But it has no plans to restart its Quintette mine in British Columbia, Waller said.
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In 1946, after the war, Grappelli and Django re-teamed intermittently under the Quintette banner in an all-string format, while Django continued to record and perform with his "Nouveau Quintette" and as a freelance soloist. As before the war, the Quintette cycled through a number of rhythm guitarists and bassists. This last iteration of the Quintette performed and recorded until about 1948. In early 1949, Django and Grappelli traveled to Rome to play a live engagement.
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Quintette is an unincorporated community in El Dorado County, California. It is located north-northwest of Pollock Pines, at an elevation of 4049 feet (1234 m). A post office operated at Quintette from 1903 to 1912, with a move in 1906.
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Reinhardt, who spoke virtually no English, immediately returned to France, where he thought he would feel safer than in the UK. Grappelli, meanwhile, stayed in England. Django continued using the Quintette name with a different group, featuring Hubert Rostaing as the first of several clarinetists backed by a more conventional rhythm section with drums, bass and a rhythm guitar played by Django's son Lousson Reinhardt, or his brother Joseph. This version of the Quintette often featured six, not five, players, and was usually billed as "Django et le Quintette du Hot Club de France", or sometimes as Django's "Nouveau Quintette". Due to wartime shortages of material, this version of the Quintette did not issue many recordings (some 70 titles were recorded between 1940 and 1948), although they did issue the first recording of the Django Reinhardt composition Nuages, later to become a jazz standard.
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The Mendelssohn Quintette Club, 1849 The Mendelssohn Quintette Club (1849–1895) based in Boston, Massachusetts, was one of "the most active and most widely known chamber ensemble[s] in America" in the latter half of the 19th century.Steven Baur. Music, Morals, and Social Management: Mendelssohn in Post-Civil War America. American Music, Vol.
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Wood, ibid. The Quintette recorded for the Master, Brunswick, and Columbia labels. When Scott went to Hollywood in late 1937 to work in motion pictures, Williams accompanied the bandleader and appeared on camera with the Quintette in the films Happy Landing (starring Sonja Henie, Ethel Merman, and Don Ameche), Sally, Irene and Mary (starring Alice Faye, Tony Martin, and Fred Allen), and Ali Baba Goes to Town (starring Eddie Cantor). Although he does not appear on camera, his drumming is heard with the Quintette in the films Nothing Sacred, Rebecca of Sunnybrook Farm, and Just Around the Corner.
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L'Homme p. 328 The Quintette was a quartet until Django decided he wanted two guitarists to back him on his solos to make the sound of the music more even when he and Stephane switched off during songs. The Quintette recorded two titles under the name "Delaunay's Jazz" before their official acceptance by the Club, but would be known after the December 1934 concert as the Quintette du Hot Club de France.L'Hommep. 319 Later Charles Delaunay would promote the recording sessions of Django Reinhardt with visiting American artists such as Coleman Hawkins, Benny Carter, Eddie South, Bill Coleman, and Barney Bigard among others.
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The Quintette remained active from 1935 until 1939,Digard, Jean-Pierre (Jan. - Mar. 1999) L'Homme no. 149, Anthropologie psychanalytique, "Entre le jazz et les gilia: Django Reinhardt" p.
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Storm of snow. General Pierce arrived at noon. ... Julian and I drove to Town Hall to hear the Quintette Club - Andante of fifth symphony of Beethoven. Drove home.
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Roger Chaput (May 19, 1909 – December 22, 1994) was a French jazz guitarist and visual artist known for his work with the Quintette du Hot Club de France.
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The Musical Quarterly, Vol. 53, No. 3 (Jul., 1967), p.336 The Quintette consisted of Thomas Ryan, August Fries, Francis Riha, Eduard Lehmann, Wulf Fries, and others through the years.
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BCR Group became the parent company of both BCR Marine and BC Rail. In early 2003, attempting to reduce the railway's large debt, BCR Group sold its BCR Marine assets except for Vancouver Wharves (which was also not included in the subsequent sale of BC Rail to Canadian National, and remains a provincial Crown corporation). On August 19, 2000, the Quintette mine closed, and the portion of the Tumbler Ridge Subdivision between Teck and Quintette, British Columbia, was abandoned.
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Alix Combelle (15 June 1912 - 26 February 1978:fr:Alix Combelle) was a French swing saxophonist, clarinetist, and bandleader. He recorded often with Django Reinhardt and the Quintette du Hot Club de France.
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The brand was discontinued in 1927 and replaced by the Broadcast and Broadcast Twelve Records brands. Artists on the label included the Broadway Band, Merrie's Dance Quintette, The Lyricals and the St. Hilda Prize Band.
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Williams played drums in the New York-based CBS Radio orchestra in the early 1930s, and achieved stardom as drummer for the Raymond Scott Quintette from 1936 to 1939. Despite the name, the band was a sextet. Formed by Scott from the ranks of the CBS orchestra, the Quintette was an overnight sensation at the end of 1936, thanks to Scott's eccentric approach to jazz and idiosyncratic titles (e.g., "Dinner Music for a Pack of Hungry Cannibals" and "War Dance for Wooden Indians," both of which showcase the drummer's virtuosity).
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Between 1983 and 2003, the railway hauled coal in unit trains from the Teck and Quintette mines near Tumbler Ridge to Prince George, from where CN would haul the trains to Prince Rupert for shipment to Japan. The Quintette mine, the larger-producing of the two, closed in 2000 and the Teck mine closed in 2003. Starting in the 1960s, the PGE operated an intermodal service that transported truck trailers between North Vancouver and Prince George, and to places further north. Unlike most of the railway's other traffic, most of the intermodal traffic was northbound.
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In scripted comments read on the First Anniversary Special of CBS Radio's Saturday Night Swing Club, on which the Raymond Scott Quintette performed, host Paul Douglas announced that "Powerhouse" had been premiered on that program in January or early February 1937.Amazon.com Saturday Night Swing Scott's Quintette (actually a sextet) first recorded "Powerhouse" in New York on February 20, 1937, along with three other titles. This recording was first commercially issued on the Irving Mills-owned Master Records label as Master 111 (mx. M-120-1), coupled with another Scott composition, "The Toy Trumpet".
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From 1934 until the outbreak of World War II in 1939, Reinhardt and Grappelli worked together as the principal soloists of their newly formed quintet, the Quintette du Hot Club de France, in Paris. It became the most accomplished and innovative European jazz group of the period."Stephane Grappelli is Europe's gift to jazz", The Ottawa Journal, 9 June 1980 Reinhardt's brother Joseph and Roger Chaput also played on guitar, and Louis Vola was on bass. The Quintette was one of the few well-known jazz ensembles composed only of stringed instruments.
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Throughout 1935, the group recorded both under this name and as "Stéphane Grappelly and His Hot Four featuring Django Rheinhardt". Grappelli and Reinhardt maintained active schedules as freelance musicians during the early years of the Quintette, recording and performing with French pop artists such as Jean Sablon, Le Petit Mirsha, and Nane Cholet, and with jazz artists such as Coleman Hawkins, Benny Carter, Rex Stewart, Larry Adler, Alix Combelle, and André Ekyan. Between 1934 and 1948, the Quintette du Hot Club de France recorded more than 130 titles in the studio for the Decca, Swing, HMV, Ultraphone, and Odeon labels.
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A series of European tours were very successful, with the group enjoying particular popularity in the UK. Several bassists and rhythm guitarists rotated in and out of the group, with Django and Grappelli remaining the sole constants. In 1937, the American jazz singer Adelaide Hall opened a nightclub in Montmartre along with her husband Bert Hicks and called it 'La Grosse Pomme.' She entertained there nightly and hired the Quintette du Hot Club de France as one of the house bands at the club. As World War II broke out in September 1939, the Quintette was on a concert tour of England.
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Cecil Louis Burke, who performed as Ceelle Burke, was a musician and performer. He was born in Los Angeles. After working with the Norman Thomas Quintette, he joined Curtis Mosby's Blue Blowers. He collaborated with Leon Rene on the song Lovely Hannah.
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Django Reinhardt's song "Nuages" became one of the anthems of the French Resistance; it was recorded with the "Nouveau Quintette du Hot Club de France" on 1 October 1940. More than 100,000 copies of the 78 were sold after its debut at the Salle Pleyel.
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The Quintette du Hot Club de France ("The Quintet of the Hot Club of France"), often abbreviated "QdHCdF" or "QHCF", was a jazz group founded in France in 1934 by guitarist Django Reinhardt and violinist Stéphane Grappelli and active in one form or another until 1948. One of the earliest and most significant continental jazz groups in Europe, the Quintette was described by critic Thom Jurek as "one of the most original bands in the history of recorded jazz." Their most famous lineup featured Reinhardt, Grappelli, bassist Louis Vola, and rhythm guitarists Roger Chaput and Joseph Reinhardt (Django's brother) who filled out the ensemble's sound and added occasional percussion.
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At her birth, Alicia V. Sawas was also written into the Tumbler Ridge records as the first child born in the Quintette area. Bullmoose Settlement was closed down after the reduction in mine activities with just the one birth. In 1984, world coal prices were dropping and the Japanese consortium requested a reduction in the price of coal from the Tumbler Ridge mines. As price reduction requests continued, the concern over the viability of the mines led the BC Assessment Authority to lower the 1987 property assessments for the Quintette mine from CAD$156 million to $89 million and the Bullmoose mine $70 million to $43 million.
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Quintette Coal Mine, Tumbler Ridge Tumbler Ridge was built to provide a labour force for the coal mining industry, which has remained the dominant employer throughout the town's history. The mining companies had a contract to sell 100 million tons of coal to a consortium of Japanese steel mills over 15 years for US$7.5 billion (1981). The Quintette Operating Corporation (QOC) was formed by partnership between Denison Mines (50%), Mitsui Mining (20%), Tokyo Boeki (20%), and other smaller firms, and began blasting at the Quintette mine in October 1982. The Bullmoose Operating Corporation was formed by the Teck Corporation (51%), Lornex (39%), Nissho Iwai (10%) and worked the smaller Bullmoose mine. The economic viability of the mining companies were in question since the world coal prices began falling in the early 1980s and the Japanese consortium requested reduced prices. After the Supreme Court ruled that the coal prices must be reduced, the QOC filed for court protection from its creditors allowing the Teck Corporation to take over management in 1992.
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From 1926 to 1929 the Biddleville Quintette recorded extensively for Paramount Records. It is not known whether the two groups are the same, or even connected.Note on p 29 of "Field Manual" accompanying The Rise and Fall of Paramount Records 1917-1932, Volume 1. 2013. Third Man Records.
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Besides the musicians, Panassie, Delaunay, and Nourry were all there, acting as "auteurs" or directors of the session; Panassie, in a discussion about two separate takes of a song, convinced the engineer and producer to use the version where the musicians improvised more freely- despite some minor flaws and mistakes- over the version that was more perfect but less flexible. Between this recording session in 1934 and the last pre-war recording session in August 1939, the Quintette recorded 140 sides. In its original formation, the Quintette consisted of guitarists Django Reinhardt, his brother Joseph Reinhardt (a.k.a. Nin-Nin), and Roger Chaput, Louis Vola on double bass, and the violinist Stephane Grappelli.
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In 1973 he was influential in persuading Quintette du Hot Club de France violinist Stéphane Grappelli to return to public performances using an all- strings acoustic line-up, recreating the spirit of the Quintette for a new generation of listeners. Before this, Grappelli had spent a number of years playing "cocktail jazz" in a Paris hotel. After a couple of "warm up" gigs in small folk clubs, they played together to an unexpectedly warm reception at the 1973 Cambridge Folk Festival with Denny Wright on second acoustic guitar. This began a collaboration between Grappelli and the Diz Disley Trio, sometimes billed The Hot Club of London, with tours of Australia, Europe, and the United State.
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Following the commercial and critical success of their 1992/93 Shield restorations, the Beau Hunks undertook recording projects involving forgotten but, in their estimation, historic works by American composers. These include Raymond Scott (particularly his 1937–39 six-man "Quintette," and the Paul Whiteman Orchestra's symphonic 1937/38 "Chesterfield Arrangements" of Quintette repertoire); Ferde Grofé (Broadway At Night; Mississippi Suite; Three Shades of Blue; and Metropolis); Edward McDowell (Woodland Sketches); and various American pioneers of the jazz saxophone."Critic's Choice: Classical CDs; Digging Into the Jazz Age for Its Fiery Spirit" by Allan Kozinn, The New York Times, December 1, 1998 The Beau Hunks have also recorded an album with legendary jazz saxophonist Al Gallodoro.
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Jorgenson went on to form the Hellecasters with Will Ray and Jerry Donahue; Duncan also joined the Hellecasters. John Jorgenson is currently playing gypsy jazz with his John Jorgenson Quintette. Chris and Herb recorded an acoustic album called The Other Side in 2005. They continue to tour as an acoustic duo.
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The quintette was also named to Entertainment Weekly's "Must List." Their second EP, which also features "Heart on Fire", was released on 24 October 2011. The band released Scars on 45, their first full-length studio album, on 10 April 2012. The album was selected by the editors at Amazon.
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The ensemble, however, was still so new it was unnamed: fliers for the concert announced them as "Un orchestre d'un genre nouveau de Jazz Hot," or "An orchestra of a new genre of Hot Jazz," led by "Jungo" Reinhardt. It was the success of this concert that finally convinced the rest of the Hot Club to officially sponsor the ensemble. It was not until the second official concert of the group that it had a name; for its performance on 16 February 1935, the group officially became Django Reinhardt et le Quintette du Hot Club de France avec Stephane Grappelli. Pierre Nourry also later convinced the chief of Ultraphone to record the music of the quintette at their Montparnasse studio.
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The line served the Quintette and Bull-Moose coal mines, and hauled coal from said mines to an interchange with CN, where diesel power took over to haul the coal to Prince Rupert where it was loaded onto deep-sea coal carrier ships. A combination of the declining coal market, and lack of coal being produced from the Quintette mine led to the electric system being shut down due to low traffic, and high maintenance costs. The system transferred over to diesel hauled trains after the last electrically hauled train left the Teck loadout (Bull-moose mine) on October 1, 2000. Towards the later years of operation, the GF6C units were de-rated due to the high amount of traction motor failures during operation.
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Dora Tulloch was born in Maida Vale, Middlesex, London, the daughter of Conrad William A. Tulloch and Kate Wentworth Tulloch. Her father was a chartered accountant born in India. Her sisters Edith, Olive, Ada, and Beryl were also performers."A Quintette of Talent: The Misses Tulloch at Home" The Sketch (11 October 1893): 564.
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Science-Fantasy Quintette is a collection of science fiction short stories by authors L. Ron Hubbard and Ed Earl Repp and edited by William L. Crawford. It was published in 1953 by Fantasy Publishing Company, Inc. in an edition of 300 copies. The book is an omnibus of Repp's The Radium Pool and Hubbard's Triton.
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Halseth (2002). This lowered their taxes as they tried to enforce the purchasing agreement at the Supreme Court of Canada. Their 1990 ruling required the Quintette Operations Company to reduce coal prices and reimburse the Japanese consortium $4.6 million. The company responded by reducing production, cutting employment, and applying for court protection from creditors.
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In his teens he formed a second band, a quintette, including himself on the violin, his sister on the pianoforte or the bass, and three friends of the family. He prepared the orchestrations for this band. He also led the town orchestra, did some amateur acting, and sang comic songs in local village halls.
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In 1934 he was a founding member of the Quintette du Hot Club de France. In a 1976 interview, Vola recalled that he discovered Joseph and Django Reinhardt playing guitars together on a beach at Toulon. Vola invited them to play with his band. Violinist Stéphane Grappelli and guitarist Roger Chaput were members of Vola's jazz ensemble.
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Information and detailed sources on individual artists mentioned are given in the relevant Wikipedia articles on those persons. This classic lineup, with occasional changes in membership on double bass and rhythm guitar, entered the recording studio later that year. They recorded extensively until the outbreak of war in 1939 when the Quintette was on tour in England.
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His sons, Lousson and Babik, played in a style influenced by American jazz. Followed Reinhardt's death in 1953, the generation of gypsy players that played in public through the 1950s and 1960s performed mainly upon amplified instruments in a modern, electric style, though with a European "inflection" in which some traces of Reinhardt's influence remained. However from around the 1970s onwards, a new generation of gypsy players emerged who were interested in the original, hot-club style and repertoire; some, such as the older German violinist and bandleader Schnuckenack Reinhardt (b. 1921) had been playing such music earlier as well, his own Quintette (formed 1966-67) being modelled on the instrumentation of the original Quintette and performing some of its repertoire. Gradually through the 1970s and onwards, virtuoso gypsy performers such as Fapy Lafertin (b.
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Joseph "Nin-Nin" Reinhardt (1912-1982) was the younger brother of guitarist Django Reinhardt and played rhythm guitar on most of Django's pre-war recordings, especially those with the Quintette du Hot Club de France between 1934 and 1939. He was a pioneer of the amplified jazz guitar in France and performed for years on a home-made instrument of his own design.
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Norteño was started by Pierre-Paul Provencher and Laurie Rosewarne in 1993."Un quintette coloré qui roule sa bosse depuis 20 ans". La Review, Mar 18, 2015 p. 29. Marie Pier LécUyer Norteño plays a lot of music by Ástor Piazzolla, as well as some of Provencher's compositions in his style: tango nuevo, which is a fusion of tango and jazz.
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In 1934, he moved to France to join Ray Ventura's group, where he remained until 1939. He did recording sessions in the late 1930s with Philippe Brun and Quintette du Hot Club de France. Deloof also led his own bands, including extensively on record during World War II and in the early 1950s; his sidemen included David Bee and Rudy Bruder.
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She has created numerous works for harp and orchestra, flute and harp, harp alone.Short biography on Classicalmusicnow From 1959 to 1978, she also headed the "Marie- Claire Jamet quintet",Quintette Marie-Claire Jamet composed of a flute, a string trio and a harp. Christian Lardé, José Sanchez, Jacques Dejean, and Pierre DegennePierre Degenne were parts of this renown quintet that left many recordings.
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In February 1941, he was part of the Quintette du Hot Club de France that accompanied Charles Trenet on a recording. At the Liberation of France, Léo Chauliac was part of the Schubert orchestra with André Ekyan, , Pierre FouadPierre Fouad's discography and Henri Crolla. He also performed in the formation of Alix Combelle. In 1945, he was also to become Claude Bolling's teacher.
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Stephane Grappelli, French jazz violinist who co-founded the Quintette du Hot Club de France, performed at Mikell's in the mid-1970s. The band Stuff, formed in 1974, was closely associated with Mikell's, playing there three nights a week until 1980, with jam sessions taking place with visiting soul, jazz and funk stars and singers such as Stevie Wonder and Joe Cocker.
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The bagpipe is found in a wide array of forms in France. The cabrette and grande cornemuse from Auvergne and Berry are best known. These forms are found at least as far back as the 17th century. Prominent bagpipers include Bernard Blanc, Frédéric Paris and Philippe Prieur, as well as bandleader Jean Blanchard of La Grande Bande de Cornemuses and Quintette de Cornemuses.
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Reinhardt was born in Paris, France, on 1 March 1912, two years after his famous brother. In their teens they performed as a duo in the cafes and dance halls. Joseph Reinhardt was a member of the Quintette du Hot Club de France which recorded from 1934 to 1939. Beginning in 1943, he recorded as a solo act and with the Hot Four led by Stéphane Grappelli.
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He won the Deauville again in 1901 (riding Jacobite), 1902 (Maximum), and 1909 (Biniou). He won the 1911 Epsom Derby (riding Sunstar). He was a six-time winner of the Prix du Jockey Club’s French Derby—in 1901 (Saxon), 1904 (Ajax), 1908 (Quintette), 1913 (Dagor), 1914 (Sardanapale), and 1922 (Ramus). He won the Grand Prix de Paris in 1904 (Ajax), 1913 (Bruleur), 1914 (Sardanapale), and 1922 (Ramus).
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Crump's career started out in the 1920s. Vitaphone filmed his performance with the Norman Thomas Quintette in the short film Harlem-Mania. He would get off his seat and move around doing stunts, tricks, and laughing audibly. He also performed on film with Victor Feldman in the 1942 comedy film King Arthur Was a Gentleman in an act where he drummed on glasses and his own teeth.
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Louis Vola (La Seyne-sur-Mer, France, 6 July 1902 – 15 August 1990, Paris), was a French double-bassist known for his work with the Quintette du Hot Club de France. He is the godfather of guitarist Francois Vola. As well as the Hot Club de France, Vola played bass for Ray Ventura, Duke Ellington and singer Charles Trenet. He was also an accomplished accordionist.
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Venuti was in a popular duo with guitarist Eddie Lang beginning in the 1920s. Grappelli was a member of the gypsy jazz group Quintette du Hot Club de France with guitarist Django Reinhardt. In the 1930s when swing was dominant, other violinists included Darnell Howard, Ray Nance, Ray Perry, Svend Asmussen, and Michel Warlop. Perry and Ginger Smock provided a link from swing violin to bebop.
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Emma Aline Osgood was born in Boston, Massachusetts, circa 1852. Her family was eminently musical, and her father had a rich basso voice, while the full toned contralto of her mother was known throughout the New England area close to their home. She began singing here in the choirs at church on Sundays. Her first appearance in public was in Boston, when in 1873, she sang with the Beethoven Quintette Club.
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"He made his own ammunition," said John, "We had a target range in our basement in Queens where he practiced for pistol competitions". Williams was a marine instructor during World War II, specializing in the use of the Colt .45 handguns. An early Raymond Scott composition on which Williams fired a loaded pistol on microphone in the pre-Quintette days was a novelty entitled "Duet For Pistol and Piano".
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He succeeded Pierre Jamet within the "Quintette instrumental de Paris".Interview of Bernard Galais by Marie-Claire Jamet, bulletin 38 PE 00 (2000) de l'Association internationale des harpistes et amis de la harpe. His 80th birthday is celebrated at the International Association of Harpists and Friends of the Harp by the performance of several of his pieces during a concert exclusively dedicated to him, with students from all over France.
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According to one scholar, the popularity of composer Felix Mendelssohn in America "gained momentum sharply after 1848, when more German musicians, some of whom had been Mendelssohn's pupils, emigrated to America. ... Influential ... was the Mendelssohn Quintette Club, which presented early American performances of several of Mendelssohn's works, including the Quintet in A major, Op. 18, with which the ensemble opened its first concert in 1849."Joseph A. Mussulman. Mendelssohnism in America.
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In July 2009, China Investment Corporation bought a 17% stake in Teck for C$1.74 billion. In 2012, the Company announced record earning, record profit and record production, thus ending the year 2011 with C$4.4 billion in cash. Besides expanding into the energy sector, the company was also executing two major projects in Chile and planning a C$600 million restart of its Quintette Mine near Tumbler Ridge, British Columbia.
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Chaput grew up in the Parisian suburb known as Ménilmontant, where he learned to play the guitar and mandolin. He first performed on banjo in the bal-musette groups of Michel Péguri and Albert Carrara. In 1931, he joined the jazz ensemble of double-bassist Louis Vola. In 1934, Chaput and Vola joined the Quintette du Hot Club de France with Django Reinhardt, Stéphane Grappelli and Joseph Reinhardt.
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Oxford Music Online Nightclubs: France The Hotel Claridge, at 74 avenue des Champs-Élysées, featured the double bass player Louis Vola's orchestra which played as the evening entertainment during the daily the dansant; this group gave both Django Reinhardt and Stephane Grappelli, who were members, the opportunity to jam between sets. It was during one of these informal jam sessions that members of the Hot Club "discovered" the pair. The Salle Gaveau at 45 rue La Boetie was regularly used for jazz concerts; Pierre Nourry organized an appearance of the Quintette du Hot Club de France on 20 October 1937 and the group performed there again in March of the next year. The Salle Pleyel at 252 rue du Faubourg-Saint-Honore was the venue for several important jazz performances beginning in the years before World War II. The Quintette du Hot Club de France and several American artists, including Louis Armstrong, Duke Ellington, and Cab Calloway, performed there in the pre-war years.
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The Capping Sextet is a male voice ensemble consisting of six members who sing three songs during each half of the show. Earliest surviving records show a group called 'The Coons' appearing in 1903. Although it is not clear what they sang, the majority of material in the early concerts was topical. In 1905 the group was listed as the ‘Coon Tableau and Cake Walk’ and in 1906 they were called a ‘Character Quartette’. 1910 saw their number increase to a ‘Quintette’ and as early as 1911 the group was becoming famous for their topical songs. These were sometimes as long as 15 verses, with each verse commenting on a different local or campus based topic. The first time the name ‘Sextette’ was used was in 1912, however the group numbered five from 1913–1915. With the outbreak of war Capping Concerts from 1916–1918 were suspended. 1919 saw the return of the show and the return of a ‘Quintette’.
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By the late 1940s, Grappelli's style of violin swing was out of fashion, and Django, no longer performing regularly, had become interested in playing modern jazz inspired by American bebop musicians such as Dizzy Gillespie. Django pursued modern jazz until his death in 1953, while Grappelli played and recorded mainstream swing music throughout the 1950s and 1960s when he was active on the music scene. Throughout the 1950s and 1960s, a handful of European guitarists continued to play acoustic jazz guitar in the style of Django Reinhardt, largely ignored by the jazz press and with few opportunities to record or tour. Musicians such as Baro and Matelo Ferret (both of whom were sometime-members of the Quintette du Hot Club de France), Etienne Patotte Bousquet, and Tchan Tchou Vidal kept the sound of the Quintette alive, often mixing musette waltzes and traditional tunes with the American popular songs and original compositions favored by Django and Grappelli.
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In the 1938 film Rebecca of Sunnybrook Farm, Shirley Temple sings a version of the song. Trumpeter Al Hirt's 1964 rendition with Arthur Fiedler and the Boston Pops performed a version. "In an Eighteenth-Century Drawing Room" is a pop adaptation of the opening theme from Mozart's Piano Sonata in C, K. 545. Image:ToyTrumpetFinale.PNG Opening bars of melody line of "The Toy Trumpet" In 1939 Scott turned his Quintette into a big band.
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There are a number of Sinti notable for their contributions in music. Django Reinhardt was a guitarist who fused traditional dance hall musettes with American jazz in 1930s and 1940s. Along with Stéphane Grappelli and other members of the Quintette du Hot Club de France, he founded the style of music known as Gypsy jazz. Other notable Sinti musicians include Schnuckenack Reinhardt, Drafi Deutscher, and the jazz guitarists Jimmy Rosenberg and Paulus Schäfer.
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Born in Vineuil-Saint-Firmin, Oise, the son of painters Robert Delaunay and Sonia Delaunay, Charles Delaunay was one of the founders of the Hot Club de France. Together with Hugues Panassié he initiated the Quintette du Hot Club de France with Django Reinhardt and Stephane Grappelli. He also organised concerts, for example with Benny Carter. In 1935, together with Panassié he founded Le Jazz Hot, one of the oldest jazz magazines.
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These included the actor Fernandel, the film director and playwright Sacha Guitry, and the singers Édith Piaf, Tino Rossi, Charles Trenet and Yves Montand. The jazz musician Django Reinhardt played with the Quintette du Hot Club de France for German and French fans. In 1941, Maurice Chevalier performed a new revue in the Casino de Paris: Bonjour Paris. The songs Ça sent si bon la France and La Chanson du maçon became hits.
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New contracts with the Japanese consortium, signed 1997, moved production to the lower cost Bullmoose mine but guaranteed production until 2003 when that mine was expected to be exhausted. The Quintette mine was closed altogether on August 31, 2000. While there was an intent by the town's planners to move to a more diversified economy, the few initiatives in this direction were not supported by the industries or local decision-makers.Halseth (2003), 145.
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The Quinteto (em forma de chôros) (Fr.: Quintette (en forme de chôros) = Quintet (in the Form of a Chôros)) is a chamber-music composition by the Brazilian composer Heitor Villa-Lobos, written in 1928. Originally scored for five woodwind instruments (flute, oboe, cor anglais, clarinet, and bassoon), it is most often performed in an arrangement for the conventional wind quintet of flute, oboe, clarinet, horn, and bassoon. A performance lasts about eleven minutes.
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Kāua I Ka Huahuaʻi, translated as "We Two in the Spray", is considered one of Leleiohoku's greatest compositions. The song dates to the 1860s written when the Prince was 10–14 years old. It was recorded in 1913 by the Hawaiian Quintette. The song became popular around 1930, when Johnny Noble, bandleader at the Moana Hotel on Waikiki Beach, transformed it into the very jazzy: "Tahuwahuwai", better known as The Hawaiian War Chant.
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Niculescu met Grappelli in 1994. Grappelli proposed they record an album, but Niculescu declined, believing that he didn't deserve the honor. He hoped to receive some lessons from Grappelli but Grappelli told him that he has nothing to teach him as the Romani had a fantastic natural technique. In 1995 he joined Romane's band, and in 2001 he was invited by Biréli Lagrène to join his Gipsy Project inspired by the Quintette du Hot Club de France.
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In the early 1980s the railway built a new line and acquired another. The Tumbler Ridge Subdivision, an electrified branch line, opened in 1983 to the Quintette and Bullmoose mines, two coal mines northeast of Prince George that produced coal for Japan. It has the lowest crossing of the Rocky Mountains by a railway, at 3,815 feet (1,163 m). There are two large tunnels under the mountains: The Table Tunnel, long, and the Wolverine Tunnel, long.
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He based the quartet on the Quintette du Hot Club de France. He began a solo career and toured throughout Europe and the UK. He has played with American jazz musicians such as Charlie Byrd, Al Casey, Scott Hamilton, Milt Hinton, and Benny Waters. Briefly he performed with Stéphane Grappelli. Lafertin has used the 12-string guitarra, combining Portuguese fado and Brazilian samba with the music of Reinhardt, Duke Ellington, and the Great American Songbook in his repertoire.
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In 1973, British guitarist Diz Disley helped persuade Grappelli to return to performing with an all-strings jazz group inspired by the Quintette du Hot Club de France, and Grappelli toured and recorded often using this format during the 1970s. Simultaneously, a revival of the Quintette's sound by a younger generation of artists was underway, with musicians like Fapy Lafertin, Raphaël Faÿs, and Biréli Lagrène helping to establish the Gypsy jazz subgenre as a popular style worldwide.
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Stéphane Grappelli founded the gypsy jazz Quintette du Hot Club de France with guitarist Django Reinhardt before World War II. Jazz violin began in New Orleans in the early 1900s. Arrangements for ragtime orchestras had parts for violins in which they were as important as the other instruments. The violin was a lead instrument in the recordings of A. J. Piron, whose trumpeter Peter Bocage also played violin. Alphonso Trent and Andy Kirk employed violinists in their territory bands.
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Jean Reinhardt (23 January 1910 – 16 May 1953), known to all by his Romani nickname Django ( or ), was a Belgian-born Romani-French jazz guitarist and composer. He was the first major jazz talent to emerge from Europe and remains the most significant. With violinist Stéphane Grappelli, Reinhardt formed the Paris-based Quintette du Hot Club de France in 1934. The group was among the first to play jazz that featured the guitar as a lead instrument.
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The Quintette du Hot Club de France played acoustically without a drummer, facilitating the use of the acoustic guitar as a lead instrument. Guitar and violin are still the main solo instruments, although clarinet, saxophone, mandolin, and accordion are sometimes used. The rhythm guitar is played using a distinct percussive technique, "la pompe", which essentially replaces the drums. Most gypsy jazz guitarists, lead and rhythm, play a version of the Selmer-Maccaferri guitar design favored by Reinhardt.
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Born in Plymouth, England, to Harry Lomax Davis and Queenie Davis, she began to sing for the Oscar Rabin Band, co-led by her father and saxophonist Oscar Rabin, at the age of eight, eventually turning professional and singing with, among others, Oscar Rabin, Geraldo, and the Sky Rockets Dance Orchestra. From the age of just 12, accompanied by a chaperone, she also performed and recorded with Django Reinhardt in Paris and on several European tours, and was the featured singer with the Quintette du Hot Club de France during their tour of the U.K. in July-August 1939, including a performance with the Quintette for BBC Television (broadcast in August 1939), of which, unfortunately, no copy appears to survive. She became popular singing for British and Allied troops during World War II, during which time Glenn Miller discovered her in London, and she sang for the Army Air Force Orchestra. After the second world war, she moved to Los Angeles with her father's big band, and with Frank Sinatra for one year on Your Hit Parade.
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By 1930, Parisians were listening to recordings of American jazz; Duke Ellington brought his orchestra to Paris in 1932, Louis Armstrong and Cab Calloway in 1934, Bill Coleman, Coleman Hawkins and Benny Carter in 1935. The first famous Paris jazz club, the Hot Club de Paris, was founded in 1932. The first famous French jazz group, the Quintette de Hot Club. was formed in 1934; its members were Django Reinhardt, his brother Joseph, Stephane Grapelli, Louis Vola and Roger Chaput.
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While he was in Paris, he with Arthur Briggs and put together a band. Between late 1933 and 1934 Johnson worked with Freddy Taylor's band, and then in February 1934 Johnson left Paris to work in Belgium and The Netherlands. In the mid 1930s he made some recordings with the Quintette du Hot Club de France. While living in Amsterdam, he co-lead a band with Lex Van Spall, and they played regularly at the Negro Palace in a trio with Coleman Hawkins.
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Decca Records in the United States released three records of Quintette songs with Reinhardt on guitar, and one other, credited to "Stephane Grappelli & His Hot 4 with Django Reinhardt", in 1935. Reinhardt also played and recorded with many American jazz musicians, such as Adelaide Hall, Coleman Hawkins, Benny Carter, and Rex Stewart (who later stayed in Paris). He participated in a jam session and radio performance with Louis Armstrong. Later in his career, Reinhardt played with Dizzy Gillespie in France.
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Through Isaacs, Taylor was introduced to Stéphane Grappelli, former violinist of the Quintette du Hot Club de France, in which he played with Django Reinhardt. When one of Grappelli's band members was injured, Taylor was invited to play a few European dates. When Grappelli invited him to join full-time, Taylor accepted and performed and recorded with him for the next eleven years, occupying the position once held by his idol, Django Reinhardt. His success with Grappelli allowed Taylor more freedom.
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1937 release as a Swing 78 "Minor Swing" is a gypsy jazz tune composed by Django Reinhardt and Stéphane Grappelli. It was recorded by The Quintet of the Hot Club of France in 1937. It was recorded five other times throughout Reinhardt's career and is considered to be one of his signature compositions. The composition was first released as a 78 single by Swing in 1937 with Django Reinhardt and Stéphane Grappelli in the Quintette du Hot Club de France.
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Columbo did an album on the Strand label called Jazz: Re- Discovering Old Favorites by the Chris Columbo Quintette including a version of "Summertime" featuring organist Johnny "Hammond" Smith. This record (with flip side an uptempo minor blues called "" ) was fairly successful on radio in the early 1960s. Columbo flipped his sticks in the air, bounced them off the floor and often leaped from a motorcycle seat which was his drum throne. His son was the Count Basie Orchestra drummer Sonny Payne.
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Television Greats: Lew Grade, Television Heaven entry. Decades later, the then octogenarian Lord Grade once danced the Charleston at a party Arthur Ochs Sulzberger gave in New York. Signed as a dancer by Joe Collins (father of Jackie and Joan Collins) in 1931, around 1934, Grade went into partnership with him and became a talent agent in their company Collins & Grade. Among their earliest clients were the harmonica player Larry Adler and the jazz group Quintette du Hot Club de France.
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Giraud began his career playing the harmonica with Django Reinhardt's jazz group, the Quintette du Hot Club de France. In 1941, he was recruited by Ray Ventura to play the guitar during Ventura's big-band tour of South America. Six years later, he joined Jacques Hélian's orchestra in scoring a series of post-war romantic comedy films, including Georges Combert's 1951 feature, Musique en tête. His song "Dors, mon amour", performed by André Claveau, won the Eurovision Song Contest 1958.
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In addition to the standard jazz drum and cymbal setup, Williams used a lot of cowbell, wood block, and tuned percussion. He had a flawless sense of timing, and was able to execute faithfully the abrupt tempo shifts of Scott's dynamic arrangements. Existing film clips of the Quintette show Williams displaying a high degree of showmanship, including stick twirls, tom- tom rides, and popgun rim-shots. His theatrical, effects-heavy approach predated and no doubt influenced the hyperactive style of musician-comedian Spike Jones.
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Oxford Music Online Nightclubs, France The Ecole Normale de Musique de Paris at 78 rue Cardinet, at boulevard Malesherbes, was used by the Hot Club de France for many of its concerts from the 1930s to 1954, beginning with the first performance by the Quintette du Hot Club de France on 2 December 1934. Among the musicians whom the Hot Club presented here were Garland Wilson, Bill Coleman, Benny Carter, and Eddie South. Further jazz concerts were given at the Ecole in 1962, 1966, and 1968.
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Eve Ferret is the eldest of three children born in Pimlico, London. Mother, Janet is one of seven sisters also raised in Pimlico and was a professional Tea Lady. Her father, Paul Ferret from Barnet, painted the Pimlico houses in summer and at one point delivered the coal in winter. Eve and her family are related to the Gypsy Jazz guitarists Pierre 'Baro' Ferret, Jean 'Matelo' Ferret, and Etienne 'Sarane' Ferret who played with Django Reinhardt in the Quintette of the Hot Club Of France.
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The uncertainty dissuaded investment and kept the economy from diversifying. When price reductions were forced onto the mines, the Quintette mine was closed in 2000 production and the town lost about half its population. Coal prices began to rise after the turn of the century, leading to the opening of the Peace River Coal Trend mine by Northern Energy & Mining Inc. (now owned by Anglo American Met Coal) and the Wolverine Mine, originally owned by Western Canadian Coal, which was purchased by Walter Energy in 2010.
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This allowed Teck to acquire 50% interest and take over management of the Quintette mine, but it was unable to stop further job losses."More layoffs in northeast B.C.", CBC News, June 24, 1999. As most residents left town, apartment blocks were closed and the mine companies bought back all but 11 houses in the town. After 30% of the workforce had been laid off, new contracts with the Japanese consortium were signed in 1997, allowing re- hirings to begin, but with lower export levels.
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On Long Island, he studied guitar at the Cultural Arts Center. Early in his career, he went to used record stores to buy albums by musicians whose work he didn't know, so that he could study their music. In 1987, when he was 23, he formed the Hot Club Quintet, named after the Quintette du Hot Club de France. In the early 1990s, he was in New York City, playing in groups with Max Morath, Andy Stein, Herman Foster, Joe Ascione, and tuba player Sam Pilafian.
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Grappelli's popularity and public appearances helped to rekindle an interest in gypsy jazz among listeners who were too young to have experienced the prewar Quintette of Django Reinhardt. In the 2010s and 2020s, as in the past, the gypsy jazz style (which has become a part of their own "folklore", taking Reinhardt as a role model) is once again passed on from one generation to the next in Manouche/Sinti gypsy communities, children learning from their relatives at an early age, able to master the basics almost before they can hold a normal-sized guitar in their hands. What today is called "gypsy jazz" was not played exclusively by gypsies even from the start: of the original Quintette, only Django and his brother Joseph were gypsies (although later, various other gypsy players were called upon to perform rhythm guitar duties), and Django himself played in a straight (non "gypsy") jazz context on many occasions with other artists. Similarly, late-era Reinhardt recordings are generally closer to bebop and well away from the classic "hot club" sound, and arguably do not fall under the term "gypsy jazz" as generally used today.
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The artistic salon resumed activity as before, introducing to R-26 singer Josephine Baker, a mutual friend of Le Corbusier and Tranchant. Django Reinhardt and Stéphane Grappelli continued to favor R-26 as an informal rehearsal space for the Quintette du Hot Club de France, often improvising with other members of the salon. In 1947, in honor of ten years spent at R-26 as guests of the Perrier family, Reinhardt and Grappelli composed the song "R. vingt-six", to be used as an anthem among the salon's members.
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Gustav Dannreuther (July 21, 1853 – December 19, 1923) was a violinist and conductor from Cincinnati, Ohio. In 1871, at the age of 18, he was sent to the Berlin University of the Arts, where he studied violin under Heinrich De Ahna and famed violinist Joseph Joachim. He left the school in 1874, spent six months in Paris, and then publicly taught and played in London until 1877. Later, until 1880, he was a member of the Mendelssohn Quintette Club of Boston, traveling through the United States, and Canada, including Newfoundland.
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He is renowned for his attentive, sensitive playing and wide repertoire, which ranges from sonatas to larger ensemble pieces, as well as lieder, of which he is particularly fond. He has collaborated with such artists as Roland Daugareil, Henri Demarquette, Laurent Korcia, Sarah Nemtanu, the Court-Circuit Ensemble, the Ebène Philarmoniker Quintette. He recorded several CDs for piano (Ravel -Audite, Brahms -Claudio Records) and chamber music (Naïve, Cristal, Saphir). In 2012, he performed the Piano Concerto No. 2 (Camille Saint-Saëns) with the Orchestre de Paris and Alain Altinoglu as conductor.
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Fusing Bach and jazz was unique at the time. After six years of studies, Loussier traveled to the Middle East and Latin America, where he was inspired by different sounds. He stayed in Cuba for a year. Early in his career, Loussier was an accompanist for the singers Frank Alamo, Charles Aznavour, Léo Ferré and Catherine Sauvage. In 1959, he formed the Jacques Loussier Trio with string bass player Pierre Michelot—who had played with Django Reinhardt and the Quintette du Hot Club de France—and percussionist Christian Garros.
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Taylor was born in Harlow, Essex, into a family with a musical heritage and a Gypsy tradition. At the age of four, he received his first guitar from his father, jazz bassist William 'Buck' Taylor who only took up music at 30. Buck frequently played the music of the Quintette du Hot Club de France, so the young Martin Taylor became inspired by guitarist Django Reinhardt. At age eight, he was already playing in his father's band and at 15 he quit school to become a professional musician.
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He subsequently became the protégé of the poet Robert de Montesquiou (1855-1921), the countess Metternich and the princess Rachel de Brancovan. He gave recitals, but also wrote compositions for piano, including Soirée d'amour (1895), Quintette des fleurs (1896), Mandolines à la Passante and Cinq Fantaisies, and a Concerto (1898) and a Konzertstück for piano and orchestra. In 1894 he came into contact with Marcel Proust; they became friends, and he set one of Proust's poems, "Mensonges" (Lies) to music. Delafosse dedicated compositions to both Montesquiou and Proust.
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She enjoyed recalling lunching with Fritz Kreisler while on tour, as he was also touring the same area. Upon returning to the U.S., she continued her private study with Salzedo, toured as first harpist in the Salzedo Harp Ensemble throughout the U.S., and with her own Lawrence Harp Quintette on smaller engagements. She then married Salzedo, an event that was noted in the Minneapolis Journal, but they were later divorced in 1936. She subsequently married Paul Dahlstrom, a colleague from Radio City Music Hall, and they had a family together.
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According to an account in a book by Michael Dregni, Grappelli played a chorus, then Reinhardt began to improvise. Sometimes they were accompanied on double bass by Louis Vola, the band's leader, and on rhythm guitar by Roger Chaput. This was the core of Reinhardt's band. The addition of Reinhardt's brother Joseph on rhythm guitar made it the Quintette du Hot Club de France.This is a generalised account drawing from material in a range of sources, including Michael Dregni's two comprehensive accounts (2006 and 2008) in particular (see "Further reading" for full details).
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Scott controlled the band's repertoire and style, but he rarely took piano solos, preferring to direct the band from the keyboard and leave solos and leads to his sidemen. He also had a penchant for adapting classical motifs in his compositions. The Quintette existed from 1937 to 1939 and recorded bestselling discs such as "Twilight in Turkey", "Minuet in Jazz", "War Dance for Wooden Indians", "Reckless Night on Board an Ocean Liner", "Powerhouse", and "The Penguin." One of Scott's popular compositions is "The Toy Trumpet", a cheerful pop confection that is instantly recognizable to many people who cannot name the title or composer.
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Beryl Davis (16 March 1924 – 28 October 2011) was a vocalist who sang with British and American big bands, as well as being an occasional featured vocalist at a very young age with the Quintette du Hot Club de France between 1936 and 1939. She was still performing (in her 80s) into the 2000s, possibly the last surviving and performing singer of the generation of popular entertainers from the 1930s and wartime years. Her younger sister is Lisa Davis Waltz, a teen actress in the 1950s and 1960s and later, the voice of Anita in Disney's 101 Dalmatians.
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John Neely (January 29, 1930 in Chicago - October 8, 1994 in Richton Park, Illinois) was a jazz tenor saxophonist and arranger. A member of King Fleming's Quintette (with Russell Williams and Lorez Alexandria) which recorded for the Chicago-based Blue Lake label in early 1954, he had played with Clifford Jordan in 1949.Campbell, Robert L.; Pruter, Robert and Büttner, Armin "The King Fleming Discography" In 1960, Neely recorded with pianist Earl Washington for the Formal label in a band which included Walter Perkins on drums. That same year, Neely went on to join the Lionel Hampton band.
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The Hot Club de France, as it was an association, did not own its own club until 1969.Oxford Music Online CONSORT Web Catalog - pverify2 (wam) Nightclubs: France. Retrieved 20 April 2012. The Club focused its energies on planning and producing events at several major Paris clubs between its inception in 1932 and its acquisition of the Cave du Hot Club de France at 9 rue Pavee in 1969.CONSORT Web Catalog - pverify2 (wam) Oxford Music Online; Nightclubs: France Before 1930, the Quintette du Hot Club de France could be heard at the Casanova Club on Rue Fromentin.
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Over time, social structures regarding racial segregation began to relax in America: white bandleaders began to recruit black musicians and black bandleaders. In the mid-1930s, Benny Goodman hired pianist Teddy Wilson, vibraphonist Lionel Hampton, and guitarist Charlie Christian to join small groups. Kansas City Jazz in the 1930s as exemplified by tenor saxophonist Lester Young marked the transition from big bands to the bebop influence of the 1940s. Outside of the United States the beginnings of a distinct European style of jazz emerged in France with the Quintette du Hot Club de France which began in 1934.
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Colonna started his career as a trombonist in orchestras and dance bands in and around his native Boston; he can be heard with Joe Herlihy's orchestra on discs recorded for Edison Records in the late 1920s. During the 1930s, Colonna played with the CBS house orchestra, the Columbia Symphony Orchestra, and developed a reputation for prankishness. During his tenure at CBS he occasionally worked under bandleader Raymond Scott, and made several recordings with Scott's famous Quintette which involved Colonna mouthing nonsense syllables over Scott's band. His off-stage antics were so calamitous that CBS nearly fired him on more than one occasion.
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"Blue Smoke" TANZA Green Label 1, was recorded by Pixie Williams and the Ruru Karaitiana Quintette. The song though labeled as recorded 3 October 1948, was actually recorded February 1949 and released about March/April 1949; it sold over 50,000 copies. The second TANZA record was Paekakariki: The land of the Tiki by Ken Avery. Other artists recorded included The Tumbleweeds, the Star Dusters, Pat McMinn, Esme Stephens, Crombie Murdoch and jazz vocalist Mavis Rivers. About 300 78s were pressed (excluding private recordings), plus 31 45s (26 & 5 EP) and 4 LPs (3 10” & 1 12”).
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Lorrell is in tears as Jimmy takes to the stage to perform, and turns to Deena for support. As Jimmy pleads to Lorrell through his music ("I Meant You No Harm"), Deena tries to help Lorrell successfully resolve her situation, and Michelle convinces the artistically frustrated C.C. to go find his sister and reconcile with her ("Quintette"). Midway through "I Meant You No Harm", Jimmy falls apart and decides that he "can't sing any more sad songs." Desperate to keep his set going, Jimmy launches into a wild, improvised funk number ("The Rap"), dropping his pants during the performance.
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Much of the music presented by the Jazz Repertory Company had been popular in its day but was now in danger of sinking into obscurity. An example of this was the music of Raymond Scott which formed part of the programme of 2009’s Chamber Jazz. Scott’s Quintette racked up numerous big-selling discs and he later ended up selling his back catalogue to Warner Brothers who took the music and utilised it in many of their Looney Tunes cartoons. Scott’s Powerhouse was used nine times by Warner Brothers and recently was recycled in an episode of The Simpsons.
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Livingston began his career as a comedian in the critically acclaimed quintette 'Open Season'. The group toured the U.S. and Canada, headlining clubs and colleges and becoming regulars at L.A's Comedy Store, New York's Comic Strip and Improv, where they would often share the stage with Jerry Seinfeld, Adam Sandler and Chris Rock. Livingston co-wrote and produced the group's novelty song "The Shakespeare Rap," which became a top 10 hit on the Dr. Demento radio show, and became the group's signature bit. During the slim non-touring time, Todd took gigs acting for network TV and movies, including Unsolved Mysteries and Umberto Lenzi’s cult horror favorite Hitcher in the Dark.
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After U.S. Realty constructed the New York Hippodrome, Madison Square Garden was no longer the venue of choice, and survived largely by staging boxing matches. The base of the Flatiron became a cruising spot for gay men, including some male prostitutes. Nonetheless, in 1911 the Flatiron Restaurant was bought by Louis Bustanoby, of the well-known Café des Beaux-Arts, and converted into a trendy 400-seat French restaurant, Taverne Louis. As an innovation to attract customers away from another restaurant opened by his brothers, Bustanoby hired a black musical group, Louis Mitchell and his Southern Symphony Quintette, to play dance tunes at the Taverne and the Café.
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However, there was a scholarship to study the double bass which he took up. At the Vienna Conservatory, he studied double bass with Franz Simandl; harmony, counterpoint, and composition with Anton Bruckner; and conducting with Joseph Hellmesberger. Graduating in 1876, he moved to the United States where he performed with the Theodore Thomas Orchestra, the Mendelssohn Quintette Club of Boston, and the Boston Symphony Orchestra. He joined the Philharmonic Society of New York and the Philharmonic Club, which later turned into the New York Philharmonic in 1880, eventually becoming principal bass of the ensemble in 1892, and later performed with the Metropolitan Opera Orchestra.
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Pascal Bastia was the son of chansonnier-songwriter, singer, actor, filmmaker Jean Bastia (1878-1940), born in a family from the Corsican village of Vescovato. The cartoonist Georges Bastia and the film director Jean Bastia were his brothers. He made his debut aged 19 with two works written under the pseudonym Irving Paris, Ma Femme (1927) and Un joli monsieur, but encountered real success under his real name with the operetta Dix-neuf ans (1933). This play was the first to be inspired by light jazz introduced in France by Mireille and the Quintette du Hot Club de France around Stéphane Grappelli and Django Reinhardt.
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The Biddleville Quintette was a vocal group from the Biddleville neighborhood of Charlotte, North Carolina, United States, who recorded traditional black gospel for Paramount Records between 1926 and 1929. Although little information is available about the ensemble, the group is thought to have been led by a laborer, Adam Brown, and comprised four male singers and one woman. Their 36 recordings, released by Paramount on 78 rpm records, have become prized by collectors for their "passionate intensity and soulful delivery", featuring "call and response sanctified singing and sermons peppered with emphatic shouts and hollers. The 1929 recordings include instances of shape- note singing and progressive congregational polyphony...".
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Membership in the Raymond Scott Quintette and other commercial work while based in New York preceded his Army service stateside. By mid-1941, at Fort Dix (NJ) he—officially Sergeant Herbert Bernfeld—was leader of a 14-piece swing band.Beckett, Henry. "They're Swinging 'The Stars and Stripes Forever' Down Fort Dix Way." New York Post, 23 July 1941. Fields's group received some publicity as the first Army unit of its type, though another also performing in mid-1941 was the 369th's ensemble of African-American musicians, based in Fort Ontario."369th Band Took First Honors in Swing Tourney." Oswego (NY) Palladium-Times, 6 August 1941.
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After the demise of the Master label late in 1937, "Powerhouse" was reissued on Brunswick 7993, and subsequently on Columbia 36311 (after the CBS purchase of ARC, which included the Brunswick catalog). The same take was issued on all releases.78discography.com MASTER Records numerical listing discography (An unreleased 1939 recording by the original Scott Quintette was issued in 2002 on the 2-CD Scott compilation Microphone Music.) Both "Powerhouse" and "The Toy Trumpet" remained in Scott's repertoire for decades, both were adapted for Warner Bros. cartoon soundtracks by WB music director Carl Stalling along with a dozen other Scott titles, and both have been recorded by numerous other artists.
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In Paris on 14 March 1933, Reinhardt recorded two takes each of "Parce-que je vous aime" and "Si, j'aime Suzy", vocal numbers with lots of guitar fills and guitar support. He used three guitarists along with an accordion lead, violin, and bass. In August 1934, he made other recordings with more than one guitar (Joseph Reinhardt, Roger Chaput, and Reinhardt), including the first recording by the Quintette. In both years the great majority of their recordings featured a wide variety of horns, often in multiples, piano, and other instruments, but the all-string instrumentation is the one most often adopted by emulators of the Hot Club sound.
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In the early 1980s Disley formed a working partnership with gypsy jazz guitar prodigy Bireli Lagrene, with whom he again toured the world, including a return visit to Carnegie Hall.The Daily Telegraph obituary, 12 April 2010, accessed 13 April 2010 In 1984 Disley was instrumental in forming a club quintet for Nigel Kennedy, who was starting to explore other musical styles. Musicians with Kennedy were Jeff Green, Ian Cruickshank, Nils Solberg (guitars), and Dave Etheridge (bass), who had played with Disley and Denny Wright on their 1973 tour with Grappelli. In 1986, Disley formed the Soho String Quintette with Johnny Van Derrick (violin), Nils Solberg, Jeff Green, and David Etheridge.
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A 1922 map of Florida auto trails shows an unimproved auto trail running from Quintette, south of Molino, through what appears to be the Walnut Hill area, and then to Atmore. It appears that the portion of today's SR 97 from Walnut Hill (starting around mile 15) to its northern terminus corresponds to this 1922 auto trail. The southern portion also appears on this map, but is indicated as an unimportant road. In 1935, the current routing of SR 97, from Molino northwest to Walnut Hill, then north to Atmore, was extant as a third-class graded road, and was signed as SR 87 at the time.
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"Blue Smoke" was the first single to be locally recorded and manufactured in New Zealand, backed by the song "Señorita", and was also the first release on the local TANZA label. The A-side was written by Ruru Karaitiana whilst he was on board a troop ship during World War II, and was recorded in September and October 1948 for release in February the following year by the Ruru Karaitiana Quintette (sic) with Williams on vocals. It was number one on the New Zealand charts for six weeks and sold around 50,000 copies. A self-taught singer, Williams was recommended to Karaitiana by his fiancée Joan, who had sung with her whilst staying at a girls' hostel in Wellington.
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Her first hit record was "Double Crossing Blues", with the Johnny Otis Quintette and the Robins (a vocal group), released in 1950 by Savoy Records, which reached number 1 on the Billboard R&B; chart. She made several hit records for Savoy with the Johnny Otis Orchestra, including "Mistrusting Blues" (a duet with Mel Walker) and "Cupid's Boogie", both of which also went to number 1 that year. Four more of her records made the Top 10 in the same year: "Misery" (number 9), "Deceivin' Blues" (number 4), "Wedding Boogie" (number 6), and "Far Away Blues (Xmas Blues)" (number 6). Few female artists performing in any genre had such success in their debut year.
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While Sarane's Swing Quintette was modelled on that of his great contemporary Django Reinhardt, his sound was somewhat different; commentator Michael Dregni states: "I hear in Sarane's fretwork a more deliberate, perhaps cautious guitarist... [his songs] imbued with a remote, even mysterious atmosphere... melodies floating on entrancing airs of minor-key wistfulness." For most of his career he is pictured with, and recorded with a Selmer guitar as indeed, were most French guitarists of the day; towards the end of his life he also recorded in a more mainstream, electric style as evidenced on his tracks on the album Tribute To Django recorded in 1967 for French radio (album released later, in 1989).
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Thereafter jazz became an important element in many leading dance orchestras, and jazz instrumentalists became numerous. This style entered full swing in France with the Quintette du Hot Club de France, which began in 1934. Much of this French jazz was a combination of African-American jazz and the symphonic styles in which French musicians were well-trained; in this, it is easy to see the inspiration taken from Paul Whiteman since his style was also a fusion of the two. Belgian guitarist Django Reinhardt popularized gypsy jazz, a mix of 1930s American swing, French dance hall "musette", and Eastern European folk with a languid, seductive feel; the main instruments were steel- stringed guitar, violin, and double bass.
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The housing and municipal infrastructure, along with regional infrastructure connecting the new town to other municipalities, were built simultaneously in 1981 by the provincial government to service the coal industry as part of the British Columbia Resources Investment Corporation's Northeast Coal Development. In 1981, a consortium of Japanese steel mills agreed to purchase 100 million tonnes of coal over 15 years for US$7.5 billion from two mining companies, Denison Mines Inc. and the Teck Corporation, who were to operate the Quintette mine and the Bullmoose mine respectively. Declining global coal prices after 1981, and weakening Asian markets in the late 1990s, made the town's future uncertain and kept it from achieving its projected population of 10,000 people.
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Bug Music was an influential independent music publisher in Los Angeles, California. Their clients included Johnny Cash and Roseanne Cash, Los Lobos, Iggy Pop and The Stooges, Del Shannon, Three 6 Mafia, John Lee Hooker, Muddy Waters, Woody Guthrie, John Prine, and Richard Thompson. Widely regarded as a major contributor to the evolution of Los Angeles and independent music, the firm's catalog included songs across genres as diverse blues, punk, Americana, roots music, rockabilly, folk, country, and alternative rock, as well as hip- hop, electronic, and Latin rock. "Bug Music: Music Of The Raymond Scott Quintette, John Kirby & His Orchestra, And The Duke Ellington Orchestra" is the title of a 1996 album by Don Byron on Nonesuch Records.
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Thereafter jazz became an important element in many leading dance orchestras, and jazz instrumentalists became numerous. This style entered full swing in France with the Quintette du Hot Club de France, which began in 1934. Much of this French jazz was a combination of African-American jazz and the symphonic styles in which French musicians were well-trained; in this, it is easy to see the inspiration taken from Paul Whiteman since his style was also a fusion of the two. Belgian guitarist Django Reinhardt popularized gypsy jazz, a mix of 1930s American swing, French dance hall "musette", and Eastern European folk with a languid, seductive feel; the main instruments were steel stringed guitar, violin, and double bass.
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Among them were the Hendel Quartet, whose leader, Georg Friedrich Hendel, became the orchestra's first violin soloist. The ensuing collaboration with top French instrumental soloists was especially fruitful, leading to many tours, recordings and partnerships with soloists such as flautist Jean-Pierre Rampal and the members of his wind ensemble Le Quintette à vent Français. Some 170 LP-records featuring Ristenpart and his Saar Chamber Orchestra have been marketed under license by various record companies all over the world. These include two complete sets of the Brandenburg concertos, the Orchestral Suites and The Art of Fugue, several albums of Bach vocal cantatas, many Telemann, Vivaldi, many Mozart and Haydn works, but also award-winning records of Britten, Roussel and Hindemith pieces.
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Rampal then formed a new and also long-running musical partnership with American pianist John Steele Ritter. Even as he pursued his career as a soloist, Rampal remained a dedicated ensemble player throughout his life. In 1946, he and oboist Pierre Pierlot founded the Quintette a Vent Francais (French Wind Quintet), formed of a group of musical friends who had made their way through the war: Rampal, Pierlot, clarinettist Jacques Lancelot, bassoonist Paul Hongne, and horn-player Gilbert Coursier. Early in 1944 they had played together, broadcasting at night from a secret "cave" radio station at the Club d’essai in rue de Bec, Paris—a programme of music outlawed by the Nazis, including works with Jewish links by composers such as Hindemith, Schoenberg and Milhaud.
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Plaque commemorating Reinhardt at Samois-sur-Seine In 1951, Reinhardt retired to Samois-sur-Seine, near Fontainebleau, where he lived until his death. He continued to play in Paris jazz clubs and began playing electric guitar. (He often used a Selmer fitted with an electric pickup, despite his initial hesitation about the instrument.) In his final recordings, made with his Nouvelle Quintette in the last few months of his life, he had begun moving in a new musical direction, in which he assimilated the vocabulary of bebop and fused it with his own melodic style. On 16 May 1953, while walking from the Gare de Fontainebleau–Avon Station after playing in a Paris club, he collapsed outside his house from a brain hemorrhage.
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The North East Coal Development was projected to create a net benefit of CAD$0.9 billion (2000), but incurred a net loss of $2.8 billion and half the expected regional employment.Gunton, 505. The population declined as many residents were unable to find other work in the town, even as a sawmill for specialty woods opened in 1999. After Teck closed the Quintette mine in August 2000 and shifted production to the lower cost Bullmoose mine, the town council established the Tumbler Ridge Revitalization Task Force to investigate ways to boost and diversify the economy. The Task Force negotiated the return of the housing stock from the mines to the free market, grants from the province to become debt-free,"Tumbler Ridge gets $6-million bail out", CBC News, October 27, 2000.
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Parisian and Italian musicians who played the accordion adopted the style and established themselves in Auvergnat bars especially in the 19th arrondissement, and the romantic sounds of the accordion has since become one of the musical icons of the city. Paris became a major centre for jazz and still attracts jazz musicians from all around the world to its clubs and cafés. Paris is the spiritual home of gypsy jazz in particular, and many of the Parisian jazzmen who developed in the first half of the 20th century began by playing Bal-musette in the city. Django Reinhardt rose to fame in Paris, having moved to the 18th arrondissement in a caravan as a young boy, and performed with violinist Stéphane Grappelli and their Quintette du Hot Club de France in the 1930s and 1940s.
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The band's name comes from two sources: "Hot Club" from the hot jazz guitarist Django Reinhardt and violinist Stephane Grappelli's Quintette du Hot Club de France, and "Cowtown" from the western influence of Bob Wills and His Texas Playboys and other early Western swing combos, as well as the band's love of fiddle tunes, hoedowns, and songs of the American west. Whit Smith (from Cape Cod, Massachusetts) and Elana James (from Prairie Village, Kansas) met through an ad in the classified music section of The Village Voice in 1994. They played together in New York City before moving to San Diego in 1997, where they spent a year playing for tips and building up their repertoire. In 1998 they moved to Austin, Texas and two years later added Jake Erwin (from Tulsa, Oklahoma) on bass.
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In addition, many gypsy guitarists of the 1950s and decades immediately following—including Django's own sons Lousson and Babik—did not generally play gypsy jazz in the hot club style, although they were indeed gypsies who were playing jazz. Likewise, a number of today's "gypsy jazz" exponents are non-gypsies, in addition to the more well known gypsy players. Thus, the term has become attached to the style of playing rather than strictly reflecting the ethnic affiliation of the players. Django himself would not have known the term "gypsy jazz" in any case; for him he was simply playing jazz, and the Quintette was simply a popular jazz (or dance band) outfit of the day,Denis Chang: Django legacy - the music of Django Reinhardt & the birth of gypsy jazz. www.djangobooks.
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Joseph Anderer is principal horn and a founding member of St. Luke’s Chamber Ensemble and the Orchestra of St. Luke's. He has also been a member of the Metropolitan Opera Orchestra’s horn section since 1984, serving as acting Principal Horn for season 1984-5 and has been Principal Horn since 2003-2004. Before joining the Met Orchestra, he was a frequent performer with the New York Philharmonic for fourteen seasons, and participated in many concerts, recordings and tours in the US, Europe, Asia, Australia and South America. He was also a member of the Boehm Quintette for many years, and premiered many works composed for that ensemble. As soloist, he has appeared with the Orchestra of St. Luke’s in Carnegie Hall including performing as soloist in the American premier of Benjamin Britten’s “Now Sleeps the Crimson Petal”, as well as at many festivals.
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At the time the Hot Club began promoting concerts for the Quintette du Hot Club de France, Charles Delaunay was the Secretary General of the club and Hugues Panassie was the President; these men often occupied different top positions amongst the heads of the group, but which roles each filled during which time period is hard to determine strictly from their involvement. Both men accomplished a great amount of work with the Club prior to their schism in 1947. The Hot Club has often adopted a fairly rigid stance in terms of the music it promotes; throughout its history the club has perpetuated the idea that only jazz rooted in the swing and blues traditions of African-American music is "authentic."Rye, Howard. CONSORT Web Catalog - pverify2 (wam), Oxford Music Online Hot Club de France, Retrieved on 20 April 2012.
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The Quintette du Hot Club de France was founded with the help of Pierre Nourry and, later, the full backing of the Hot Club. In August 1934, Nourry, then secretary of the Hot Club, vouched for Django Reinhardt and his talents when he brought him and Nin-Nin Reinhardt into the Publicis Studios, a recording studio for amateur musicians. Nourry paid 80 francs of his money to have them recorded and even tracked down a bassist, Juan Fernandez of Martinique, to round out a trio. The discs made during this session were sent to jazz critics to showcase the new "Jazz a Cordes" style. Pierre Nourry and Charles Delaunay then approached the Odeon label for the purpose of acquiring an audition for the full quintet; on 9 October 1934, the quintet came to the Odeon studio for their audition.
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This provides an exemplary demonstration > of that logical principle of seriality: every situation must occur once and > only once . Henri Pousseur, after initially working with twelve-tone technique in works like Sept Versets (1950) and Trois Chants sacrés (1951), > evolved away from this bond in Symphonies pour quinze Solistes [1954–55] and > in the Quintette [à la mémoire d’Anton Webern, 1955], and from around the > time of Impromptu [1955] encounters whole new dimensions of application and > new functions. > The twelve-tone series loses its imperative function as a prohibiting, > regulating, and patterning authority; its working-out is abandoned through > its own constant-frequent presence: all 66 intervallic relations among the > 12 pitches being virtually present. Prohibited intervals, like the octave, > and prohibited successional relations, such as premature note repetitions, > frequently occur, although obscured in the dense contexture.
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His first love remained the music of Django Reinhardt, in particular the sound of the pre-war Quintette du Hot Club de France. In 1958 he formed a quintet to replicate that sound, employing Dick Powell on violin, Danny Pursford and Nevil Skrimshire on rhythm guitars, and a range of double bassists including Tim Mahn. As skiffle dominated traditional jazz in popular culture in the UK, in the late 1950s- early 60s Disley started working as guitarist with a number of skiffle groups, including those of Ken Colyer, Lonnie Donegan, Bob Cort and Nancy Whiskey, and performed on numerous recordings. With Ike Isaacs he appeared on Ken Sykora's Guitar Club on BBC Radio for a number of years and was voted second best (1960) and best (1961) British jazz guitarist in the UK Melody Maker jazz polls.
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An image of Django Reinhardt, "originator" of gypsy jazz, presides over the Hot Club de Norvège at Djangofestivalen 2018 Original 78 release by the Quintette du Hot Club de France. The origins of gypsy jazz can be traced to the ManoucheDjango's family were from the Manouche gypsy clan of northern France, the French-speaking branch of the Sinti people of Germany and the Netherlands; his father's surname was the German Weiss and his mother was a Reinhardt (another German surname). Also living in the south of France at the time were another gypsy clan or tribe, the Gitans, whose origins were from the Gitano gypsies of Spain. Although Reinhardt's style has acquired the name "Jazz Manouche" in recent times, many of his accompanists, such as the Ferret brothers, were Gitans. For more information see Cruickshank, 1984, pp. 40-41.
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Uncertainty about the town's future had been a serious concern to residents since the 1984 price reduction demands, but it was not until the closure of the Quintette mine that the town seriously investigate a diversification. Since then employment has been generated in tourism (attractions from dinosaur fossil discoveries, outdoor recreation, and nearby provincial parks), forestry, and oil and gas exploration. A $1.4 billion Murray River coal mine project near Tumbler Ridge, operated by HD Mining International, a company majority-owned by Huiyong Holdings Group, a private company from China uses long-wall mining in which "coal is extracted along a wall in large blocks and then carried out on a conveyor belt." Penggui Yan, CEO of HD Mining and its controlling shareholder, was a manager of the state-owned China Shenhua Energy Co (CSEC), China's largest coal company, which had developed a highly advanced long-wall mining technology.
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Clapp also joined Erik Sanko's band Skeleton Key in 2004 as their "junk percussionist", and became further recognized for his use of non-traditional percussion: "...the real dirty work's done by brutish showman Benjamin Clapp. He chucks broken cymbals up into the air and slugs them on their way down. He has the worlds [sic] most dangerous tambourine: A rectangular frame, I'm guessing 36" x 24", with CIRCULAR SAW BLADES strung on it." Skeleton Key continued to tour the United States and Canada with Clapp in the band, and recorded songs which would eventually go on to limited release as The Lyons Quintette EP. Among a number of studio projects and touring artists that hire Clapp to perform on stage and in the studio, Phish lyricist Tom Marshall and his band Amfibian feature Clapp's trombone playing on their studio albums From the Ether and Skip the Goodbyes.
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256, Retrieved 4 April 2012. Jazz-Tango-Dancing appeared in 1929 as a magazine about the Argentine tango and jazz music.Welburn, Ron (Autumn, 1987) American Music, Vol. 5 No. 2, "Jazz Magazines of the 1930s: An Overview of Their Provocative Journalism" p. 256, Retrieved 4 April 2012. In 1934, Hugues Panassie and Charles Delaunay decided to launch a magazine and to form a band to represent the club's musical point of view; the magazine would become "Jazz Hot: La revue internationale de la musique de Jazz"L'Homme p. 318 and the band would become the Quintette du Hot Club de France, promoting a new jazz a cordes or "string jazz" style. Jazz Hot, the official mouthpiece of the Hot Club, started in 1935; the first issue was a one-page edition printed on the back of a program for a concert given at the Salle Pleyel by Coleman Hawkins on 21 February 1935 and was distributed during admission.
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According to Grappelli, the group evolved from a series of backstage jams originated by Django Reinhardt, with Stephane Grappelli, at the Hotel Claridge in Paris, where the two were engaged as members of a band led by bassist Louis Vola. After a series of informal jam sessions at the Hotel Claridge, concert promoters Pierre Nourry and Charles Delaunay (leaders of the "Hot Club de France", a society chaired by Hugues Panassié devoted to the appreciation of jazz) urged the formation of a permanent group.Delaunay, p66 With the addition of Reinhardt's brother Joseph on second rhythm guitar, the quintet popularized the gypsy jazz style. The group began its recording career in September 1934, releasing two titles on the Odeon label under the name "Delaunay’s Jazz". A December 1934 session produced the first recordings released under the name "Django Reinhardt et le Quintette du Hot Club de France, avec Stéphane Grappelly" (with Django's name misspelled as "Djungo").
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The disc includes obscure B-sides with some of Wills' most popular work, including Big Balls in Cowtown and Stay a Little Longer, Osage Stomp and The Devil Ain't Lazy. In 2016, the Hot Club of Cowtown released its ninth studio album, Midnight on the Trail (Gold Strike Records), a vintage mix of 12 Western swing songs and cowboy ballads "hand-collected to reflect the spirit and joy of the American West," including traditional songs as well as works by Cindy Walker, Gene Autry, Bob Wills, Johnny Mercer, and more. The band's previous release, "Rendezvous in Rhythm" (Gold Strike Records, 2013) was a collection of hot jazz standards and gypsy instrumentals played acoustically in the style of Django Reinhardt and Stephane Grappelli (The Quintette of the Hot Club of France). The Hot Club of Cowtown released a live DVD, "Continental Dance Party," in 2012 which was filmed at the Continental Club Gallery in Austin, Texas.
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The instrumental tracks, specifically composed and recorded for the film by Knopfler, effectively help to create the mood and highlight the distinct personalities of the principal characters,Metroland movie review by Harvey Karten with the soundtrack changing the atmosphere as the film flips back and forth between Paris in the early '60s and suburban London in 1977."The film flips back and forth between the Beatlemania-era of the early '60s and their suburban period of the '70s" Parisian flavour is augmented by the music of Françoise Hardy, Django Reinhardt and Quintette du Hot Club de France, with some late-70s classics from The Stranglers, Dire Straits, Hot Chocolate and Elvis Costello that are appropriate for that the period. In the lyrics of "Metroland", the only song he wrote for the movie, Knopfler says "I've danced in the rain and I've been Django", so it is entirely appropriate that music by Django Reinhardt should also be on the soundtrack. The song is illustrative of Knopfler's art: it begins with a rising four-note theme on flugelhorn which parallels the hymn Jerusalem, the quintessential anthem of Englishness, but with a vibraphone accompaniment recalling Anglo-French jazz of the '50s.
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The first recording was made by John Kirby and The Onyx Club Boys on October 28, 1938, and released by Decca Records as catalog number 2216,Jazz Bass Survey: sketches of 24 of the most influential jazz bassists in jazz history with the flip side "From A Flat to C".Decca Records in the 2000 to 2499 series It was also recorded by Chick Webb and his Orchestra with vocal by Ella Fitzgerald on February 17, 1939 and released by Decca Records as catalog number 2323, with the flip side "In the Groove at the Grove". The Dandridge Sisters recorded a cover in July, 1939, and Django Reinhardt recorded a version with Quintette du Hot Club de France, and Beryl Davis on vocals, in August of the same year. The biggest hit version was recorded by The Ames Brothers with Les Brown's orchestra on June 25, 1951 and released by Coral Records as catalog number 60566, with the flip side "Sentimental Journey".Coral Records in the 60000 to 60999 series It first reached the Billboard magazine charts on September 28, 1951 and lasted 20 weeks on the chart, peaking at #6.
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"Trav'lin' Light" by Paul Whiteman and his Orchestra featuring Billie Holiday on vocals released as V-Disc 286A by the U.S. War Department in October, 1944. The Paul Whiteman Orchestra introduced many jazz standards in the 1920s, including "Hot Lips", which was in the Steven Spielberg movie The Color Purple (1985), "Mississippi Mud", "From Monday On", written by Harry Barris and sung by the Rhythm Boys featuring Bing Crosby and Irene Taylor with Bix Beiderbecke on cornet, "Nuthin' But", "Grand Canyon Suite" and "Mississippi Suite" composed by Ferde Grofé, "Rhapsody in Blue", composed by George Gershwin who played piano on the Paul Whiteman recording in 1924, "Wonderful One" (1923), and "Wang Wang Blues" (1920), covered by Glenn Miller, Duke Ellington, Benny Goodman, and Joe "King" Oliver's Dixie Syncopators in 1926 and many of the Big Bands. "Hot Lips" was recorded by Ted Lewis and His Jazz Band, Horace Heidt and His Brigadiers Orchestra (1937), Specht's Jazz Outfit, the Cotton Pickers (1922), and Django Reinhardt Et Le Quintette Du Hot Club De France. Herb Alpert and Al Hirt were influenced by the Paul Whiteman Orchestra, particularly the solo work of trumpeter Henry Busse, especially his solo on "Rhapsody in Blue".
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Meanwhile Hugues Panassié, in his 1942 book "The Real Jazz", wrote: Writing in 1945, Billy Neil and E. Gates stated that More recently, Django-style enthusiast John Jorgenson has been quoted as saying: In his later style (c.1946 onwards) Reinhardt began to incorporate more bebop influences in his compositions and improvisations, also fitting a Stimer electric pickup to his acoustic guitar. With the addition of amplification, his playing became more linear and "horn like", with the greater facility of the amplified instrument for longer sustain and to be heard in quiet passages, and in general less reliance on his gypsy "bag of tricks" as developed for his acoustic guitar style (also, in some of his late recordings, with a very different supporting group context from his "classic", pre-war Quintette sound). These "electric period" Reinhardt recordings have in general received less popular re-release and critical analysis than his pre- war releases (the latter also extending to the period from 1940-1945 when Grappelli was absent, which included some of his most famous compositions such as "Nuages"), but are also a fascinating area of Reinhardt's work to study,Jefferies, Wayne: Django's Forgotten Era www.hotclub.co.
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Playing completely by ear (he could neither read nor write music), he roamed freely across the full range of the fretboard giving full flight to his musical imagination and could play with ease in any key. Guitarists, particularly in Britain and the United States, could scarcely believe what they heard on the records that the Quintette was making; guitarist, gypsy jazz enthusiast and educator Ian Cruickshank writes: Because of his damaged left hand, Reinhardt had to extensively modify both his chordal and melodic approach. For chords he developed a novel system based largely around 3-note chords, each of which could serve as the equivalent of several conventional chords in different inversions; for the treble notes he could employ his ring and little fingers to fret the relevant high strings even though he could not articulate these fingers independently, while in some chords he also employed his left hand thumb on the lowest string. Within his rapid melodic runs he frequently incorporated arpeggios, which could be played using 2 notes per string (played with his 2 "good" fingers) while shifting up or down the fingerboard, as opposed to the more conventional "box" approach of moving across strings within a single fretboard position (location).
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