1 F Bb Eb Ab Cc F 2 eee EA ce ome 3 G c F 3b b G Ly 4 Ab CH FH OB Eb Ab 5 A D $ ¢ £ A 6 Bb Eb ah C# F Bb 7 B c A D F# B 8 c F Bb Eb G c 9 CH FH B E Ab CH 7 ob 6G cr AOD “cb ab Ge Yeh eb 2 tee ¢ $4 13, F Bb t ab c F 14 FH B é A ce F# 1% G C F BOD G 16 Ab C# FH B & Ab a7 Saceccac ars 1 18 Bb Eb Ab C# F Bb 19 B E A D Fe B 2 C F Bb & G Cc The fretboard diagram above is to assist in identifying chords to fret positions. ARTWORK ON FRONT COVER. Brett LewisTHE GYPSY JAZZ CHORD BOOK Compiled by COLIN COSIMINI Layout and Presentation by Brett Lewis Footnotes by Colin Cosimini & Brett Lewis Photographs by Victoria Cosimini with contributions by others Special ‘Thank You’ to Tom James & Brett Lewis, whom, without their help, this project would not have been possible. A SILVERBACK MUSIC PRODUCTION © 2003WELCOME TO VOLUME 2 of The Gypsy Jazz Chord Book This series of books is based on the music of Django Reinhardt and the ever expanding style of Gypsy Jazz. All the tunes in this series of books have either been recorded by Django Reinhardt or his extended family and Gypsy Guitarists. To use this book, the user is expected to have some knowledge of chord work. The chords are the foundation to any kind of music but can still be improvised just like soloing with the use of substitutions and passing chords, adding harmonic twists and turns to an otherwise standard format. Even the subtle change from a minor 7th to a minor 9th and the dominant 7th to a 9th can change the mood of a song. The extensive use of these chords in this book is just a choice of voicing. It is also important to add dynamic changes to rhythm. By playing added accents and off-beats, this can add more direction and depth as well as keeping it interesting to the listener. Django’s accompaniment in this style was phenomenal and played with complete command that is still unrivalled to this day. ItAt the heading of every tune there is a reference to its format of play. For example AABA or ABCA etc. This indicates the pattern in which the tune is to be played and then repeated in its entirety for the length of the tune, unless arranged otherwise. The key in which the tune is played. The type of rhythm, 4/4 or 3/4 or otherwise. This indicates the type of rhythm only, not a timing signature to be counted in. Each chord has a suggested fret position which is placed in the corner of each chord box. For example if you have a C6/9 accompanied with a ‘3’, then the ‘C’ note on the ‘A’ string defines its position and if you have a C6/9 with an ‘8’ then the ‘C’ note on the ’E’ string will define its position etc. A‘0’ (zero) represents an ‘open’ chord. The same process applies to each and every chord. The use of split chords in this book is as follows: ae The diagram above shows an inversion of a Major chord. Because the Bass note is lower than the root it will be listed as a split chord, in this case a ‘G/B’, so location of the fret position can be easily identified. Likewise, if we had an ‘F/A’ it would be the same shape as the diagram above except it would be in the fifth position The chord changes in this book do not necessarily match the original recordings as they have been collected from many sources including some ideas of my own. The examples in this book are just one of many ways the chords can be interpreted. Colin Cosimini 2003e . e ° e Le. R R R. e e e e|leee ° . eele ° elle . MINOR SIXTHS (-6 ) 1 Ll SIXTHS (6 . ITs ° e ° ee ° . e e ° ele ° ele SIXNINTHS (6/9) | [MAJOR SIXTH (Ms) | DIMINISHED (°) ; (| HALFOIM(Z) , HT UL : elele e e e ele . ° e ee La. ele ele e SEVENTHS (7) “Ay Ls IvMoveable Chord Shapes used in this book, any other miscellaneous chords will de documented on the chord charts. | A ° ele ° ° Le. Le k ° ele coe [eloe| ele . L THO Lt 7b9 i 7HOHS | Ll 7Tb9#S J Ll 7b5 } l 7b5 ! é ! ° [I [e [le ° eles ele oo effe [elle I ° ° [elee [__-705 275 L_NINTHS (9) 1 ~My ,; 9 4 25 Ste There are many different inversions of the same 3 chord. Some chords can have more than one name, oTee so it is important to have an easily understandable and economical system. ° ° ° ° eresini ce sotte Typical Major chord run in the key of G a relle C6 & Bb° % ° ° ° ° elle selle se eran mlrat Typical Minor chord run in + the key of G ce x GmiBb AYM = Major m = Minor A a Major 7,9 i.e. GA7, GAY. -A = Minor Major a = Minor 6, 7, 9, 11,0r 13 i.e. G-7 6/9 = Sixth-Ninth 6 BS Sixth M6 = Major Sixth Mg = Major Ninth or AQ 7 = Dominant Seventh 9 = Dominant Ninth an = Eleventh 13, = Thirteenth 0 = Diminished Bw = Half Diminished 745 = Augmented Seventh 7b5 = Dominant Seventh with Flattened Fifth 7b9 = Seventh with Flattened Ninth THS = Dominant Seventh with Sharpened Fifth THO = Seventh with Sharpened Ninth THOHS = Seventh with Sharpened Ninth and Sharpened Fifth 7b9#5 = Seventh with Flattened Ninth and Sharpened Fifth % = Repeat previous bar Split Chords There are also a number of split chords used in this book which are displayed as the written chord and then the bass, i.e F7/c, this would be F7 with a C on the Bass All these chords will be displayed on the chord sheets that have them. The Chord Boxes The direction of play for the broken chord boxes is as follows: 2 Beats 1 Beat 2 Beats 1 Beat 2 2 1 g 1 B 8 z Cm a4 3ja a/'X4/8 2} 3 wi a\ lr 4 Beats 2 Beats 2 Beats 1 Beat 1 Beat Only play 1st Beat in the Bar Only play last Beat in the BarCONTENTS 1. ALL THE THINGS YOU ARE 29, MILKO 2. BEGIN THE BEGUINE 30. Mire Prat (My BROTHER) 3. BLUE DRAG 31. NUAGES q 4. Bopy AND SOUL 32. ON GREEN DOLPHIN STREET 5. BRAZIL 33. OLD MAN RIVER 6. BRICKTOP 34. PAPRIKA 7. BONJOUR GyPsY 35. PLACE DE BROUCKERE 8, CARAVAN 36. PLEASE BE KIND 9. CHEGA DE SAUDADE 37. SONGE D’ AUTOMNE 10. CHINA Boy 38. SONIA 11. DINAH 39. STELLA By STARLIGHT 12. DJANGO's CASTLE 40. SWEET CHORUS 13. Douce AMBIENCE 41. SwinG GurTaRS 14. DREAM OF You 42. THE MAN I Love 15. EsPRIT 43, THREE LITTLE WorDS 16, EXACTLY LIKE YOU 44. Tico Tico 17. Gypsy DREAMS 45. TIME ON My Hanps 18. HANCHI SWING 46. VALSE A ROSENTHAL 19. I CAN'T Give You ANYTHING BuT Love 47. VALSE BAMBOULA 20. I SURRENDER DEAR 48. VALSE VENEZUELIENNE 21. 1 WONDER WHERE My BaBy 49. Vous Qui Passez SANS ME VorR Is TONIGHT 50. WHEN Day Is DoNE 22. I’M IN THE Moon For Love 51. BUSINESS DIRECTORY 23. JERSEY BOUNCE 52. BUSINESS DIRECTORY 24. LA FOULE 53, BUSINESS DIRECTORY 25. LA PROMENADE 54. BUSINESS DIRECTORY 26. Lapy Be Goop 55. BAND DIRECTORY 27. LOUISE 56. MUSICIAN’S DIRECTORY 28. LYOLA ViiKey of Gm 4/4 36 Bars 1 7 7 7 zl 3 G-7 C-7 F9 BbA | EbA AT DA % 5 7 3 7 7 3 D-7 G-7 co F6/9 | Bb7 % AA % | 7] 7] 3] 7 7 7 z B-7 E9 AA % Ab-7 | C#9 | F#6/9 | F#7+ 73 7 7 7 4 7 7 73 G-7 | C-7 F9 BbA | EbA | Ab7 | D-7 G7 Fi 7 Eb9 C-7 F9 | Bb6/9 D9 A nice rendition of this song has been recorded by Stochelo Rosenberg on his CD “Seresta’ (HCR) BEGIN THE BEGUINE The chord sequence to Begin the Beguine shown on the opposite page closely follows the Fapy Lafertin version from his CD Fleur De Lavende (HCR). It also includes the ‘C’ section which is not always played but can be heard on Django’s recordings. Photo by Victoria Cosimini © 2003 G Bo Am x a a , s}} ele! s|lelle ele ele ee 1 Beat 1 Beat 2 Beats The chords above are used in Bar 8 of the ‘A’ section.KeyofC 4/4 BEGIN THE BEGUINE aasccpp + TAG _ 7 7 Ta IOS 4 : c69 | % | % | CHTHD] Coo fe | D7 IO, A 7 z 5 4 5 5 BS % D-9 % G7 C#9 | C6/9 | G7+ ay C619 re —_— or : C-6 | F7b9 | BbA7|BbM6| Bb-7 | Eb7b9| AbA7 | AbDM6 D7b9 | % G6/9 | Ab7 | G6/9 | Fm G7 | G7+ Es C6/9 | C#HT#9| C6/9 | C#7#9| C6/9 D-9 G7 AT Cc 7] 3 5 3 3 q Fm % % AT D-7 G7 | C6/9 | C#7#9 Repeat 1st 10 Bars, c of C’ Section E® | A7 | D-7 | G7 | C6/9 | C#HT#9 ——] — 7 3 3 7 ar 3 3 Ea C6/9 | CAT | C6/9 | C#7#9| C6/9 Dm G7 Eb? D 3] 9 3] 3 3 3 7 F6/9 % Em AT Dm G7 | C6/9 | C#7#9 D Repeat Ist 14 _ Bars pg | G7 = or rr oT 7 3 TaG| D-9 G7 E° Fe FH G° Ab° | C6/9 (Ascend)41h Fv D F 7 Tr F Dm Dm Dm Be7b5 Bb7 BS Dm| “5 Dm Dm AQ fe Bb7 e Bb7 AT AT+5 Bw7 7 Repeat Ist 6 Bars - BS AT 7 7 fF a ce Dm Bb7 c#H % BS % c# Dm Ee Cc AT k Repeat Ast ‘Nn Section | Dn Da Dm = a Bb7 ° e be e Sele Teles ‘ ve] fe ° t f Bars 1 é& 2 play 2 Beat Ce The Dm/B chord in the grids above can also be named B-7b5. in this context it has become Dm/B because of the descending bass line over the Dm chord. = = = = Photo by Victoria Cosimini © 2003 3Key of CH 4/4 BODY AND SOUL 40 Bars AABA r 7 F z a7 F EDS ws Al cay] rr A por A) cHM9 A on a7 | Eb-7 hore Bb7 | And Eb-7 ae = |Z Bois o aT > 4 A Repeat ist 6 Bars Bb-7 coms //'s ia _ on 7&7 > 37 3 i 5 E7 Ga E7 D6/9 DM9 % AT © AT 77 7 aye 7 Tor i GC cr Bb7 G7 Cc6/9 D-7 G9 Ebe B Bb7+ A Repeat | Ist ‘| Section s aos % z sel |e : BODY AND SOUL This ballad is usually played in a 32 Bar format. The above arrangement is taken from Angelo Debarre's rendition where he doubles up the tempo on the middle eight therefore extending it to a middle sixteen making it a 40 bar tune. Angelo is one of the top players on the world stage of Gypsy guitar playing and regularly tours the UK with Dave Kelbies’, Le Jazz. lo Debarre.Key of G BRAZIL 58 Bars SAMBA Ga AT % % % % % % G6 D7 é ; 5 5 AT > % % % GA % A-7 % TP 7 7 7 7 F#7 G7 "7 E Fb5 E % E Fb5 7 : 7 3 a 5] E % E Fb5 E % Am % Bar 31 Bar 32 5 a 7 % % A-7 % C-7 % & % Bar 33 Bar 34 7 3 3 a Bb° % A-7 % D7 % % 3 = 3 3 3 3 A-7 D9 % A-7 D9 GA % 3 3 A-7 D9 E Fb5 a . xx 0 oo x 1 x ox x * sox x zlee ° ° TTT] ° seljees| sel foe| sel leslse| les Bar 31 Bar 32 Bar 33, Bar 34 Try these chords over A Minor As well as the standard recording in 1949, Django also recorded this tune in the 1950's in a swing context, but is traditionally played as a Samba. a)KeyofG 4/4. BRICKTOP 32Bars AABB INTRO Pr 7 7 r F A A A G “ey Gq 1% Gc 1% 1s G6/9 Cc B ce B Cc Bb? D7 : A 7 A 7 A l GY r Ae Gs, Gc “ey Ce “ee B G6/9 Cc B Cc B ce Bb? Ab7 1 : ! E A " Ab7 Repeat | Ist 6 [Bars of ‘A’| Section Bb? AT Bb? & A Go/9 G69 ae ae ae Bb? D7 . Ae Repeat Ist 6 [Bars of ‘B’| Section P G69 » “EEL "Ete HH BRICKTOP Use this shape for Coy BAS oo The tune above can be played entirely in the triad form and works to great effect. The picture opposite shows Titi Baumberger who is a great master of this style. Photo by Victoria CosiminiAm % % E7 | I Repeat Ist 6 Bars Am % z a 7 7 7; 7 7, 7] Eb9 | Ab6/9 F#6/9 | B7 E B7 E7 | Repeat | 1st Section RRET ce sa guitare“ ”"* its de DJANGO REINHARDT |. CHEZ JACQUET, nie 3. GAGOUG, nletiene 1 MONTAGNE Ste-GENEVIEVE, rie {. CHOTI, recipe BONJOUR GYPSY Bonjour Gypsy was written by Gypsy compositions. This is recorded not available on any current CD's as it was originally released on vinyl. Copies of these records are no longer easy to come by. 7 The picture on the left is of a very rare EP cover of Django’s Valse and Valse Tsigane by Matelot Ferret who accompanied Django throughout most of his career along with Django’s Brother, Joseph Reinhard! It uuitarist, Raphael Fays. Unfortunately this tune isKey ofFm 4/4 CARAVAN 64Bars AABA 5 7 3 7 | C7 % % C#7 C7 % % C#7 a 3 = ir = F-6 Fm F-6 Fm C7 % % % Ab “Ay ce ce ce ce ; 3 3 F F i fF cr c7 7 c7 c7 c7 c7 c7 1 €1 1 EL cL [ ce “po cH “B ce Be cre Bb) ak 1 ( y ‘ 1 + 1 ‘ cr C7 c7 Ab6 F6 Ab6 Ab6 Be CL | ce “B| Bb° ce ce ce Bb? © p d < 3 3 3 p 4 Fl 5 [ F9 % % % Bb13 % % % B 6 6 ig = p69, /| D7 Eb9 % % % Ab6/9 % Eb7 cH A Repeat Ist Section cr cr : : The last four bars of the ‘A’ eames eity section can be played with i just the F Minor chord, ‘An alternative chord SG o sequence is offered in the % 2nd ‘A’ section. The chords xxx 3» __% opposite show the first two as bars. eels ° The key to this tune may t TT] vary. °°Key of Dm INTRO LATIN z a @ 5 z = D-9 % FM9 % BbA7| A7 D-9 AT+ 3 T 7 3 = 3 D-9 % F6 % Gm_ |A7#5#9| D-9 | AT+ 10 7 3 3 7 6 3 3 D-9 B° A-9 A-7 Bb | BbA7 |A7#5b9}_ A7+ 2 3 4 3 z 0 BY % D° % BbA |A7#5b9| D-9 |D7#5b9 10 3 T 7 3 z 5 G-9 |A7#5b9| F6 % De AT+ Bg AT+ 5 7 7 5 iF 5 DM9 |B7#5b9| E-9 | % |Adsus4| A(b9) |” DA r 5 7 7] 7 oa DA7| B-7 | E9 | % E9 % | Bb7 ‘a3 . : . rr B-7 f AT DA7 | % | G7b9| % Go | Fa7+ ; B07 | Zo 7 7 3 7 7 3 5 7 GA7 | G-7 | DM9 B7 E9 Eb9 | DM9 B7 E7 Eb7 | DM9 | A7+ E9 Eb9 | DM9 B7 7 of F C69 Eb9 DOo/9 cH69, ATASb Assust Ab) G79 Outro. Pick up from Bar 60 on the second. x * x x A time round. te ‘This arrangement is based on The Rosenberg ‘Trio version which can be found on HCR CD . ¢ [© ‘Seresta”Key of F 4/4 CHINA BOY 32Bars AB F6/9 % F6/9 % Fo/9 % D9 % 70 3 7 5 G7 % % % F#7 C7 Fo/9 | Eb9 Ab6/9 Ab6I9| Eb9 | Ap6/9| % | Ab6I9] Eb9 | 7 | co G7 F6/9 EF Fo9 | % pe % | % Ab? C7 c7 — »—_ -—>— Alternative “B’ Section Ab6 & EL Bu "DD Ab6 ke my AD6/9 c7 be c Eb7 Be Eb7 c Eb7 cH G } sy / 1| «| LY Ey sy F6 ue Be G7 F6 G7 e Be p Ab? c7 Fe c7 4| 1 fo 4 | 2 The above ‘B’ Section using 2 chords to each bar is typical of Django’s sty The F#7 in the ‘A’ Section is sometimes substituted for a Bbm q 2 T 7 ° ° selle celle Bot a pe cd r T ° ° celle oe[[e t | Photo by Victoria Cosimini: 1 P coe D7 *\ G60 A) a6 G6/9 co G6/9 cH D7 Bb° D7 7 , Por AL Dy F caw G6/9 co G6/9 Boe | TA G6/9 S D7 © om 7 , 7 7 3 a7 i 5 5 Em E7 CHO Cc CHE c AT D7 E-A E-6 A z ; Repeat | ist 6 | Barsof | <4’ section 9% f a Ba e7 Bs x 2 . oye * * : * : fe cette | ‘The last two bars in the Ist ‘A’ sec- tion can be played with just the G6/9 chord. Dinah was the first tune recorded by the QHCF. Opposite is a picture of a ‘78’ of this very recording, DINAHDJANGO’S CASTLE KeyofD 4/4 MANOIR DE ME REVES 32Bars ABAC Ballad - SF SP a> 3] q] D6/9 D6/9 D6/9 Al D6/9 AB) D6/9 ‘A13) D6/9 al3| A-7 | Ab7#9 Bb Bb Bb To 7 7 7] s 6 G69 AT 5! Geo D6/9 E9 % Bb7 (A13 AOS Bi Repeat Ist “ Section Ww 7 i F9 ES poo Aa) D6/9 °) Go/9 % E9 % 7 E93 A13 Bb7 A Bb ‘ s|/ co > ‘ AbTH9 Asis x sO 4 ae sele On starting, an A13/Bb chord is used to bring ¢ ¢ @ | in the tune prior to the main format of chords celle ° 4 shown above. The plaque above can still be seen marking the house where Django lived at Samois Sur Seine. Photo by Brett Lewis © 2003 i2DOUCE AMBIENCE 32Bars KABA 7 i Fl 7 7 A = Gm G6 “m A ic ie coo C69 Repeat Ast 6 Bars —— G7 c7 7 T 3 7 3 7° 6/9 Fo/9 | Fm | C6/9 C7 F6/9 Fm C#T#S Eb9 Repeat | ist 6 | Barsof | 4’ section Csi Ce Gr Gi+ x x EXACTLY LIKE YOU This bouncy swing tune was a standard from the 1930's. Fapy Lafertin is a master of recreating the sound from this era and his solos are very reminiscent of Django’s. Photo above of Fapy Lafertin Kindly contributed by Phil Lavine @32Bars Siow BbA % |BbM6| % 7 zy 7 v 7; 7 3 % |F#-7b5| F7 Em E-6 a 7 3 7 3 7 GA E-7 A-7 | Ab7b5 EbA % All | Ab7b5 Try these shapes for intro UI _-_ ess 17 This beautiful composition was written by Elios Ferré, Elios normally plays as a duo with his brother Boulou but is also a reknowned flamenco guitarist in his own right.KeyofC 4/4 HANCHI SWING 64Bars AABA 7 7 7 7 C69 % BO % Co/9 % E7 % is 8 BP 3| 3] 4] C69 F-9 A-7 % C#7 % L E7 [ Repeat | ist 12 | Bars of iS 5] 4] 3] —— 1 OD? S| cH | C09 % - 7 iF e 5] 4 Am C6/9 B| E7 % | D7 % C#T % Be E7 [| Repeat Ist 8 Bars of |‘A’ Section A 3 ay 3] 3] 4 3] 4] C6/9 F6/9 F-9 a A-7 C#9 | C6/9 | C#7#9 u 1] This Gypsy tune was written by the Gypsy Kids. Itis often featured in Moreno’s repertoire which he plays with great speed and immense power. He is an incredibly versatile player and includes Spanish, Eastern European and traditional Gypsy tunes. Moreno is pictured opposite with his wife Marina who is a great singer of Eastern European music and often sings with Boulou and Elios Ferré.NG BUT LOVE 32 Bars Key of 4i4 wer ie : Toes /7 pe 7 B A-6 D7 A-6 D9 A-6 be A-6 : E7 7 a 7 a 5 3 7 Go Cold 6 G9 C6/9 bor) AT % D7 D9 cH 7 Br) 7 7 $ aD 7 19 ‘cas _/| G69 D-6 D6 A-6 D7 C6/9 % A-6 pe G7 7 Yoo /T er /P ar AP ae /Po00 /P a6 C6/9 C-6 FT Bb7 Eb7 D7 Bb° D7 ! cl A 4 c : oo be TT] welele slTe]]e ° : ¢ % sn : ° This popular jazz standard has always been well aired by Gypsy Guitarists and no doubt will continue to do so. The chord sequence above offers an alternative to the standard format. Photo by Victoria Cosimini © 2003 19Key ofDm 4/4 ISURRENDER DEAR 32Bars AABA Tes Dm P Am lc. Tbs * co9 Dm G D7 AT E7 A6 | Eb7 Git Aq 7 I Repeat Ist 7 Bars | of ‘A’ | Section 4] coo 77 5 7] 5 77 5 sf a 4% E7 Am E7 Am E7 Am D7 ar Es > | Repeat | 1st ‘| Section j fo Photo taken at Samois 2003 by Victoria Cosimini © 2003 c o 7 ISURRENDER DEAR rT ¢? This tune is often played firstly in ballad form and then tee ° picked up to double time taking it into a swing and then wf returning to ballad to finish.Key ofDm 4/4 MY BABY 32 Bars 5 z 3 7 5 7 ¥ 3] G | B7 | c7 | £7 | Am Am | F ar 5 5 5 % we 5 AT % D7 % Boe | A Boe | Repeat | 1st 8 Bars I WONDER WHERE MY BABY IS TONIGHT Apart from Django recording this tune more than once, present Gypsy Guitarist, Fapy Lafertin has recorded a version of this on his CD Swing Guitars with Le Jazz. Details of this CD can be found in volume one of the’Gypsy Jazz Chord Book. a es Fa ‘A proud Gypsy father with his children. Photo by Brett Lewis © 2003MIN THE MOOD KeyofD 4/4 FOR LOVE 32Bars AABA F 3p 77 D6/9 E-7 FHT E7 D6/9 % | D6 E-7 Ais BT AT Fr BD AT+ 1 ; 3 q 5 Repeat Ist Bars ea Ks} peo rma a Section I’M IN THE MOOD FOR LOVE The above chord sequence is in the key of ‘D’, but it can also be played in'C’ The picture opposite features Gypsy Guitarist, Mano. He is one of the regular Gypsy players seen jamming at Samois each year,KeyofC 4/4 32Bars AABA 7 5 z oF F C69 D-9 A} C6/9 % D9 % D-9 Eb9 c#9 f 3 alt Repeat Ist Bars ' ae G7 By} C13 % Bb13 % Abi13 % Al C6/9 % D9 % D-9 C#H9 | C6/9 | C#7#9 bth ces or JERSEY BOUNCE a T 7 T T 4 r + T 7 ele : selelfe ¢ aleve $4 | Django recorded this track on the Rome recordings of 1950. By this stage of his career ‘ ° he was mainly playing amplified guitar by means of a Stimer pick-up. The Stimer pick-up pictured opposite is from 1948 and was once owned and used by the great Baro Ferret. This original pick-up when used, really emulates the growling sound that Django achieved in his recording in the late ‘40's and ‘50’. Photo by Victoria Cosimini © 2003.KeyofEm 3/4 LA FOULE AABBC INTRO 3 B 7 7 3 a 7 7 A-6 c E-9 CH ic Eb° | C#6 E-9 A-6 ce E-9 | CH (eo Eb° | c#8 stor C#8 | Ab° A-7 % D7 % G69 % 3 5 7 7 7 B7 c CHE % E° % Eb° % 7 sf ‘sie Repeat Ist 12 Bars C ‘ of ‘A’ section Ee | Eb? | ces Tc > 7 Key of Am = 4/ MILKO S2Bars AABA A-13 % Bs % E7 % A-13 % F6/9 % Bs % or E7 Repeat | Ist 4 Bars —e—eeeoensn eee | oA % G7 % C6 % Bg B° A-13 % Bb9 % B° B° Repeat Ast Section or os Be Be A i Be ° eel lelele| | ze s|Tele ele eo] | free ele ele] [elle ell ylT{ele ° ° : ; | Chord shapes for for ‘B’ Section. This tune was written by Titi Winterstein. A fantastic version can be heard on Moreno’s CD Yochka. He plays this tune 52 Bars long as shown above, as opposed to 56 Bars. This is one of those great modern Gypsy compositions in a minor key that can be soloed over with great power and invention. 29KeyofG 4/4 MIRE PRAL 44Bars ABC 8 Bar ixtao | G-6/9 THS G-6/9 Bb9b5 G6 Gm C46 Cm Eb9 [ a i F9_ | Bba7 Ae B Dp Db D9 Gs Gm C46 Cm | ay »/ | A-7b5|Ab7b5| Gm | % AS B pe pb x“ ‘ = 7 F7 FT F7 Bb69 | % | F7 % B7b5 B7b5 c 6e 7 6 Og 7 Eb7 Eb7 JAS 41 NO 7 Eb7 Ab6/9| = % Eb7 wre ZEms [ans Kror ATbS: ATbS: ! | Kaw | Zoe) os J) om /fes /\cm Gm c mY | A-7b5]Ab7b5| Gm | 22 Ae B° pb Db Bb c q 7 6 Gn Now into Improvsation | c#H C-6 Bb D7#9 Back to ‘A’ section etc. a | The last four Bars are played for the tune only. G-6/9 F#7#5, G69 Bb9b5. cH C6 ‘HET ; i Use these chord shapes for the intro. The above two chords shapes are for Bar 41 & 42 This composition was written by Tchavolo Schmitt 30KeyofD 4/4 32 Bars eo es fA} vas A Tro rs “Al pas Al Bb7 = ieee Bb7 = nee 6] ae E7 > 6 mae E-7 7? 7 3 7 fr fr 3] E9 E9 C#-7b5| C7b5 | B-7 % A9sus4} A9 Eb9 E13 r i i 3 Fo Eo | vas | Bb-7 “| Gg a3 er] BHT ° Bb7 | AGN Eb “3 5 E7> 7 > ap FE afr C3 par 4 F9 e7| FHT D6/9 oc Bb7 G7 Vm ‘ 3 a ane Be post ~ % Bs : ° ° ° : elfecelle ° ° slelee oe o| cele elle sele ° tt ; NUAGES The above rendition is taken from Stochelo Rosenberg’ Seresta CD in the key of D. This is a very modern interpretation of Django's classic tune. Kamlo leans towards this modem style of Gypsy playing, He plays from the heart with colourful and creative lines, He is a very dedicated player to the Gypsy style and constantly moves forward in his playing ability. He regularly plays with great Gypsy guitarists such as Rudolphe Raffelli, Patrick Saussois and many others too. Photo above of Pierre “Kamlo” Barre. Seen here at the Chope des Puces, Paris, Photo by Victoria Cosimini © 2003.KeyofEb 4/4 ON GREEN DOLPHIN STREET atin asac INTRO 6 7 3 7 z 7] a EbA7 | EA7 | EbA7 | EA7 | EbA7| EA7 | EbA7| EA7 Eb6/9 % Eb-9 % F6/9 | E6/9 | Eb6/9 % Fi G 7 7 7 7 F9 F-9 Bb7 |EbM9| % Ab-7 | C#9 | F#6/9 fn Repeat Ist Section 7 5 7 ahr F i F GT#9 F7#9 GT#9 F7#9 F-7 G7 C-7 F7 c7#9 b7H#9 7H b7#9 ie = 3] : : : : GT#9 FT#9 Bb7+ | STOP 79 b7H9 oro cows qo. wfele ° t ON GREEN DOLPHIN STREET This was not recorded by Django, but is played and has been recorded by many other modern Gypsies including Stochelo Rosenberg, Raphael Fays etc. Gypsy guitarist Hervé Gaguenetti Photo by Victoria Cosi 3KeyofC 4/4 OLD MAN RIVER ABABA 5 7 7 7 3 s 7 7 C6/9 | F6/9 | C6/9 | F6/9 | C6/9 | F6/9 | E-7 Eb° as 3] 3) rT Pe 6/9 F6 C69 D-7 % Eb-7 c7 Fe G7 Repeat | Ist R Bars es rr C69 F6 c7 Fe | le = Ie Ar le = Em Fe Em FP Em re Em Eo Em By ee @ BT 6 B7 G B7 G B7 z 3 F 3 , 3 2 eS oF Ie = le Iz Ir I= c7 Em FH Em Fe E9 D9 Em im Em G B7 G BT Eb-9 G7 E 3 2 ; 1 ‘ - 3 5 Repeat | Ist 6 | Bars of |éA* Section A-7 D9 A 5] 3 5 ap rr Pr IP C69 F6 C69 c6/9 D-9 | G13 | D-9 | G13 c7 Fee G7 GT+ tn & Fe BT a3 a _ooe ooo xk * ox * 7 ° [ee oo zelle 2fele sele fe ° oe if Use this Chord shapes foi 2 beats to each chord shape for G13 3321 oe KeyofC 4/4 OLD MAN RIVER (Cont.) AaB+TAG 7 3 7 7] 3 oF E-7 FHT C6/9 | F6/9 | C#6/9 | F#6/9 | D6/9 oe FHT 7 7] 5] 7 sh * 3 ; E-7 AT E-7 AT |A7T> STOP G7 % 5 5 7 7 ap oP E-7 FHT C6/9 | F6/9 | C#6/9 | F#6/9 | D6/9 eI FH-7 et 3 7 3 ei 7 AT % % % D6/9 AT D6/9 | C#7 7 7 7 7 7 7 F 7 F#m | C#7 | F#m | C#7 | F#m | C#7 | F#m | C#7 7 7 7 7 7 z 3 7 Em B7 Em B7 Em B7 D-9 G7 Use the extended section below for the final verse when finishing. 3 3 3 7 3 5 3 3 C6/9 | F6/9 | C6/9 | F6/9 | C6/9 | F6/9 A-7 D9 5 7 ¥ D-9 % % % E7+5 % G7+5 % F 5 C6/9 F6 B69 ETS GTS C6/9 oxo 0 : c7 Fe 6/9 1 ee Play these last 4 bars at half tempo oe This arrangement has been taken from Django Reinhardt'’s recording of 1947. This can been found in the Integrale Series 15, CD 2, track 8. Django plays this at such a tempo that on starting this tune he plays 2 beats over 4 and you may find that you would need to apply this method where necessary. ContinuedKey of F 4ik PAPRIKA 48 Bars ABC | Foo | % | E7 | % | Fo#9 | % | A7bS| DO A a 3] | G-7 | Gm xX % | cH | G7 | G7 | co Fo9 | % | E9 | % | R69 | % | A-7b5| DO 5 5 3 7 [ G7 | Gm & % E B7 | G7 | co 3 ; [ Fo9 | % | £9 | % | F#9 | % | AmS| DO c : 5 | G7 | Gm x Ab? | c#9 | CO | F6/9 | CO K ; Paprika is one of Tehavolo's many own compositions. Tehavolo is a ver earthy player and plays with tremendous pow He has developed his own style wit runs that are unique to him, y er. A 34 Photo above of Tchavolo Schmitt. Kindly contributed by Phil Lavine © 2003Key of Bb 4/4 PLACE DE BROUCKERE AB rp & —— ¥ Bb6/9 Bb6/9 Ab6/9 F#6/9 Eb7 ce F7 3 3 3 $ o 5 aye Bb6/9 | Eb7 | Bb6/9 | Bb7 | Eb6/9 | Eb9 | Bb6/9 Go “ cs a % Repeat These 12 Bars - 7 7] 7 7 7 WF r Fe Ab? 16/9 | C#Tb9 | F#6/9 | C#7b9 | F#6/9 | C#7b9 | ~e Ae GI s| 4] 7 a Fr iF Fr FH6 co F#6/9 F6/9 F#6/9 | C#7b9 F7 % ce c#79|_// F619 c7 A B° F7b9 FT+ - 3 times. On the 3rd time through play C#9 (4th) as last bar | B 3 4| The Ist three bars of the intro are played in 3/4 time with the 4th bar in 5/4 as shown above. Repeat 4 times and then continue in 4/4 time. PLACE DE BROUCKERE This high powered composition by Django Reinhardt is feartured in the repertoire of Moreno Winterstein pictured opposite. He takes it at a tremendous pace which is reminisant of the 1947 recordings by Django by using a Stimer pick-up. Moreno has an extremely strong right-hand technique which gives him complete command over his guitar. He is both visually and audibly one of the most exciting Gypsy guitarists to watch.32 Ba ET D-7 “| ET | D-7 Eb-7 GB ‘ Eb-7 G13 co F6/9 % D9 % D-7 CHO Fr D-7 P G7 ° co/9 % % | FO9 | % Eb-7 G13 co 5 7 5 5 3 ap ; Co/9 D-7 F6/9 | Fm | C6/9 | A7 | D-7 | G13 AT . G13 Play the last line as follows for outro 5 7 5 5 5 TP F6/9 | Fm | C6/9 | A7 | D-7 | G13 Jes Fm » cas PLEASE BE KIND This beautiful ballad was recorded by Django in the mid 30's. The picture opposite features Belgian Guitarist Lollo Meier who has captured the earlier style of Django’s playing with such authenticity that he could have almost come from that era His playing is a proud example of Gypsy guitar tradition being passed on from one generation to another. Photo by Victoria Cosimini © 2003Key ofCm 4/4 SONGE D’AUTOMNE 48Bars AB 3 x 7 a T T 3 3 Cm | C-A C-7 C-6 Fm F-7 co G7 Cm CA C-7 C-6 Bb7 % Eb6/9 | G7 G7 C-7 C-6 F-9 Bb7 | EbA7| G7 Ab7 | Cm |Abdstor! Ab7 G7 Cm % % Cm % Ab7 G7 Cm C7 % Cm % Ab7 G7 Cm % Ab7 Ab7 The chord shapes opposite display bars 25 to 28 of the ‘A’ section. This shows the contrast in sound between the two Bb7’s and it also fits perfectly with the melody. T 7 3 a Fl 7 z 7 F-6 Ab? c-9 C-6 F-9 | Bb13 | EbA7| E° F-6 G7 c-9 c Ab7 G7 C-6 % This tune is usually improvised over the ‘B’ section only. The above offers alternative voicings for the ‘B’ section to create contrast of sound. w QIKey of E 4h SONTA 7 z 7 EA9 % Eb-9 | Ab7 | C#-9 % CHO % AAT | A-7 | Ab-7 | C#9 % | BB) o% Repeat Ist 2 Bars % 7 B(b9) % Bosust B69) t . ° ° rele ele Bars 30 to 34 bP " BB Photo above of Raphael Fays ook Kindly contributed by Thomas Ludwig. * SONIA celle This is an obscure track that was recorded by Raphael Fays. ¢ Ido not know how to source this tune, but I have recorded it on my ‘Under Paris Skies’ The above split chord is cD. used as a passing chord Raphael Fays is one of those players that can between F#-9 to the copy Django's solos closely. It is a skill only BbI3. the Gypsys seem to have really mastered, w ooKey of Bb STELLA BY STARLIGHT 32Bars ABCA 7] 3] ¥ z a a G 7] ] T a| E® | Av | C-7 Fo | F-9 | Bbi3 | Eba | Abi3 | hes Bb-7 Peg 7 : 8 | BbA7 D-7 FA7 A-7b5 | Ab7b5 AT Eb9 AT : c| G7+ C-7 % Ab13 % BbA % x a| ES AT DS G7 |C-7b5| F7 BbA | BbM6 Photo by Victoria Cosimini © 2003 n standard that has found its way into the ersKeyofG id 32Bars | AABA 7 F F 7 = 9 Bb-6 C6 | G6/9 co % G6/9 D+ D7 B-6 D7 sect eo Repeat Ast 6 Bars of |*A’ Section G6/9 ———__ cm 5] 5 SIF " 7 = Dt 2] Em A-T % G6/9 % Br AT D7 p> : Repeat | ist 6 | Barsof | *A° section eer i) Cm D+ Use this inversion. for a Minor 6th Above is a picture of a 1950's record cover that features Sweet Chorus. This is one of Django’s compositions first recorded in 1936 with Staphane Grappelli and a fantastic version in 1947 with Hubert Rostaing on Clarinet 40KeyofC 4/4. SWING GUITARS 32Bars AABA cH G7 cH G7 cé D7 C6 D7 cé FE colo colo |“ Bb Ab? G7 Gi+ | co | coro I Repeat | ist 6 Section | G7 cg 7 5 7 s af CHT F6/9 Eb° | C6/9 % % C#T GT+ C6 D-6 Cc D-6 co E C69 C69 E oc A cH Eb° Eb° G7 ‘Bb Ab? G7 Gi+ 6 2 £ ae sas r a ar 3 $ For C/E, use the same shape Se coe ° as F/A, shown opposite, but ty] 6b setpet] «itt? at the twelfth fret. Titi Baumberger, Dallias and Mito Loeffler jamming at Samois 2003. Photo by Brett Lewis © 2003. 41KeyofG 4/4 THE MAN TLOVE 5 7 ¥ 7 G6/9 % Gm % F6/9 % E7 % C7 % D7 % G6 Bb7 | EbA9| D7 >) > Repeat Ist 12 Bars cos | p7 | Ge Cy i BT 7] 7] 9] 7 7 7] a 5 Fis E-7 | E-A7 | F#6 B7 E-7 | E-A7 B7 a 7] 7] 9 7] 7] 5] 5 B| E-7 | E-A7| FH B7 E7 % A-7 D9 E7 Eat rfelele fe ° ° oe re Br sfele relele ele ° Above is a sleeve cover of one of the The chord shapes shown many Django Reinhardt EPs that were released throughout the Fifties and Sixties. This tune is also played in the key of Eb. 42 above are the first 4 Bars of the ‘B’ section. Play 4 beats to each chord> KeyofC 4/4 THREE LITTLE WORDS 32Bars AABA 7 Tr w Co/9 % % Abd G9 % Co/9 % % Ab9 G9 % % % co B9 c9 Ab° | F6/9 % Ab7 Co6/9 % % Ab9 G9 % co6/9 G9 This track was recorded by Django in 1938 with the Quintette of the Hotclub of France. Samois Sur Seine is the final resting place of Django Reinhardt and where each year on the last weekend of June there is a festival held in memory of this great Gypsy Guitarist. Samois is a small village approximately 50km south of Paris. The nearest train station from the festival is about 4 km away in Avon. Each year thousands of people come from around the world to pay their respects and to enjoy the virtuoso Gypsy guitarists who, not only can be seen playing on stage, but also be seen playing impromptu around the various local campsites and restaurants on the banks on the Seine. Photo by Brett Lewis © 2003Key of A 4i6. LATIN ABC INTRO I a a 3 A 5 7 7 Fy F#0 Fe F° F#O F° F° 3 7 3 5 ¥ 7 7 Am E7 % Am Dm Am B7 E7 A 3 7 5 3 Sir = BT A-7 | Am | £7 | % | Am | Dm | Am ET G7 F fF 3 af 4 ; cA D-7 E-7 D-7 [ D-7 CaT7 D-7 &3| C69 cH G7 Eb-7 ‘Ab BE 3 ae 2 ar os is a cA D-7 F6 C69 D-7 C69 [ D-7 é13| C6/9 ce “Ab FH AT AA B-7 | % | % % | % AG Eo c < 3 sr F D6/9 A6 | % | % | FAT | Bd ce F#7 # The arrangement of this tune may vary according to which recording you listen too.Key ofF 4/4 TIME ON MY HANDS 32 Bars F6/9 % E7 % Gm % c9 C7+ F6/9 % E7 % G-9 Bor] AT % D9 % G7 co Fo/9 % G-7 co F6/9 % D9 % This tune was twice recorded by Django. Once in mid ‘30's and once in the late ‘40s. This is one of those great tunes that is not often played, but thanks to guitarists such as Fapy Lafertin, these tunes are kept alive. Photo by Victoria Cosimini © 2003 45Key ofEm 3/4 THAL AABACBA > — 3 > ——J 7 CH ce G6/9 | A-6 G6 F6 Em B° 5 3 3 T T Am B7 CHE E° FHT B7 | cH Cc |cws Repeat Ist 14 bars of ‘A’ Section i CHO % 7 3 7 3 7 7 E7 % Am % ce Eb° | C#6 E-9 Repeat Ist 16 Bars Section E-7 % D6/9 % G6 F6 Em B° Am B7 CHO E° F#7 B7 CH % Repeat 1st 16 Bars of ‘B’ Section 7 7 Repeat 1st 14 Bars of ‘A’ Section Em CH E-6>stop| This waltz was written by Geisela Reinhardt and is featured on The Rosenberg Trio CD ‘Seresta”” E-7 46Key ofGm 3/4 VALSE BAMBOULA AABCACA 7 3 5 Gm % % % Gm % D7 % % % % % % % Gm D7 Gm | G-A | G-7 G-6 G7 % Cm % : Ab | % | Gm} % | A7 | D7 |Gm<7] Gm D7 % Gm % D7 % Gm % D7 % Gm % AT D7 Gm F7 Bb G Cm D9 Gm % G7 % Cm D9 Gm % AT % C-7 F9 Bb G Cm D9 Gm % G7 % Cm % Gm % C-7 F9 Bb6o D9 Valse Bamboula was written by Fapy Lafertin and named after Ferret Bamboula. Fapy has not recorded this on CD to date, but there is possibly a rare recording which was released on vinyl. Angelo Debarre recorded this tune on his CD Gypsy Guitars Hotclub records. 47AT | C6 B7 | Eb? | E7 % 7 5 z Be | a7 | Bs | % | Am eh stor 5 3 3 A7 | % B7 % E7 C6 z 5 Bo | a7 | Bs | % | Am stor 7 E7 % | Am | % E7 % 5 a7 | % | Bg | % | Am i> stor 7 3 E7 | % | Am | % | 2&7 % 5 os AT % | BB | % | am |Am> stor 7 7 7 5 FH#s | A-7 | B7 | FH | D7 AT 7 5 ols E A7 | BB | % | Am C6) stor 5 8 5 A7 | C6 | B7 % Be AT 7 i i ce | % | Be | Fe | A7 lA-7> sror Repeat ’B’ Section To Finish Valse Venezuélienne is often featured in Moreno’s repertoire. The chords illustrated above demonstrate how effective chord substitutions can be, 48VOUS QUI PASSEZ KeyofG 4/4 SANS ME VOIR 32Bars AABA F F F F 7 F F | G69 AT coo Ys) A-7 G69 C6 & AT s Boe G1 B | feo ny) ) D Bb? ns) 1 7 36> ; " ‘ ; Repeat | ist 6 | Bars of |/A’ Section| oo APN A Boe | Ser ON fe 7 5 7 7 7 7 i B Gq A-6 Co6/9 | C-6 | G6/9 Bm F#7 B Bb° bs ‘ 5 A Repeat | ist 6 Section| a ee bs D7 5 | This above rendition of this tune is main- ly played with two chords per bar which is typical of Django’s accompaniment playing. 2 Boe 6 7 10 1|/G G7 |4 B G7 Dw 3 Bar 8 of the 2nd ‘A’ section, play 1 chord per eee beat. The above chord box is played 4 beats to 1 Photo by Brett Lewis © 2003 bar. The numbers around the box indic direction of play. 49KeyofG 4/4 WHEN DAY IS DONE 32 Bars G6/9 F#7 A-6 D7 % G6/9 % Ab? +— 14 —4 : — G6/9 E7 AT % D7 % Ge A-7 D7 G6/9 F#7 A-6 D7 % Ab? c7 G69 A-7 D-6 G7 | C6/9 B G6/9 % Bb? D-7 This song was recorded by Django in the 1930's, He starts off slow and picks up to bring it up to tempo. The chords above are used for both tempos. The Yorgui Loeffler Trio Picture taken at The International Gypsy Guitar Fe: Photo by Victoria Cosimini © 50BUSINESS DIRECTORY Hot Club Trading For all your Hotclub needs contact: www.hotclub.co.uk 17 Galerie Véro-Dodat 75001 PARIS - France Books, cD s, Tel: 33 01 42 33 3893 Fax:33 014041 07 73 www.rfcharie.com ba OEIC Photos UOT a arta ; Books, Posters, Postcards QCM) bean a UAAUN arse ctr bag CanBUSINESS DIRECTORY guitare f Aco 1610 MFI ARGENTINE www.wegenpicks.com Cee Argentine Strings By Savarez P.O, Box 119 Available in ee er 011-046 and 010 - 045 The Netherlands from various outlets VINTAGE STRINGS Cheltenham New and vintage instruments bought and sold Proprietor: John Vickers 88 London Road Cheltenham Gloucestershire GL52 6EH Tel: 01242 515949 / 572159 E-Mail: info@vintage-strings.com Guitars, Banjos, Mandolins, Violins, Double Basses incorporating the Double Bass Hospital Specialists in all stringed instrument repairs VINTAGE STRINGS 52BUSINESS DIRECTORY Tom James Maker of Selmer Maceaferri Guitars Dealer of Gypsy & Archtop Guitars 1 Newport Cottages - Bekesbourne Hill Nr. Canterbury - Kent CT4 5EF ‘Tel: 01227 830846 E-Mail: killynonis@easicom.com Tel: 07976 517524 E-Mail: tomjames@jazz40.freeserve.co.uk Fine handcrafted Selmer style instruments built from a variety of individually selected quality solid tone $yods. Grand and Petite Bouche guitars, Transitional models, Tenor guitars, Full scalé four string models and Mandolins. Evergistrument is built to maximise acousti€ esponse and. pick ups may be fitted. Kinermony Mews, Aberlour, Banffshire, AB38 9LX Telephone/Fax’ 01340 881366 E-mail : info@rjaylwardguitars.co.uk vuBUSINESS DIRECTORY For the best in live acoustic music, mood, wine and food and where strangers are only friends you haven't met. 42-44 Battersea High St London SW11 3HX 0207 787 2227 07811 581976 www.quecumbar.co.uk Chan * oe) The UK's Premier ae cae : Gypsy Jazz Venue +44(0)1647 440394 WEST STREET, ALFORD, LINCOLNSHIRE LNI3 9EZ ENGLAND Tel: 01507 463341 john@levoi.freeserve.co.uk www.levoi.freeserve.co.uk Established in 1970 and specialising in Gypsy Jazz Guitars since 1976. Repairs, refrets, pickup systems and strings supplied. John Le Voi Guitars 54BAND DIRECTORY Lollo Meier Szigano Swing Info: (0031) 046-4855750 or 06-5397312 E-Mail: a.meier@12move.nl Address: Meier Postbus 42, 6120 AA Born (NL) Website: http://members.home.nlig.stassen Yorgui Loeffler Contact: Brisez La Glace! 3, Place Du Marche Vert - 67600 Selestat Tel / Fax 03 88 82 99 91 Marco Vienna Caffe’ Espresso, Italian latin-gypsy jazz trio/quartet based in Italy but available for touring abroad. To order CD ‘Made In Italy’ and for info and bookings please contact: Marco Vienna +39-3282196989 E-Mail: mv59@inwind.it Cosimini Trio To order Janine or Under Paris Skies CDs please E-Mail to: cosimini @btopenworld.com or check the website at www. cosimini.co.uk Fapy Lafertin & Le Jazz To order Fapy Lafertin & Le Jazz CD, please contact: ‘Tony Bevir, Dumpers House, Dumpers Lane, Chew Magna, Bristol, England. or E-Mail: bevir@globainet.co.uk Nuages To order CD or for more information and bookings for duo, trio or larger group available, please visit: www.nuages.co.uk Contact: Steve on Tel: 01793 341236MUSICIAN'S DIRECTORY Marco Vienna. Lead and rhythm ac. and el. guitar and mandolin, expert in swing styles: jazz, gypsy, jump & jive, blues, Based in Italy, available abroad Contact: 39/3282196989, mvS9@inwind.it www.marcovienna.it Based in Gloucestershire UK. Lead, Rhythm and Session Work. Tel: 01453 519180 E-Mail: cosimini@btopenworld.com — www.cosimini.co.uk John Vickers: Based in Cheltenham UK. Lead, Rhythm, Double Bass Tel: 01202 460471 E-Mail: hepbir@ic24.net Brett Lewis: Based in Bristol UK. Lead, Rhythm and Session Work. ‘Tel: 0117 908 2657 E-Mail: brettlewis@blueyonder.co.uk Neil Harrison: Based in Ulverston UK. Lead, Rhythm and Double Bass. Tel: 01229 585192 E-Mail:bsaneil@hotmail.com Tony Bevir: Based in Bristol UK. Double Bass. Tel: 01275 333928 E-Mail: bevir@globalnet.co.uk Matt Palmer: Based in Nottingham UK. Clarinet, Saxophones, Vocals and Session Work. Vast experience in the Hot Club style. Tel: 0115 921 2464 E-Mail: mattsmjazz@aol.com Gary Phillip: Based in South Wales. Lead, Rhythm and Session Work. Also teaches and is a fluent music reader. ‘Tel: 01792 419090 E-Mail: amigos@ntlworld.com Tim Robinson: Based in London UK. Acoustic and Electric Guitar. Tel: 07949 243396 E-Mail: tjrobinson@hotmail.com Dave Oliver: Based in Leicester UK. Lead, Rhythm and Session Work. Also available on Bass Guitar (played tastefully to suit!) Tel: 0116 299 7949 Mobile: 07850 070 887 Barrington Meyer: Based in London UK. Vast experience in Hot Club Style Tel: 07931 667468 E-Mail: barringtonmeyer@hotm: James McGee: Based in London UK. Violin. Exceptional player of the Hot Club Style. Tel: 07944 075102 E-Mail: jamesviolinamp@yahoo.com To place an advertisement in the next edition of this book, please write for details to: Colin Cosimini, 14a Kingshill Road, Dursley, Gloucestershire, GLII 4EJ, ENGLAND. or Tel: 01453 519180 or E-mail: cosimini@btopenworld.com for Information Pack. 56