussionist Pierre Fouad, who sounds a lot like George Wettling on this date. From his solo on "Don't Get Tired," it is evident that Stokes had been listening to Fats Waller, but with the exception of Joseph Goebbels, who hadn't? Combelle certainly had. In fact, he swiped "Honeysuckle Rose" and called it "Morning Feeling." Django's "Daphne" sounds great inflated into a stomp for 11 players. The Hot Club Swing Stars also tackle a Bob Crosby dance tune and the Kansas City stomp "Every Tub," during which Louis Richardet meticulously copies the already-famous Basie piano style. Basie's influence was stronger than ever on February 20, 1940 as Alix Combelle's Swing Band seized upon "Jumpin' at the Woodside." This track is notable for a particularly expressive guitar solo by Django Reinhardt, who receives the customary solo spotlight throughout this session. The drummer proves to be jazz critic and promoter Charles Delaunay, masquerading under the name of H.P.Chadel. That's probably him making verbal comments during the stimulating "Weekend Stomp." A relaxed blues with the ironic title "Nerves and Fever" is followed by "Fast, Slow, Medium Tempo," a sort of mini-concerto for big band by Philippe Brun. Two more Basie covers bring us to the session of October 21, 1940. Monsieur Combelle was now standing at an historical crossroads, as he continued to make jazz records during the German occupation, an activity specifically regarded as subversive. Jazz, with its many Jewish and Afro-American influences, was considered racially impure as proscribed by the Nuremberg Laws, and therefore all jazz performance, recording or even listening was declared subversive. Which makes these little swing records all the more enjoyable. arwulf arwulf  

Tracklist :
1    Alix Combelle Acc. By The Quintette Of The Hot Club De France–    Crazy Rhythm 2:31
Clarinet, Tenor Saxophone – Alix Combelle
Double Bass [String Bass] – Louis Vola
Guitar – Django Reinhardt, Joseph Reinhardt
Piano – Stéphane Grappelly
Written-By – Meuer, Kahn
2    Alix Combelle Acc. By The Quintette Of The Hot Club De France–    The Sheik Of Araby 2:37
Clarinet, Tenor Saxophone – Alix Combelle
Double Bass [String Bass] – Louis Vola
Guitar – Django Reinhardt, Joseph Reinhardt
Piano – Stéphane Grappelly
Written-By – Wheeler, Smith, Snyder
3    Alix Combelle Et Son Orchestre–    Exactly Like You 3:06
Double Bass [String Bass] – Wilson Myers
Drums – Jerry Mengo
Guitar – Roger Chaput
Piano – David Martin (10)
Tenor Saxophone – Alix Combelle
Trumpet – Bill Coleman
Written-By – McHugh
4    Alix Combelle Et Son Orchestre–    Alexander's Ragtime Band 2:51
Clarinet, Tenor Saxophone – Alix Combelle
Double Bass [String Bass] – Wilson Myers
Drums – Jerry Mengo
Guitar – Roger Chaput
Piano – David Martin
Trumpet – Bill Coleman
Written-By – Berlin
5    Alix Combelle Et Son Orchestre–    Hang Over Blues 3:14
Double Bass [String Bass] – Wilson Myers
Drums – Jerry Mengo
Guitar – Roger Chaput
Piano – David Martin
Tenor Saxophone – Alix Combelle
Trumpet, Vocals – Bill Coleman
Written-By – Coleman
6    Alix Combelle Et Son Orchestre–    Avalon 1:52
Double Bass [String Bass] – Wilson Myers
Drums – Jerry Mengo
Guitar – Roger Chaput
Piano – David Martin Ray
Tenor Saxophone – Alix Combelle
Written-By – Jolson, Rose
7    Alix Combelle Et Son Orchestre–    I Can't Give You Anything But Love 2:13
Clarinet, Tenor Saxophone – Alix Combelle
Double Bass [String Bass] – Wilson Myers
Drums – Jerry Mengo
Guitar – Roger Chaput
Piano – David Martin
Trumpet – Bill Coleman
Written-By – McHugh
8    Alix Combelle's Hot Four–    When You're Smiling 2:58
Cornet – Philippe Brun
Double Bass [String Bass] – Louis Vola
Guitar – Joseph Reinhardt
Tenor Saxophone – Alix Combelle
Written-By – Goodwin, Shay, Fisher
9    Alix Combelle's Hot Four–    If I Had You 2:51
Cornet – Philippe Brun
Double Bass [String Bass] – Louis Vola
Guitar – Joseph Reinhardt
Tenor Saxophone – Alix Combelle
Written-By – Shapiro
10    Alix Combelle–    Al's Idea 2:34
Drums – Pierre Fouad
Piano – Ray Stokes
Tenor Saxophone – Alix Combelle
Written-By – Combelle
11    Alix Combelle–    Don't Get Tired 2:39
Drums – Pierre Fouad
Piano – Ray Stokes
Tenor Saxophone – Alix Combelle
Written-By – Combelle
12    The Hot Club Swing Stars–    Morning Feeling 2:35
Alto Saxophone – Max Blanc
Clarinet – Danny Polo
Double Bass [String Bass] – Louis Vola
Drums – Pierre Fouad
Guitar – Roger Chaput
Piano – Louis Richardet
Tenor Saxophone – Alix Combelle, Noël Chiboust
Trumpet – Maurice Moufflard, Philippe Brun, Pierre Allier
Written-By – Combelle
13    The Hot Club Swing Stars–    Daphné 2:45
Alto Saxophone – Max Blanc
Clarinet – Danny Polo
Double Bass [String Bass] – Louis Vola
Drums – Pierre Fouad
Guitar – Roger Chaput
Piano – Louis Richardet
Tenor Saxophone – Alix Combelle, Noël Chiboust
Trumpet – Maurice Moufflard, Philippe Brun, Pierre Allier
Written-By – Reinhardt
14    The Hot Club Swing Stars–    Swinging At The Sugar Bowl 2:02
Alto Saxophone – Max Blanc
Clarinet – Danny Polo
Double Bass [String Bass] – Louis Vola
Drums – Pierre Fouad
Guitar – Roger Chaput
Piano – Louis Richardet
Tenor Saxophone – Alix Combelle, Noël Chiboust
Trumpet – Maurice Moufflard, Philippe Brun, Pierre Allier
Written-By – Crosby, Haggart, Rodin, Lamare
15    The Hot Club Swing Stars–    Every Tub 3:08
Alto Saxophone – Max Blanc
Clarinet – Danny Polo
Double Bass [String Bass] – Louis Vola
Drums – Pierre Fouad
Guitar – Roger Chaput
Piano – Louis Richardet
Tenor Saxophone – Alix Combelle, Noël Chiboust
Trumpet – Maurice Moufflard, Philippe Brun, Pierre Allier
Written-By – Clayton, Basie
16    Alix Combelle And His Swing Band–    Jumpin' At The Woodside 2:54
Double Bass [String Bass] – Marceau Sarbib
Drums – H.P. Chadel (Charles Delaunay)
Guitar – Django Reinhardt, Joseph Reinhardt
Piano – Charlie Lewis
Tenor Saxophone – Alix Combelle
Trombone – Guy Paquinet
Trumpet – Al Piguillem, Alex Renard, Philippe Brun, Pierre Allier
Written-By – Basie
17    Alix Combelle And His Swing Band–    Weekend Stomp 2:47
Double Bass [String Bass] – Marceau Sarbib
Drums – H.P. Chadel (Charles Delaunay)
Guitar – Django Reinhardt, Joseph Reinhardt
Piano – Charlie Lewis
Tenor Saxophone – Alix Combelle
Trombone – Guy Paquinet
Trumpet – Al Piguillem, Alex Renard, Philippe Brun, Pierre Allier
Written-By – Combelle
18    Alix Combelle And His Swing Band–    Nerves And Fever 3:15
Double Bass [String Bass] – Marceau Sarbib
Drums – H.P. Chadel (Charles Delaunay)
Guitar – Django Reinhardt, Joseph Reinhardt
Piano – Charlie Lewis
Tenor Saxophone – Alix Combelle
Trombone – Guy Paquinet
Trumpet – Al Piguillem, Alex Renard, Philippe Brun, Pierre Allier
Written By – Gaudin
19    Alix Combelle And His Swing Band–    Fast, Slow, Medium Tempo 3:00
Double Bass [String Bass] – Marceau Sarbib
Drums – H.P. Chadel (Charles Delaunay)
Guitar – Django Reinhardt, Joseph Reinhardt
Piano – Charlie Lewis
Tenor Saxophone – Alix Combelle
Trombone – Guy Paquinet
Trumpet – Al Piguillem, Alex Renard, Philippe Brun, Pierre Allier
Written-By – Brun
20    Alix Combelle And His Swing Band–    Panassié Stomp 3:02
Double Bass [String Bass] – Marceau Sarbib
Drums – H.P. Chadel (Charles Delaunay)
Guitar – Django Reinhardt, Joseph Reinhardt
Piano – Charlie Lewis
Tenor Saxophone – Alix Combelle
Trombone – Guy Paquinet
Trumpet – Al Piguillem, Alex Renard, Philippe Brun, Pierre Allier
Written-By – Basie
21    Alix Combelle And His Swing Band–    Rock-A-Bye Basie 2:47
Double Bass [String Bass] – Marceau Sarbib
Drums – H.P. Chadel (Charles Delaunay)
Guitar – Django Reinhardt, Joseph Reinhardt
Piano – Charlie Lewis
Tenor Saxophone – Alix Combelle
Trombone – Guy Paquinet
Trumpet – Al Piguillem, Alex Renard, Philippe Brun, Pierre Allier
Written-By – Basie, Young, Collins
22    Alix Combelle And His Swing Band–    Tel Quel (En Plein Sur Le Nez) 3:07
Alto Saxophone – Marcel Coestier, Max Blanc
Double Bass [String Bass] – Francis Lucas
Drums – Pierre Fouad
Guitar – Django Reinhardt
Piano – Raymond Wraskoff
Tenor Saxophone – Alix Combelle, Noël Chiboust
Trombone – Eugène d'Hellemmes
Trumpet – Aimé Barelli, Christian Bellest, Séverin Luino
Written-By – Combelle
23    Alix Combelle And His Swing Band–    Deux Pieds Gauches 2:48
Alto Saxophone – Marcel Coestier, Max Blanc
Double Bass [String Bass] – Francis Lucas
Drums – Pierre Fouad
Guitar – Django Reinhardt
Piano – Raymond Wraskoff
Tenor Saxophone – Alix Combelle, Noël Chiboust
Trombone – Eugène d'Hellemmes
Trumpet – Aimé Barelli, Christian Bellest, Séverin Luino
Written-By – Gordon

ALIX COMBELLE – 1940-1941 (1994) The Classics Chronological Series – 751 | FLAC (tracks+.cue), lossless

While jazz wasn't technically "against the law" in Paris during the Nazi occupation, the Gestapo could and did harass the population, straining everything through the iron sieve of Nazi ideology. Some individuals were actually arrested and sent away to the camps simply for owning and listening to jazz records. Certainly all jazz performers were at risk for creating the subversive stuff in the first place. It all depended on the temperament and preferences of individual Germans in positions of control. Some Nazis liked jazz a lot. Others, particularly in the SS, despised this "degenerative" music and would oppress those responsible for it. Musicians who were found to be playing jazz might receive a gratuity, or a beating. Some were placed under arrest. Apprehended jazz musicians might be sent to work for the Propaganda Ministry, providing swing-styled accompaniments for popular dance tunes doctored up with anti-Semitic, anti-Churchill, and -- after December 1941 -- anti-American lyrics. Some were simply sent to the camps as enemies of the Reich. Alix Combelle seems at first an unlikely candidate for membership in the French Resistance. Yet the very act of associating with Gypsies and Afro-Americans was a form of cultural resistance, as was the making of authentic jazz records. Combelle deliberately chose material originated by Pete La Roca, Johnny Mercer, Isham Jones, Bix Beiderbecke, Ray Bauduc, Jimmie Lunceford, Sy Oliver, and Count Basie. While titles were often changed to mask the original tunes, Combelle was also tailoring the jazz for French audiences. It's all good-time music with tight arrangements and flashy solos. Django Reinhardt is featured on some of the 1940 sides, and his presence should attract those who want to absorb everything the man ever played. But the real reason to obtain this disc is to be able to enjoy the stimulating sounds of Parisian big-band swing -- including a very close cover of Glenn Miller's hit "In the Mood," making an incognito appearance as "Ambiance." A brisk "Divertissement" sounds almost like something out of the Raymond Scott book. You've got to hand it to these French musicians. Right under the noses of the German authorities, they listened very carefully to American jazz, skillfully imitating it while adding some of their own sauce.  arwulf arwulf  
Tracklist :
1 Joyeuse Fumée (Holy Smoke) 2:42
Johnny Mercer
2 Tiger Rag 2:48
Harry Da Costa / Eddie Edwards / Nick LaRocca / Henry W. Ragas / Tony Sbarbaro / Larry Shields
3 Quatre Tickets 2:37
Alix Combelle
4 Cascades 2:52
Alix Combelle
5 Reflets 2:47
Alix Combelle
6 Onze Heures Vingt 3:21
Alix Combelle
7 Sur Les Bords de l'Alamo (On the Alamo) 3:15
Alix Combelle
8 L' Horloge de Grand-Pére (Grandfather's Clock) 2:54
9 Parade des Remparts du Sud (South Rampart Street Parade) 2:44
Ray Bauduc
10 Fou (Mad) 2:32
11 En Souvenir (In a Mist) 4:18
12 Midi à Jalopi (12 O'Clock in Jalopi) 2:37
Mack Gordon
13 Hier et Aujourd'hui (Sent for You Yesterday) 2:37
Count Basie
14 Ambiance (In the Mood) 3:18
Garland
15 Pour Danseurs Seulement (For Dancers Only) 2:54
16 Divertissement dans une Fonderie 2:41
Mack Gordon
17 Strictement pour les Persans (Strickly for the Persians) 2:43
18 Verlaine 3:19
Charles Trénet
19 Mr. Jinx (Mr. Mysterisoso) 2:39
20 Passe-Temps à Hollywood (Hollywood Pastime) 2:52
Credits :   
Alto Saxophone – Charles Lisée (faixas: 8 to 20), Marcel Coestier (faixas: 1 to 3), Max Blanc (faixas: 1 to 3, 8 to 20)
Alto Saxophone, Clarinet – Christian Wagner (faixas: 4 to 7)
 Bass – Tony Rovira (faixas: 4 to 20), Francis Luca (faixas: 1 to 3)
Drums – Armand Molinetti (faixas: 19, 20), Pierre Fouad (faixas: 1 to 18)
Guitar – Django Reinhardt (faixas: 1 to 7), Joseph Reinhardt (faixas: 4 to 20)
Piano – Paul Collot (faixas: 8 to 20), Raymond Wraskoff (faixas: 1 to 3)
Tenor Saxophone – Charles Hary (faixas: 19, 20), Hubert Rostaing (faixas: 4 to 20), Jean Luino (faixas: 8 to 20), Noel Chiboust (faixas: 1 to 3)
Tenor Saxophone, Clarinet – Alix Combelle
Trombone – Eugène d'Hellemmes (faixas: 1 to 3), Maurice Gladieu (faixas: 8 to 20)
Trumpet – Aimé Barelli (faixas: 1 to 3, 8 to 20), Christian Bellest (faixas: 1 to 3, 8 to 20), Pierre-Severin Luino* (faixas: 1 to 3, 8 to 20)

BENNY CARTER AND HIS ORCHESTRA - 1937-1939 {CC, 552} (1990) FLAC (tracks+.cue), lossless

The fourth CD in Classics' complete chronological reissue of Benny Carter's early recordings as a leader finds Carter (on alto, trumpet, clarinet, tenor and even one vocal) leading orchestras in London, Laren, the Hague, Paris and (for the final three selections) New York. Highpoints include "Nagasaki," "I'm in the Mood for Swing," "Blues in My Heart," "I'm Coming Virginia" (from a three-song session that also features Django Reinhardt) and "Melancholy Lullaby." In addition, the great tenor Coleman Hawkins plays a prominent role on four of the performances. Carter is in top form throughout these often formerly rare but very vital swing recordings. His fans should quickly acquire all of these invaluable Classics releases. Scott Yanow
Tracklist :
1     Gin and Jive 2:58
Benny Carter    
2     Nagasaki 2:59
Mort Dixon / Harry Warren    
3     There's a Small Hotel 3:07
Lorenz Hart / Richard Rodgers    
4     There's a Small Hotel 3:06
Lorenz Hart / Richard Rodgers    
5     I'm in the Mood for Swing 2:35
Benny Carter / Spencer Williams    
6     Rambling in C 3:15
Benny Carter    
7     Black Bottom 3:02
Lew Brown / Buddy DeSylva / Ray Henderson    
8     Rambler's Rhythm 2:33
Saskia Kwast    
9     New Street Swing 2:31
Jack Bulterman    
10     I'll Never Give In 2:42
W. Johnson    
11     Skip It 2:58
Benny Carter    
12     Lazy Afternoon 3:04
Benny Carter    
13     I Ain't Got Nobody 3:06
Roger Graham / Dave Peyton / Spencer Williams    
14     Blues in My Heart 2:35
Benny Carter / Irving Mills    
15     Somebody Loves Me 2:47
Buddy DeSylva / George Gershwin / Ballard MacDonald    
16     Mighty Like the Blues 3:04
Leonard Feather    
17     Pardon Me, Pretty Baby 2:59
Raymond Klages / Jack Meskill / Vincent Rose    
18     My Buddy 2:49
Walter Donaldson / Gus Kahn    
19     I'm Coming, Virginia 3:03
Will Marion Cook / Donald Heywood    
20     Farewell Blues 3:15
Paul Mares / Elmer Schoebel    
21     Blue Light Blues 3:06
Benny Carter / Duke Ellington    
22     Plymouth Rock 2:50     
23     Savoy Stampede 2:57
Benny Carter    
24     Melancholy Lullaby 2:58
Benny Carter
Credits :
Alto Saxophone – Benny Carter, Carl Frye (pistas: 22 to 24), Fletcher Allen (pistas: 19 to 21), Jimmy Powell (pistas: 22 to 24), Louis Stephenson (pistas: 11 to 14)
Bass – Hayes Alvis (pistas: 22 to 24), Jack Pet (pistas: 7 to 10), Len Harrison (pistas: 11 to 21), Wally Morris (pistas: 1 to 6)
Clarinet – Benny Carter (pistas: 7 to 18)
Clarinet, Alto Saxophone – Andre Van Der Ouderaa (pistas: 7 to 10), Andy McDevitt (pistas: 1 to 6), Freddy Gardner (pistas: 1 to 6), Wim Poppink (pistas: 7 to 10)
Clarinet, Alto Saxophone, Tenor Saxophone – Jimmy Williams (pistas: 11 to 18)
Clarinet, Tenor Saxophone – Bertie King (pistas: 11 to 14, 19 to 21)
Directed By – Benny Carter (pistas: 1 to 6, 11 to 18), Theo Uden Masman (pistas: 7 to 10)
Drums – Al Craig (pistas: 1 to 6), Henry Morrison (pistas: 22 to 24), Kees Kranenburg (pistas: 7 to 10), Robert Montmarché (pistas: 11 to 21)
Guitar – Albert Harris (pistas: 1 to 6), Django Reinhardt (pistas: 19 to 21), Ray Webb (pistas: 11 to 18), Ulysses Livingston (pistas: 22 to 24)
Piano – Eddie Heywood (pistas: 22 to 24), Eddie Macauley (pistas: 1 to 6), Freddy Johnson  (pistas: 11 to 18), Nich De Roy (pistas: 7 to 10), Yorke De Souza (pistas: 19 to 21)
Tenor Saxophone – Alix Combelle (pistas: 19 to 21), Benny Carter (pistas: 7 to 10), Buddy FeatherStonaugh (pistas: 1 to 6), Castor McCord (pistas: 22 to 24), Coleman Hawkins (pistas: 15 to 18), Ernie Powell (pistas: 22 to 24), George Evans (3) (pistas: 1 to 6), Sal Doof (pistas: 7 to 10)
Trombone – Bill Mulraney (pistas: 1 to 6), George Chisholm (pistas: 11 to 18), Harry Van Oven (pistas: 11 to 14), Jimmy Archey (pistas: 22 to 24), Lew Davis (pistas: 1 to 6), Marcel Thielemans (pistas: 7 to 10), Vic Dickenson (pistas: 22 to 24)
Trombone, Vibraphone – Tyree Glenn (pistas: 22 to 24)
Trumpet – Benny Carter (pistas: 1 to 18, 21), George Woodlen (pistas: 22 to 24), Cliff Woodridge (pistas: 11 to 14), George Van Helvoirt (pistas: 7 to 10), Jack Bulterman (pistas: 7 to 10), Joe Thomas (pistas: 22 to 24), Leslie Thompson (pistas: 1 to 6), Lincoln Mills (pistas: 22 to 24), Rolf Goldstein (pistas: 11 to 14), Sam Dasberg (pistas: 11 to 14), Tommy McQuater (pistas: 1 to 6)

COLEMAN HAWKINS | BENNY CARTER – Coleman Hawkins & Benny Carter (1985) APE (image+.cue), lossless

This attractive LP (which contains quite a few photos in its gateway liners) is drawn from four separate recording sessions. Hawkins is heard as the main soloist with Michel Warlop's orchestra in 1935, and he teams up with Benny Carter, two of Europe's best saxophonists (Alix Combelle on tenor and altoist Andre Ekyan), and Django Reinhardt for the famous "Crazy Rhythm" all-star session of 1937. In addition, Benny Carter is heard in Europe in 1938 and with his Chocolate Dandies (featuring trumpeter Buck Clayton and Ben Webster on tenor) in 1946. Superb music, all of which has since been reissued. Scott Yanow
Tracklist :
1    Coleman Hawkins–    Blue Moon    3:12
2    Coleman Hawkins–    Avalon    3:02
3    Coleman Hawkins–    What A Difference A Day Made    3:15
4    Coleman Hawkins–    Stardust    3:11
5    Coleman Hawkins–    Honeysuckle Rose    2:42
6    Coleman Hawkins–    Crazy Rhythm    2:58
7    Coleman Hawkins–    Out Of Nowhere    3:14
8    Coleman Hawkins–    Sweet Georgia Brown    2:56
9    Benny Carter–    I'm Coming, Virginia    3:00
10    Benny Carter–    Farewell Blues    3:12
11    Benny Carter–    Blue Light Blues    3:03
12    Benny Carter–    Sweet Georgia Brown    2:35
13    Benny Carter–    Out Of My Way    3:00
14    Benny Carter–    What'll It Be    3:14
15    Benny Carter–    Cadillac Slim    3:02

COLEMAN HAWKINS – 1934-1937 | The Classics Chronological Series – 602 (1991) FLAC (tracks+.cue), lossless

Coleman Hawkins was already well on his way to becoming the first master of the tenor saxophone when these sides were recorded. With his ten-year incubation with the heralded Fletcher Henderson band in the past (not to mention fine stints with McKinney's Cotton Pickers and various session outfits), Hawkins moved to Europe in 1934 and proceeded to hone his tough yet romantic sound with a variety of overseas groups. This Classics disc covers the first half of his eventual five-year sojourn. In addition to the four sides with pianist Stanley Black that kick things off, the 22 cuts find Hawkins in the adequate, yet somewhat stiff, company of continental contingents from The Hague, Paris, and various other locales. Hawkins is impressive throughout, though, in spite of the less than swinging environs; thankfully, the ensemble playing heats up quite nicely on the cuts with Django Reinhardt. A few reservations having been aired, this disc's good overall sound and sufficient enough supply of quality solos and cuts make it a title Hawkins fans should seek out. Stephen Cook
Tracklist :
1     Lullaby 2:55
Stanley Black    
2     Oh, Lady Be Good 2:43
George Gershwin / Ira Gershwin    
3     Lost in a Fog 3:03
Dorothy Fields / Jimmy McHugh    
4     Honeysuckle Rose 3:04
Andy Razaf / Fats Waller    
5     Some of These Days 2:31
Shelton Brooks    
6     After You've Gone 2:36
Henry Creamer / Turner Layton    
7     I Only Have Eyes for You 2:42
Al Dubin / Harry Warren    
8     I Wish I Were Twins 2:31
Eddie DeLange / Frank Loesser / Joseph Meyer    
9     Hands Across the Table 3:04
Jean Delettre / Mitchell Parish    
10     Blue Moon 3:12
Lorenz Hart / Richard Rodgers    
11     Avalon 3:01
Buddy DeSylva / Al Jolson / Vincent Rose
12     What a Diff'rence a Day Made 3:15
Stanley Adams / María Mendez Grever
13     Stardust 3:11
Hoagy Carmichael / Mitchell Parish    
14     Chicago 3:00
Fred Fisher    
15     Meditation 3:00
Jack Bulterman    
16     What Harlem Is to Me 2:44
Paul Denniker / Andy Razaf / Sam Wooding    
17     Netcha's Dream 2:34
Coleman Hawkins    
18     Love Cries 3:05
Coleman Hawkins
19     Sorrow 3:05
Shelton Brooks    
20     Tiger Rag 2:18
Harry Da Costa / Eddie Edwards / Nick LaRocca / Henry W. Ragas / Tony Sbarbaro / Larry Shields
21     It May Not Be True 3:07
Coleman Hawkins    
22     I'm in the Mood for Love 3:09
Dorothy Fields / Jimmy McHugh

COLEMAN HAWKINS – 1937-1939 | The Classics Chronological Series – 613 (1991) FLAC (tracks+.cue), lossless

This edition of Classics' chronological account of Coleman Hawkins' 1937-1939 recordings takes in the tenor giant's last few years of a half-decade stay in Europe. By this time, Hawkins was well on his way to possessing the incredible command and ingenuity eventually essayed on his epochal 1939 recording of "Body and Soul." And while he saved his best for that landmark performance and other cuts that marked his return to the States, Hawkins certainly didn't just make due on the Continent. In addition to more tracks with Danish jazzers the Ramblers (their initial work with Hawkins is heard on the earlier 1934-1937 disc), the collection features the four legendary sides Hawkins made with the All-Star Jam Band, which included Django Reinhardt, Benny Carter (the other main jazz ex-pat of the time), and Stephane Grappelli, among other French players; if there are finer combo performances from this period than "Honeysuckle Rose" and "Sweet Georgia Brown," they number only a few. Hawkins further plies his ever-developing horn skills on several fine duo cuts with pianist Freddy Johnson, including the Hawk-penned "Lamentation" and a version of "Stardust." For listeners interested in acquiring just a single disc covering the saxophonist's European recordings, this generous volume is the one to get. Stephen Cook  
Tracklist :
1     I Wanna Go Back to Harlem 2:57
Jack Bulterman
2     Consolation 2'59
Jack Bulterman
3     A Strange Fact 2:34
Coleman Hawkins    
4     Original Dixieland One-Step 1:54
Nick LaRocca    
5     Smiles 2:55
J. Will Callahan / Lee Roberts    
6     Something Is Gonna Give Me Away 2:58
Coleman Hawkins     
7     Honeysuckle Rose 2:42
Andy Razaf / Fats Waller    
8     Crazy Rhythm 2:58
Irving Caesar / Roger Wolfe Kahn / Joseph Meyer    Amazon     
9     Out of Nowhere 3:14
Johnny Green / Edward Heyman        
10     Sweet Georgia Brown 2:56
Ben Bernie / Kenneth Casey / Maceo Pinkard    
11     Lamentation 2:58
Jack Bulterman    
12     Devotion 2:43
Coleman Hawkins    
13     Stardust 2:26     
Hoagy Carmichael / Mitchell Parish    
14     Well, All Right Then 2:25
Coleman Hawkins / Freddie Johnson    
15     Blues Evermore 2:42
Coleman Hawkins    
16     Dear Old Southland 2:40
Henry Creamer / Turner Layton    
17     Way Down Yonder in New Orleans 2:50
Henry Creamer / Turner Layton
18     I Know That You Know 2:45
Anne Caldwell / Vincent Youmans    
19     When Buddha Smiles 2:41
Nacio Herb Brown / Arthur Freed / King Zany    
20     Swinging in the Groove 3:00
Coleman Hawkins    
21     The Darktown Strutters' Ball 2:36
Shelton Brooks    
22     My Melancholy Baby 2:47
Ernie Burnett / George Norton

DJANGO REINHARDT - Django Et Compagnie (2000) Jazz In Paris 11 / RM / FLAC (tracks+.cue), lossless

Django Reinhardt is exclusively a sideman in this compilation of recordings made with various French bands and singers during the 1930s. The instrumental tracks are okay, especially those with violinist Michel Warlop's orchestra, even if Warlop is no match for Stéphane Grappelli. The final two instrumental tracks by Wal-Berg & Son are a mystery, as Django is not among the credited musicians. The vocal tracks are another matter. Nina Rette's vocals, dominated by her bird-like vibrato, mar her work with Reinhardt and Grappelli. Reinhardt isn't even listed in the session by singer Andre Pasdoc (if he isn't present, why is it included?); no matter, as this pair of songs deserve to remain obscure. No better are the tracks by long forgotten singers Yvonne Louis or Micheline Day. Frankly, any fan of the genius of Django Reinhardt is advised to look for works recorded under his own name or by the Quintet of the Hot Club of France, as these mostly mediocre French pop songs are difficult to sit through just to enjoy an occasional brief run or solo by the masterful guitarist. by Ken Dryden
Tracklist :
1    Michel Warlop & Son Orchestre–    Cloud Castles    3:13
2    Michel Warlop & Son Orchestre–    Magic Strings    3:27
3    Michel Warlop & Son Orchestre–    Sweet Serenade    3:11
4    Michel Warlop & Son Orchestre–    Crazy Strings    3:24
5    Michel Warlop & Son Orchestre–    Novel Pets    3:30
6    Michel Warlop & Son Orchestre–    Budding Dancers    2:40
7    Nitta Rette Et Son Trio Hot–    Points Roses    2:50
Wal Berg
8    Nitta Rette Et Son Trio Hot–    Un Instant D'Infini    3:29
Wal Berg
9    Nitta Rette Et Son Trio Hot–    Mon Cœur Reste Près De Toi    3:10
Henri Lemarchand / Emil Stern
10    André Pasdoc–    Pourquoi, Pourquoi?... 2:57
Michel Emer
Accompanied By – L'Orchestre Vola
11    André Pasdoc–    Vivre Pour Toi 3:16
Accompanied By – L'Orchestre Vola
12    Yvonne Louis–    Mirages (Chasing Shadows) 2:57
Benny Davis / Abner Silver
Accompanied By – L'Orchestre Vola
13    Yvonne Louis–    Au Grand Large 3:13
Bob Frankie
Violin – Sylvio Schmidt
14    Micheline Day Et Son Quatuor Swing–    Y A Du Soleil Dans La Boutique    3:00
Darc Mireille / Jean Franc Nohain
15    Micheline Day Et Son Quatuor Swing–    Chéri, Est-ce Que Tu M'aimes?    3:29
16    Wal-Berg Et Son Jazz Français–    Horizons Nouveaux    3:15
Wal Berg
17    Wal-Berg Et Son Jazz Français–    Love Again    2:55
Wal Berg
Credits :
Accordion – Louis Vola (faixas: 10, 11, 13)
Alto Saxophone, Flute, Clarinet – Maurice Cizeron (faixas: 1 to 6)
Double Bass – Louis Vola (faixas: 1 to 6, 14, 15), Roger Allier (faixas: 16, 17)
Drums – Maurice Chaillou (faixas: 16, 17)
Guitar – Django Reinhardt (faixas: 1 to 9, 12 to 15), Henri Schaap (faixas: 14, 15), Joseph Reinhardt (faixas: 1 to 6, 10 to 12), Roger Chaput (faixas: 16, 17)
Piano – Emil Stern (faixas: 1 to 9, 14, 15), Michel Emer (faixas: 13 to 15)
Saxophone – Alix Combelle (faixas: 16, 17), André Ekyan (faixas: 16, 17), André Lamory (faixas: 16, 17)
Tenor Saxophone – Alix Combelle (faixas: 1 to 6)
Trombone – Eugène D'Hellemes (faixas: 16, 17)
Trumpet – Alex Renard (faixas: 1 to 6, 16, 17), Pierre Allier (faixas: 16, 17)
Violin – Michel Warlop (faixas: 1 to 6, 10 to 12), Stéphane Grappelli (faixas: 7 to 11, 13 to 15)
Vocals – André Pasdoc (faixas: 10, 11), Micheline Day (faixas: 14, 15), Nitta Rette (faixas: 7 to 9), Yvonne Louis (faixas: 12, 13)
Nota :
Credits for tracks 14 & 15 are either Stern or Emer on piano and either Reinhardt or Schaap on guitar.
Sylvio Schmidt probably plays violin on track 13.
Recorded in Paris on April 17, 1936 (1-6), September 2 or 6, 1935 (7-9), October 13, 1935 (10-12), March 12, 1936 (13), October 26, 1937 (14-15), March 12, 1935 (16-17)
Reissue of the Polydor LP 2489 188