Hot Club du Nax
GYPSY JAZZ - HOT CLUB DU NAX - Joseph Joseph - ジプシージャズ
updated
Composition & Lyrics by Tomáš Novák
Here comes another original from our violinist, hope you like it!
As always please support us so we can keep making music:
hotclubdunax.bandcamp.com
Booking: hotclubdunax.com
Tomáš's youtube: youtu.be/IzrwBv8LPG8?si=lAYxxpoEtjL-KGgJ
Tomáš's instagram: instagram.com/tomas_novak_violine
Edited and Mixed: isobelcope.com
Filmed and Graded: robert-p.com
location: @nowherevintage Innsbruck
Lyrics
Mir träumt von einem Liebesbrief
Ein Wort, das ich dir niederschrieb
Ein Wort, das dich erfreut
Ich hab's zehn Jahre lang versucht
Für dich das schönste Wort gesucht,
Das zeigt, wie ich dich lieb
Ich schrieb zehn tausend Seiten
Und ein' Roman dazu
Kein Wort, das ich je aufschrieb
War so schön wie du
Mir träumt von einem Liebesbrief
Wie sich der Brief ins Nichts verlief
Gelegenheit versäumt
Translation
I dreamt of a love letter
a word I wrote down for you
a word to your delight
I've been trying for ten years
searching for the perfect word
that shows how much I love you
I wrote a thousand pages
and a novel
Not one word I ever wrote down
was as pretty as you
I dreamt of a love letter
how it vanished into nothingness
Opportunity missed
DOP and Camera by: robert-p.com
edited and mixed: http://isobelcope.com
color grading: robert-p.com
location: @nowherevintage Innsbruck
@tomasnovak3744
Tomáš's instagram: instagram.com/tomas_novak_violine
"Maman la plus belle du monde" is a famous chanson by Fernand Bonifay performed originally by Luis Mariano and Tino Rossi (1958). It is an adaptation of an Italian chanson by Marino Marini, "La più bella del mondo" (1957).
Shout out to one of my favorite versions by Bamboula Ferret:
youtube.com/watch?v=EDhhg_MlHS8
"The question was how to pronounce the r in this song. While the french r is articulated in the throat, I was eventually very happy (motivated by the beautiful versions of Luis Mariano and the wonderful Dalida) to let my slav rolled "r" roll and thunder the way it was intented." -Tomáš
Lyrics:
Maman, c'est toi la plus belle du monde
Aucune autre à la ronde
N'est plus jolie
Tu as, pour moi, avoue que c'est étrange
Le visage d'un ange
Du paradis
Dans tous mes voyages
J'ai vu des paysages
Mais rien ne vaut l'image
De tes beaux cheveux gris
C'est toi, maman la plus belle du monde
Et ma joie est profonde
Lorsqu'à mon bras
Maman
Tu mets ton bras
English translation:
Mom, it's you, the most beautiful in the world
No one else around is prettier
You have for me, I confess it’s strange
The face of an angel out of paradise
In all my travels
I've seen landscapes
But nothing is worth as much as the sight of your beautiful gray hair
Mom, it's you, the most beautiful in the world
And my joy is deep
Whenever on my arms
Mom, you lay your arms
(lyricstranslate.com)
DOP and Camera by: robert-p.com
edited and mixed: http://isobelcope.com
color grading: Franco Marco Avi (http://www.eutopia.film)
location: @nowherevintage Innsbruck
Musicians:
Vocals: Isobel Cope
Backing Vocals: @madaboutlemon Heidi Erler, Mimi Schmidt, Anna Widaeur
Guitar: Lukas Bamesreiter
Rhythm: Manu Plattner
Bass: Flo Hupfauf
"I Don't Want to Set the World on Fire" is a pop song written by Bennie Benjamin, Eddie Durham, Sol Marcus and Eddie Seiler.
It was written in 1938, but was first recorded three years later by Harlan Leonard and His Rockets. It was covered by several musicians and groups, most successfully by Horace Heidt on Columbia Records, whose version reached number one on the US pop chart; and by The Ink Spots on Decca, whose version reached number four on the same listing. Other early versions included those by Tommy Tucker, Mitchell Ayres, and (in Britain) Vera Lynn. The song, with its lyrics starting with "I don't want to set the world on fire/ I just want to start a flame in your heart..." became especially popular after the attack on Pearl Harbor in December 1941.
The song was later recorded by Betty Carter, Frankie Laine, Brian Hyland, Anthony Newley, Suzy Bogguss and others.
In popular culture
In the 1949 Ealing comedy film Passport to Pimlico, after it is discovered that Pimlico is technically part of the Duchy of Burgundy, a rendition of the song is performed in celebration of the fact that British music licensing laws no longer apply to Pimlico.
In the "Treehouse of Horror XVII" episode of The Simpsons, the Ink Spots' rendition of the song is played as a post-apocalyptic scene brought about by alien invasion fades into the end credits.
The Ink Spots' 1941 version is featured in the Bethesda Softworks video games Fallout 3, Fallout 4 and Fallout 76 on the in-game radio.
It is featured in the opening scene of the Season 3 premiere of Star Trek: Picard.
The song is briefly used in season 5 of ABC's Once Upon a Time.
Lyrics:
I don't want to set the world on fire
I just want to start
A flame in your heart
In my heart, I have but one desire
And that one is you
No other will do
I've lost all ambition
For worldly acclaim
I just want to be the one you love
And with your admission
That you feel the same
I'll have reached the goal I'm dreaming of
Believe me
I don't want to set the world on fire
I just want to start
A flame in your heart
DOP and Camera by: robert-p.com
edited and mixed: http://isobelcope.com
color grading: Franco Marco Avi (http://www.eutopia.film)
location: @nowherevintage Innsbruck
Lyrics:
Everyone tells me he's no good
He doesn't love me like he should
I would forget him if I only could
He's a demon, he's a devil, he's a doll
That man can look me in the eye
And tell the biggest, sweetest lie
And I forget that lipstick on his tie
He's a demon, he's a devil, he's a doll
Sometimes I make up my mind
That I'll stop being so blind
And tell him off real bad
But then he turns on those charms
And there I am in his arms
And I forget why I'm mad
I ought to tell him "drop dead!"
But I keep loving him instead
My momma must have dropped me on my head
He's a demon, he's a devil, he's a doll
Sometimes he thrills me through and through
Sometimes he's sweet, sometimes he's true
Sometimes I wish he were in Timbuktu
He's a demon, he's a devil, he's a doll
He says he'll call for me late at night
And take me out somewhere to dine
Then staggers in and sings "Sweet Adeline"
He's a darling, he's a dreamboat, he's a dog
I had the measles at two, the chicken pocks and the flu
My whooping cough was grim
I had the itch and the mumps, the poison ivy and clumps
To top it, now I've got him
He's a palooka, he's a brute
He drives me crazy but he's cute
Why do I love a guy I ought to shoot
He's a demon, he's a devil, he is a doll
DOP and Camera by: robert-p.com
edited and mixed: http://isobelcope.com
color grading: Franco Marco Avi (http://www.eutopia.film)
location: @nowherevintage Innsbruck
"Crawl Out Through the Fallout" is a song recorded by Sheldon Allman in 1960 that is broadcast on Diamond City Radio in #fallout4 .
Fallout: A Post Nuclear Role Playing Game is a 1997 role-playing video game developed and published by Interplay Productions. In a mid-22nd century post-apocalyptic and retro-futuristic world, decades after a global nuclear war, Fallout's protagonist, the Vault Dweller, inhabits the underground nuclear shelter Vault 13. After customizing their character, the player must scour the surrounding wasteland for a computer chip that can fix the Vault's failed water supply system. They interact with other survivors, some of whom give them missions, and engage in turn-based combat where they battle until their action points are depleted.
Tim Cain began working on Fallout in 1994. It began as a game engine based on Steve Jackson Games's tabletop role-playing game GURPS. Interplay dropped the license after Steve Jackson Games objected to Fallout's violence, and Cain and designer Christopher Taylor created a new character customization scheme, SPECIAL. Although Interplay initially gave the game little attention, the development ultimately cost $3 million and employed up to thirty people. Interplay considered Fallout the spiritual successor to its 1988 role-playing game Wasteland and drew artistic inspiration from 1950s literature and media emblematic of the Atomic Age. The quests were intentionally made morally ambiguous. After three and a half years of development, Fallout was released in North America in October 1997.
Fallout received acclaim for its open-ended gameplay, character system, plot, and perceived original setting. It won "Role-Playing Game of the Year" from GameSpot and Computer Games Magazine, was nominated by the Academy of Interactive Arts & Sciences at the Spotlight Awards, and is often listed among the greatest video games of all time. Fallout has been credited for renewing consumer interest in the role-playing video genre due to its setting, open-ended plot, and gameplay. Fallout was a commercial success, selling 600,000 copies worldwide. It spawned a successful series of sequels and spin-offs, the rights to which were purchased in 2007 by Bethesda Softworks.
Lyrics:
Crawl out through the fallout, baby
When they drop that bomb
Crawl out through the fallout
With the greatest of aplomb
When your white count's getting higher
Hurry, don't delay
I'll hold you close and kiss those
Radiation burns away
Crawl out through the fallout, baby
To my loving arms
Through the rain of Strontium 90
Think about your hero
When you're at Ground Zero
And crawl out through the fallout back to me
Crawl out through the fallout, baby
You know what I mean
Crawl out through the fallout
'Cause they said this bomb was clean
If you cannot find the way
Just listen for my song
I'll love you all your life
Although that may not be too long
Crawl out through the fallout, baby
To my loving arms
While those ICBM's keep us free
When you hear me call out
Baby, kick the wall out
And crawl out through the fallout back to me
'Cause you'll be the only girl in the world
Why don't you crawl out through the fallout back to me
Why don't you crawl out through the fallout back to me
Why don't you crawl out through the fallout back to me
Inspired by the #apocalypse #game #fallout we went back to the 50s and recorded this song in a bunker in our last beautiful clothes.
You haven't heard about Mad About Lemon yet? Check out some of their videos on youtube. We were so lucky to record a wonderful collection of videos with them. Heidi Erler, Mimi Schmidt and Anna Widaeur.
Also joined this time by the fantastic Flo Hupfauf and on the snare Manu Plattner.
fDOP and Camera by: robert-p.com
edited and mixed: http://isobelcope.com
color grading: Franco Marco Avi (http://www.eutopia.film)
location: @nowherevintage Innsbruck
Lyrics
Why do birds suddenly appear
Every time you are near?
Just like me, they long to be
Close to you
Why do stars fall down from the sky
Every time you walk by?
Just like me, they long to be
Close to you
On the day that you were born the angels got together
And decided to create a dream come true
So they sprinkled moon dust in your hair of gold and starlight in your eyes of blue
That is why all the girls in town
Follow you all around
Just like me, they long to be
Close to you
On the day that you were born the angels got together
And decided to create a dream come true
So they sprinkled moon dust in your hair of gold and starlight in your eyes of blue
That is why all the girls in town
Follow you all around
Just like me, they long to be
Close to you
Just like me, they long to be
Close to you
Wa, close to you
Wa, close to you
Ha, close to you
La, close to you
"(They Long to Be) Close to You" is a song written by Burt Bacharach and Hal David. The best-known version is that recorded by American duo the Carpenters for their second studio album #closetoyou (1970) and produced by Jack Daugherty. Released on May 14, 1970, the single topped both the US Billboard Hot 100 and Adult Contemporary charts. It also reached the top of the Canadian and Australian charts and peaked at number six on the charts of both the UK and Ireland. The record was certified gold by the Recording Industry Association of America (RIAA) in August 1970.
Early versions
The song was first recorded by Richard Chamberlain and released as a single in 1963 as "They Long to Be Close to You". However, while the single's other side, "Blue Guitar", became a hit, "They Long to Be Close to You" did not. The tune was also recorded as a demo by Dionne Warwick in 1963, was re-recorded with a Burt Bacharach arrangement for her album Make Way for Dionne Warwick (1964), and was released as the B-side of her 1965 single "Here I Am". Dusty Springfield recorded the song in August 1964, but her version was not released commercially until it appeared on her album Where Am I Going? (1967). Bacharach released his own version in 1971. But the version recorded by Carpenters with instrumental backing by L.A. studio musicians from the Wrecking Crew, which became a hit in 1970, was the most successful.
Carpenters version
Karen and Richard Carpenter recorded the most successful version of the song
In 1970, "(They Long to Be) Close to You" was released by the #carpenters on their album Close to You (1970) and became their breakthrough hit. The song stayed at number one on the Billboard Hot 100 for four weeks. "(They Long to Be) Close to You" was named Billboard's Song of the Summer for 1970.
Bacharach and David gave Herb Alpert the song after he scored a number one hit in 1968 with "This Guy's in Love with You", which the duo had also written. Alpert recorded the song, but he was displeased with the recording and did not release it. After the Carpenters achieved their first chart success with "Ticket to Ride" in 1969, Alpert convinced them to record their version of the song, believing it was well-suited for them.
Carpenter and Alpert collaborated on the song, and the finished product was a 4-minute, 36-second long song. When A&M Records decided to remove the extended coda and release it as a 3-minute, 40-second long single in May 1970, it became A&M's biggest hit since Alpert's "This Guy's in Love with You" from 1968. Billboard ranked it as the number two song for 1970.
Edited and Mixed: isobelcope.com
Filmed and Graded: robert-p.com
Film Light: @filmkabinett
Outfits by: https://www.diediele.at/
Decoration: https://www.paar-deco.at/
"(Sittin' On) The Dock of the Bay" is a song co-written by soul singer #otisredding and guitarist #SteveCropper. It was recorded by Redding twice in 1967, including once just three days before his death in a plane crash on December 10, 1967. The song was released on Stax Records' Volt label in 1968, becoming the first ever posthumous single to top the charts in the US. It reached number 3 on the UK Singles Chart.
Redding started writing the lyrics to the song in August 1967, while sitting on a rented houseboat in Sausalito, California. He completed the song in Memphis with the help of Cropper, who was a Stax producer and the guitarist for Booker T. & the M.G.'s. The song features whistling and sounds of waves crashing on a shore.
Origins
While on tour with the Bar-Kays in August 1967, Redding had grown in popularity, and was inundated with fans at his hotel in downtown San Francisco. Rock concert impresario Bill Graham (promoter) offered Redding a respite to stay at his houseboat at Waldo Point Harbor in Sausalito, California. It is there where he started writing the lines, “Sittin’ in the morning sun, I’ll be sittin’ when the evening comes” and the first verse of the song, under the abbreviated title "Dock of the Bay.”
He had completed his famed performance at the Monterey Pop Festival just weeks earlier. While touring in support of the albums King & Queen (a collaboration with female vocalist Carla Thomas) and Live in Europe, he continued to scribble lines of the song on napkins and hotel paper. In November of that year, he joined producer and guitarist Steve Cropper at the Stax recording studio in Memphis, Tennessee, to record the song.
In a September 1990 interview on NPR's Fresh Air, Cropper explained the origins of the song:
Otis was one of those the kind of guy who had 100 ideas. He had been in San Francisco doing The Fillmore. And the story that I got he was renting boathouse or stayed at a boathouse or something and that's where he got the idea of the ships coming in the bay there. And that's about all he had: "I watch the ships come in and I watch them roll away again." I just took that... and I finished the lyrics. If you listen to the songs I collaborated with Otis, most of the lyrics are about him. Otis didn't really write about himself but I did. Songs like "Mr. Pitiful," "Fa-Fa-Fa-Fa-Fa (Sad Song)"; they were about Otis and Otis' life. "Dock of the Bay" was exactly that: "I left my home in Georgia, headed for the Frisco Bay" was all about him going out to San Francisco to perform.
Together, they completed the music and melancholic lyrics of "(Sittin' On) The Dock of the Bay." From those sessions emerged Redding's final recorded work, including "Dock of the Bay," which was recorded on November 22, with additional overdubs on December 7. Redding's restrained yet emotive delivery is backed by Cropper's succinct guitar playing. The song is somewhat different in style from most of Redding's other recordings. While discussing the song with his wife, Redding stated that he had wanted to "be a little different" with "The Dock of the Bay" and "change his style". There were concerns that "The Dock of the Bay" had too much of a pop feel for an Otis Redding record, and contracting the Stax gospel act the Staple Singers to record backing vocals was discussed but never carried out. Redding had considered the song to be unfinished and planned to record what he considered a final version, but never got the chance. The song features a whistled tune heard before it fades, however it is unclear who performed it. Some sources claim Sam Taylor, a guitarist/bandleader for Redding during the 1960s, overdubbed Redding's original, weaker whistle. Cropper, however, insists that Redding's original whistle was used on the final cut. Redding continued to tour after the recording sessions. On December 10, his charter plane crashed into Lake Monona, outside Madison, Wisconsin. Redding and six others were killed.
After Redding's death, Cropper mixed "Dock of the Bay" at Stax Studios. He added the sound of seagulls and waves crashing to the background, as Redding had requested, recalling the sounds he heard when he was staying on the houseboat.
We'd like to dedicate this song to Ilse Ladstaetter who passed away at 98 this year. She allowed us to film in her swimming pool this summer in Bregenz, Austria. Letting a team of musicians and filmers into your empty swimming pool must have seemed strange but she was open to it and loved having us there. We'll always think of her when we see these videos!
Edited and Mixed: isobelcope.com
Filmed and Graded: robert-p.com
Film Light: @filmkabinett
Outfits by: https://www.diediele.at/
Decoration: https://www.paar-deco.at/
Little Boat (O Barquinho)
(English lyrics by Paul Sonnenberg)
A day of light a feast of sun
In a little boat with you
On a brilliant sea of blue
Full of the summer love is born
In this little boat for two
Sailing out into the blue
Without a plan this song began
We sailed out into the sea and the sun
Sent a soft, light kiss
To our boat, such bliss
(2nd time: Feel the sunlight's kiss
Oh, my love, like this)
Back from the sea as evening falls,
In our little boat we sing
We don't worry 'bout a thing
The southern isles, the clear blue sky
Are now visions of the heart
They're the song we sing
For all is peace here in the calm
Only summer nights together
Can bring
As our boat drifts by
Under sunset skies
As our boat drifts by
Under sunset skies
Booking: hotclubdunax.com
Tomáš's youtube: youtu.be/IzrwBv8LPG8?si=lAYxxpoEtjL-KGgJ
Tomáš's instagram: instagram.com/tomas_novak_violine
Edited and Mixed: isobelcope.com
Filmed and Graded: robert-p.com
Film Light: @filmkabinett
Outfits by: https://www.diediele.at/
Decoration: https://www.paar-deco.at/
Booking: hotclubdunax.com
Join us in the pool again for La Mer
Edited and Mixed: isobelcope.com
Filmed and Graded: robert-p.com
Film Light: @filmkabinett
Outfits by: https://www.diediele.at/
Decoration: https://www.paar-deco.at/
"La Mer" ("The Sea") is a song by the French composer, lyricist, singer and showman Charles Trenet. The song was first recorded by the French singer Roland Gerbeau in 1945. When Trenet's version was released in 1946, it became an unexpected hit, and has remained a chanson classic and jazz standard ever since.
Trenet said that he had written an initial version of the song's lyrics as a poem at the age of 16, many years before he came up with a tune for it. The tune came to him while he was traveling by train in 1943 between Montpellier and Perpignan as he was gazing out of the window at the Étang de Thau, a lagoon in the south of France. He jotted it down on a piece of paper and in the afternoon he worked out the details with his pianist Léo Chauliac. That evening they performed it in front of an audience without much of an impact.
The song was not recorded before the end of World War II. It was first offered to Suzy Solidor, who, however, declined it. After that the job fell to Roland Gerbeau, who recorded it together with Jo Bouillon's orchestra at the end of 1945. The orchestration and chorus were provided by Albert Lasry. Trenet himself recorded his song for the first time in 1946.
Over the years the song turned out to be rather popular throughout the world and developed into a chanson classic and jazz standard with a large number of prominent artists recording their own versions. Besides the original in French, the song was also recorded in several other languages with the English version "Beyond the Sea" being particularly popular and becoming the signature song for the American singer Bobby Darin.[3] In 1966 there were already over 100 different recordings of "La Mer", and it was considered to be France's best-selling song, together with Édith Piaf's "La Vie en rose". By the time of Trenet's death in 2001, there were more than 4,000 different recordings of it,[5][6] with over 70 million copies sold in total.
The song was also recorded by #cliffrichard In 1976 Julio Iglesias included the song on his live album En el Olympia. The song was included on Dalida's 1999 posthumous album Besame Mucho. Demis Roussos included the song on his 1995 studio album Immortel.
More recent versions include Kristina & Laura, Miguel Bosé, Manlio Sgalambro, Lisa del Bo, Biréli Lagrène, Patricia Kaas, Lola Dutronic, Mireille Mathieu, Chantal Chamberland and others. The Avalon Jazz Band, with lead singer Tatiana Eva-Marie, included a contemporary arrangement of "La Mer" on their 2021 album April in Paris.
Instrumental versions were done by Ray Conniff His Orchestra and Chorus, Le Grand Orchestre de Paul Mauriat, Richard Clayderman and Django Reinhardt.
The French original is featured prominently in a variety of films, including L.A. Story, in which it is played during the opening montage; French Kiss (1995), in which it is sung by lead actor Kevin Kline[ and Mr. Bean's Holiday, which uses a recording of Trenet himself in its final scene. It also is played in the last episode of White Collar. The song is sung in the French documentary film Blood of the Beasts (1949). It is performed in the film A Life Less Ordinary (1997) by #ewanmcgregor and Cameron Diaz. The Trenet recording is heard over the end credits of an episode of The Simpsons titled "The Squirt and the Whale".
On British television, the original version of the song was used as the title music for ITV's coverage of UEFA Euro 2016.
The Robbie Williams version plays over the closing credits of Finding Nemo and is included on the soundtrack.[
"La Mer" has been used in films such as Bernardo Bertolucci's 2003 The Dreamers, the 2010 German film Animals United, and in the closing scene of Mr. Bean's Holiday. A Julio Iglesias version plays in the final scene of the 2011 spy film Tinker Tailor Soldier Spy.
#djangoreinhardt and Stéphane Grappelli's recording of "La Mer" features in the video games BioShock (2007) and BioShock Infinite (2013). Director Ken Levine additionally wanted Charles Trenet's original rendition but could not secure the rights.
Lyrics:
Somewhere beyond the sea
Somewhere waiting for me
My lover stands on golden sands
And watches the ships that go sailing
Somewhere beyond the sea
She's there watching for me
If I could fly like birds on high
Then straight to her arms, I'd go sailing
It's far beyond a star
It's near beyond the moon
I know beyond a doubt
My heart will lead me there soon
We'll meet beyond the shore
We'll kiss just as before
Happy we'll be beyond the sea
And never again, I'll go sailing
As always please do support us by downloading our tracks here: hotclubdunax.bandcamp.com We couldn't make music without you!
hotclubdunax.com
Tomáš's youtube: youtu.be/IzrwBv8LPG8?si=lAYxxpoEtjL-KGgJ
Tomáš's instagram: instagram.com/tomas_novak_violine
www.hotclubdunax.com
Edit and Mix: www.isobelcope.com
Filmed and Graded: Avie.Studio
"BlueSkies" is a popular song, written by #IrvingBerlin in 1926.
"Blue Skies" is one of many popular songs whose lyrics use a "bluebird of happiness" as a symbol of cheer: "Bluebirds singing a song/Nothing but bluebirds all day long." The sunny optimism of the lyrics are undercut by the minor key giving the words an ironic feeling.
History
The song was composed in 1926 as a last-minute addition to the Rodgers and Hart musical Betsy. Although the show ran for only 39 performances, "Blue Skies" was an instant success, with audiences on opening night demanding 24 encores of the piece from star Belle Baker. During the final repetition, Ms. Baker forgot her lyrics, prompting Berlin to sing them from his seat in the front row.
In 1927, the music was published and Ben Selvin's recorded version (as The Knickerbockers with vocals by Charles Kaley) was a hit. That same year, it became one of the first songs to be featured in a talkie, when Al Jolson performed it in The Jazz Singer. The song was recorded for all of the major and dime store labels of the time. A version was recorded by Benny Goodman and his Orchestra in 1935 (Victor 25136). 1946 was also a notable year for the song, with a Bing Crosby/Fred Astaire film taking its title along with two recorded versions by Count Basie and Benny Goodman reaching #8 and #9 on the pop charts, respectively.
#TheloniousMonk's 1947 composition "In Walked Bud" is based on the chord changes to "Blue Skies."
Bing Crosby and Danny Kaye performed the song in the 1954 seasonally perennial film, White Christmas.
In 1958, #ellafitzgerald crossed genres putting her own distinctive scat jazz stylings on "Blue Skies" for her double-LP album, Ella Fitzgerald Sings the Irving Berlin Song Book, that year's installment in her famous eight-album Song Book series. The track was also included in that year's Ella compilation album, Get Happy!.
The song was featured prominently in the film Star Trek: Nemesis, as sung by Commander Data during the wedding at the start of the film. It is sung again at the very end of the film by his "brother," the android B-4, during the final scene set in the 24th century, a time period not revisited by the Star Trek franchise for another 18 years, until the release of Star Trek: Picard in 2020. The song "Blue Skies" is featured in that series' premiere episode during a dream sequence involving Data and Captain Picard. The song receives a cover by lead actress Isa Briones for the 10th episode when Data's "spirit" dies.
Lyrics:
Blue skies
Smiling at me
Nothing but blue skies
Do I see
Bluebirds
Singing a song
Nothing but bluebirds
All day long
Never saw the sun shining so bright
Never saw things going so right
Noticing the days hurrying by
When you're in love, my how they fly
Blue days
All of them gone
Nothing but blue skies
From now on
I never saw the sun shining so bright
Never saw things going oh-so right
Noticing the days hurrying by
When you're in love, my how they fly
Blue days
All of them gone
Nothing but blue skies
From now on
www.hotclubdunax.com
This time we had the pleasure of driving down to Bregenz and meeting the wonderful dancers from Retro Activity. We had an amazing time, we hope you enjoy this number!
Edited and Mixed: isobelcope.com
Filmed and Graded: robert-p.com
Film Light: @filmkabinett
Outfits by: https://www.diediele.at/
Decoration: https://www.paar-deco.at/
Dancers:
https://www.retroactivity.ch
Nina Rüetschi
Anthony Carusiello
Please do support us by downloading our tracks here: hotclubdunax.bandcamp.com
www.hotclubdunax.com
Edited and Mixed: www.isobelcope.com
Written by Cole Porter in 1935.
Porter had written the score for Jubilee while on an extended sea cruise in the early part of 1935: however, in September 1935 while he was visiting a friend's farm in Ohio with Jubilee's librettist Moss Hart, the latter mentioned that the play's second act required an additional song, and Porter had "Just One of Those Things" completed by the following morning (he had previously used the title for a song intended for but not featured in the 1930 musical The New Yorkers—apart from the title the two songs are distinct).[1] Porter's original lyric lacked an adjective for the line "a trip to the moon on gossamer wings": "gossamer" would be suggested by his friend, Ed Tauch.
Lyrics
It was just one of those things
Just one of those crazy flings
One of those bells that now and then rings
Just one of those things
It was just one of those nights
Just one of those fabulous flights
A trip to the moon on gossamer wings
Just one of those things
If we'd thought a bit 'bout the end of it
When we started painting the town
We'd have been aware that our love affair
Was too hot not to cool down
So good-bye, dear, and amen
Here's hoping we meet now and then
It was great fun
But it was just one of those things
If we'd thought a bit 'bout the end of it
That we started painting the town
We'd have been aware that our love affair
Was too hot not to cool down
So goodbye, goodbye, goodbye dear and amen
Here's hoping we'll meet now and then
It was great fun, it was great fun
But it was just one of those things
A child born and with it thousands of emotions come to your mind.
A little melody played for the breastfeeding mother in a cold winter night it’s a fertile ground for a new song.
Thank you Alfredo, thank you Jule.
-Dario
An original composed by our bass player Dario Michele Gurrado and lyrics by Isobel Cope! As always you can download our tracks here: hotclubdunax.bandcamp.com
www.hotclubdunax.com
Edited and Mixed: www.isobelcope.com
Colour Grade: www.eutopia.film
Lyrics:
A stormy day
blowing leaves away
dancing air
leaving autumn bare
on the sunny days we'll travel to the baltic sea
just us three
and there we'll feed the seagulls waiting for us
chubby cheeks
like warm soft sand
a turtle boy
lies on my hand
and on stormy days there's a devil
rumbling low
but you must know that i'll take your tears
and temper your fears, Alfredo
Django Reinhardt/Mills Brothers Cover
As always please do support us by downloading our tracks here: hotclubdunax.bandcamp.com
www.hotclubdunax.com
Edited and Mixed: www.isobelcope.com
Colour Grade: www.eutopia.film
Smoke Rings also recorded by the Mills Brothers.
The Mills Brothers were born into a family of nine in Piqua, Ohio, United States.
The quartet consisted of Donald (lead tenor vocals, April 29, 1915 – November 13, 1999),[3] Herbert (tenor vocals, April 2, 1912 – April 12, 1989), Harry (baritone vocals, August 9, 1913 – June 28, 1982), and John Jr. (guitar, double bass, vocals; October 19, 1910 – January 23, 1936).
Their father, John Hutchinson Mills (February 11, 1882 – December 8, 1967), was a barber with his own shop and a barbershop quartet. He was the son of William Hutchinson Mills and Cecilia Simms who lived in Bellefonte, Pennsylvania.
As the boys grew older, they began singing in the choir of the Cyrene African Methodist Episcopal Church and in the Park Avenue Baptist Church in Piqua. After lessons at the Spring Street Grammar School, they gathered in front of their father's barbershop or on the corner to perform. They entered an amateur contest at May's Opera House but while on stage Harry realized he had lost his kazoo. He improvised by cupping his hand over his mouth and mimicking the sound of trumpet. The brothers liked the idea and worked it into their act. John, the bass vocalist, would imitate the tuba. Harry, a baritone, imitated the trumpet, Herbert became the second trumpet, and Donald the trombone. John accompanied the four-part harmony on ukulele and then guitar. They practiced imitating orchestras they heard on the radio.
Lyrics:
Where do they go
The smoke rings I blow each night?
Oh, what do they do
Those circles of blue and white
Oh, why do they seem
To picture a dream above, above?
Why do they fade that phantom parade of love?
Puff, puff, puff
Puff your cares away
Puff, puff, puff
Night and day
Blow, blow them into air
Silky little rings
Blow, blow them into air
Give your troubles away
Oh, little smoke rings I love
Please take me above, take me with you
www.hotclubdunax.com
edited and mixed: www.isobelcope.com
colour grade: www.eutopia.film
#djangoreinhardt
Django Reinhardt
Genres #Jazz, #gypsyjazz , bebop, #Romanimusic
Jean Reinhardt (23 January 1910 – 16 May 1953), known by his Romani nickname Django (French: [dʒãŋɡo ʁɛjnaʁt] or [dʒɑ̃ɡo ʁenɑʁt]), was a Romani-French jazz guitarist and composer. He was one of the first major jazz talents to emerge in Europe and has been hailed as one of its most significant exponents.
Reinhardt's most popular compositions have become standards within gypsy jazz, including "Minor Swing", "Daphne", "Belleville", "Djangology", "Swing '42", and "Nuages". Jazz guitarist Frank Vignola says that nearly every major popular-music guitarist in the world has been influenced by Reinhardt. Over the last few decades, annual Django festivals have been held throughout Europe and the U.S., and a biography has been written about his life. In February 2017, the Berlin International Film Festival held the world premiere of the French film Django.
Biography
Early life
Reinhardt was born on 23 January 1910 in Liberchies, Pont-à-Celles, Belgium, into a Belgian family of Manouche Romani descent. His father, Jean Eugene Weiss, domiciled in Paris with his wife, went by Jean-Baptiste Reinhardt, his wife's surname, to avoid French military conscription.[8] His mother, Laurence Reinhardt, was a dancer. The birth certificate refers to "Jean Reinhart, son of Jean Baptiste Reinhart, artist, and Laurence Reinhart, housewife, domiciled in Paris".
A number of authors have repeated the claim that Reinhardt's nickname, Django, is Romani for "I awake";: however, it may also simply have been a diminutive, or local Walloon version, of "Jean". Reinhardt spent most of his youth in Romani encampments close to Paris, where he started playing the violin, banjo and guitar. He became adept at stealing chickens. His father reportedly played music in a family band comprising himself and seven brothers; a surviving photograph shows this band including his father on piano.
Reinhardt was attracted to music at an early age, first playing the violin. At the age of 12 he received a banjo-guitar as a gift. He quickly learned to play, mimicking the fingerings of musicians he watched, who would have included local virtuoso players of the day such as Jean "Poulette" Castro and Auguste "Gusti" Malha, as well as from his uncle Guiligou, who played violin, banjo and guitar. Reinhardt was able to make a living playing music by the time he was 15, busking in cafés, often with his brother Joseph. At this time, he had not started playing jazz, although he had probably heard and had been intrigued by the version of jazz played by American expatriate bands like Billy Arnold's.
He received little formal education and acquired the rudiments of literacy only in adult life.
Before he had a chance to start with the band, however, Reinhardt nearly died. On the night of 2 November 1928, Reinhardt was going to bed in the wagon that he and his wife shared in the caravan. He knocked over a candle, which ignited the extremely flammable celluloid that his wife used to make artificial flowers. The wagon was quickly engulfed in flames. The couple escaped, but Reinhardt suffered extensive burns over half his body.[During his 18-month hospitalization, doctors recommended amputation of his badly damaged right leg. Reinhardt refused the surgery and was eventually able to walk with the aid of a cane.
More crucial to his music, the fourth finger (ring finger) and fifth finger (little) of Reinhardt's left hand were badly burned. Doctors believed that he would never play guitar again. Reinhardt applied himself intensely to relearning his craft, however, making use of a new guitar bought for him by his brother, Joseph Reinhardt, who was also an accomplished guitarist. While he never regained the use of those two fingers, Reinhardt regained his musical mastery by focusing on his left index and middle fingers, using the two injured fingers only for chord work.
Discovery of jazz
In the years after the fire, Reinhardt was rehabilitating and experimenting on the guitar that his brother had given him. After having played a broad spectrum of music, he was introduced to American jazz by an acquaintance, Émile Savitry, whose record collection included such musical luminaries as Louis Armstrong, Duke Ellington, and Joe Venuti and Eddie Lang. (The swinging sound of Venuti's jazz violin and Eddie Lang's virtuoso guitar-playing anticipated the more famous sound of Reinhardt and Grappelli's later ensemble.) Hearing their music triggered in Reinhardt a vision and goal of becoming a jazz professional.
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"That's Amore" is a 1953 song by composer Harry Warren and lyricist Jack Brooks. It became a major hit and signature song for #DeanMartin the year it was released. Amore (pronounced [aˈmoːre]) means "love" in Italian.
The song first appeared in the soundtrack of the Martin and Lewis comedy film The Caddy, released by Paramount Pictures on August 10, 1953.
Lewis commissioned Warren and Brooks to write songs for Martin to sing in the movie. According to Lewis, he personally paid them $30,000 secretly in the hope that one would be a hit for Martin. In the film the song is performed mainly by Martin, with Lewis joining in and then followed by the other characters in the scene. It received a nomination for the Academy Award for Best Original Song of that year, but it lost to "Secret Love" from Calamity Jane starring Doris Day.
The song remains closely identified with Dean Martin. That's Amore was used as the title for a 2001 video retrospective of Martin's career; and his son, Ricci Martin, titled his 2002 biography That's Amore: A Son Remembers Dean Martin. As an iconic song, "That's Amore" remains a secondary signature song.[citation needed]
Music critic Joe Queenan has described the song as "A charming, if goofy, parody of popular Neapolitan organ-grinder music," and observed "That's Amore was one of many songs from the early Fifties that helped rehabilitate Italy's image as a land of magic and romance that had somehow been lured from its festive moorings by the glum fascist Benito Mussolini."
Chart performance
The track that was used for the single released by Capitol Records was recorded on August 13, 1953, (Session 3098; Master 11694-6) at Capitol Records' studios at 5505 Melrose Avenue, Hollywood, California, with the orchestra conducted by Dick Stabile. On November 7, 1953, Martin's record of the song, with "You're the Right One" (which was recorded at the same session as "That's Amore") on the flip side, peaked at No. 2 on the Billboard charts.
Lyrics:
(In Napoli where love is king
When boy meets girl here's what they say)
When the moon hits your eye like a big pizza pie
That's amore
When the world seems to shine like you've had too much wine
That's amore
Bells will ring ting-a-ling-a-ling, ting-a-ling-a-ling
And you'll sing "Vita bella"
Hearts will play tippy-tippy-tay, tippy-tippy-tay
Like a gay tarantella
When the stars make you drool just like a pasta e fasul
That's amore
When you dance down the street with a cloud at your feet
You're in love
When you walk in a dream but you know you're not dreaming signore
Scusami, but you see, back in old Napoli
That's amore
When the moon hits your eye like a big pizza pie, that's amore
That's amore,
When the world seems to shine like you've had too much wine, that's amore
That's amore
Bells will ring ting-a-ling-a-ling, ting-a-ling-a-ling
And you'll sing "Vita bella" (Vita bel-, vita bella)
Hearts will play tippy-tippy-tay, tippy-tippy-tay
Like a gay tarantella
Lucky fella
When the stars make you drool just like a pasta e fasul, that's amore
That's amore
When you dance down the street with a cloud at your feet
You're in love
When you walk in a dream but you know you're not dreaming signore
Scusami, but you see, back in old Napoli
That's amore
Amore, that's amore
Thanks for joining us in the bath! please do support us by downloading our albums: hotclubdunax.bandcamp.com
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#Jazz #GypsyJazz #Chetbaker
We hope you enjoy this bathroom special! it's the first time we've tried to fit a double bass in the shower...inspired by our hero #chetbaker we had a lot of fun doing this one!
"#Dancing on the Ceiling" was written in 1930 by #RichardRodgers alongside Lorenz Hart for the lyrics. The song was initially written for the 1930 musical Ever Green and since this initial performance, the song has become a jazz standard from the Rodgers and Hart songbook.
Lyrics:
She dances overhead
On the ceiling near my bed
In my sight
Through the night
I try to hide in vain
Underneath my counterpane
There's my love
Up above
I whisper, go away, my lover
It's not fair
But I'm so grateful to discover
She's still there
I love my ceiling more
Since it is a dancing floor
Just for my love
I whisper, go away, my lover
It's not fair
But I'm so grateful to discover
She's still there
I love my ceiling more
Since it is a dancing floor
Just for my love
(Gypsy) Jazz singing with Hot Club du Nax
Please do support us by downloading our album:
hotclubdunax.bandcamp.com
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#gypsyJazz #jazzmanouche #jazzmusic
A Hot Club Original! Written by our very own singer Isobel Cope.
Unfortunately we couldn't have Tomas Novak with us for the recording session because he had Covid!(he's better now)
Edited and Mixed: www.isobelcope.com
Colour: Robert Puteanu
Lyrics:
May I Feed You Baby Please
Love and treat you baby please
scones with jam and cakes for tea
may I feed you baby please
May I feed you Baby Please
I'll get down upon my knees
you look hungry little baby
come to mama for a feast
oh dates and grapes and plates of steaks
I lay before you
oh baby baby baby babe let me adore you
don't be late breakfast lunch or tea
may I feed you baby please!
www.hotclubdunax.com
Anita O'day #billevans cover
#jazzmusic #gypsyjazz #jazzmanouche
Isobel Cope - Vocals, Tomas Novak - Violin, Arian Kindl - Solo Guitar,
Lukas Bamesreiter - Rhythm Guitar, Dario Michele Gurrado - Double Bass.
Filmed: Maria Kirchner
Edited and Mixed: www.isobelcope.com
"#BeautifulLove" is a popular song composed by Wayne King, Victor Young and Egbert Van Alstyne with lyrics by Haven Gillespie. It was introduced by the Wayne King Orchestra in 1931. The song has been called the "second favourite number" of King, after the Orchestra's theme song "The Waltz You Saved for Me".
As a popular jazz standard, the song is included in the first volume of the #RealBook as well as the New Real Book.
It appears as a love theme both in the 1932 film The Mummy (when it is played during the ball sequence where Helen is telepathically called to the museum), and in the film Hotel Continental, also 1932. The song is included in the film Sing a Jingle (1944) and it was also included in the 1989 film Crimes and Misdemeanors by #WoodyAllen.
Joe Pass performed the song at the Brecon Jazz Festival in 1991 and stated in good jest that he couldn't remember if it was by Victor Herbert, Victor Young or Victor Mature.
Other recordings
Bing Crosby recorded the song on July 24, 1944 with Victor Young and His Orchestra for Decca Records.
Anita O'Day - for her album This Is Anita (1956).
Edna Savage (1959).
Bill Evans - Explorations (1961)
New York alternative metal band Helmet included a cover version of the song on their 1994 album Betty.
Michel Petrucciani with Jim Hall (musician) and Wayne Shorter for their live album Power of three (Blue Note, 1987).
Jacky Terrasson and Tom Harrell - Moon and Sand (1991)
The song has been recorded by Sophie Milman on her album Take Love Easy in 2009.
Lyrics:
Beautiful love
You are a mystery
Beautiful love
What have you done to me
I was content till you came along
Thrilling me with your song.
Beautiful love
I've ruined your paradise
Searching for my dream to realize
Reaching for heaven depending on you
Beautiful love
Will my dreams come true.
Reaching for heaven depending on you
Beautiful love
Will my dreams come true.
www.hotclubdunax.com
Please do support us by buying our albums here! hotclubdunax.bandcamp.com
#gypsyJazz #jazzmanouche #jazzmusic
Mixed and edited: www.isobelcope.com
Filmed and Colour Graded: @avie.studio
"J'attendrai" (French for "I will wait") is a popular French song first recorded by Rina Ketty in 1938. It became the big French song during World War II; a counterpart to Lale Andersen's Lili Marleen in Germany and Vera Lynn's We'll Meet Again in Britain.
"J'attendrai" is actually a French version of the Italian song "Tornerai" (Italian for "You Will Return") ISWC: T-005.001.119-2 composed by Dino Olivieri (music) and Nino Rastelli (lyrics) in 1936, said to be inspired from the Humming Chorus of Puccini's Opera "Madame Butterfly". It was first recorded in 1937 by both Carlo Buti and Trio Lescano (accompanied by the Italian jazz quartet Quartetto Jazz Funaro), and become a huge hit in Italy.
The French lyrics were written by Louis Poterat, and "J'attendrai" became an instant success. Rina Ketty's version was followed the same year by one of Belgian chanteuse Anne Clercy, and both Tino Rossi and Jean Sablon recorded it in 1939. When France was occupied in 1940, it quickly became the big French war song, with the love song's title being interpreted as meaning waiting for peace and/or liberation.
The French version of this Italian song became so well known across Europe that it was often called "J'attendrai" even when recorded instrumentally, such the two versions recorded by #DjangoReinhardt and #Grappelli in 1938, or referred to as the original source when sung in other languages, such as Richard Tauber's British "Au revoir" (1945, with lyrics by Bruce Sievier) and Bing Crosby's and Hildegarde's American "I’ll Be Yours" (both 1945 with lyrics by Anna Sosenko). The Crosby version was recorded on December 18, 1945, for Decca Records with Camarata and His Orchestra.
There were also German versions ("Komm zurück", lyrics by Ralph Maria Siegel), sung by both Rudi Schuricke and Horst Winter on recordings made in 1939. The song became known in Denmark as "Kun for dig" (1939, lyrics by Victor Skaarup); in Norway as "Kun for deg" (1939); in Sweden as "Blott för dig'" (1940, lyrics by Tor Bergström); in Poland as "Czekam cię" (recorded in 1939 by Mieczysław Fogg with lyrics by Andrzej Włast); in Czechoslovakia as "Věřím vám" (recorded by both Rudolf Antonín Dvorský and Oldřich Kovář with lyrics by Karel Kozel); and in Lithuania as "Ak, sugrįžk" (with lyrics by Adelė Lenartavičienė).
Lyrics:
J'attendrai
Le jour et la nuit, j'attendrai toujours
Ton retour
J'attendrai
Car l'oiseau qui s'enfuit vient chercher l'oubli
Dans son nid
Le temps passe et court
En battant tristement
Dans mon cœur si lourd
Et pourtant, j'attendrai
Ton retour
Les fleurs palissent
Le feu s'éteint
L'ombre se glisse
Dans le jardin
L'horloge tisse
Des sons très las
Je crois entendre ton pas
Le vent m'apporte
Des bruits lointains
Guettant ma porte
J'écoute en vain
Helas, plus rien
Plus rien ne vient
J'attendrai
Le jour et la nuit, j'attendrai toujours
Ton retour
J'attendrai
Car l'oiseau qui s'enfuit vient chercher l'oubli
Dans son nid
Le temps passe et court
En battant tristement
Dans mon cœur si lourd
Et pourtant, j'attendrai
Ton retour
Reviens bien vite
Les jours sont froids
Et sans limite
Les nuits sans toi
Quand on se quitte
On n'oublie tout
Mais revenir est si doux
Si ma tristesse
Peut t'émouvoir
Avec tendresse
Reviens un soir
Et dans tes bras
Tout renaîtra
Le temps passe et court
En battant tristement
Dans mon cœur si lourd
Et pourtant, j'attendrai
Ton retour
hotclubdunax.bandcamp.com/releases
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I wonder where my baby is tonight
#gypsyJazz #jazzmanouche #jazzmusic
Mixed and edited: www.isobelcope.com
Filmed and Colour Graded: @avie.studio
Lyrics:
I wonder where my baby is tonight
I wonder how my baby is tonight
I wonder where she's gone and how she's getting on
I wonder why my baby doesn't write
If she came back I wonder what I'd do
I wonder did she find somebody new
She didn't treat me fair and though I shouldn't care
I wonder where my baby is tonight
I wonder does my baby do the Charleston, Charleston
I wonder who is teaching her the Charleston, Charleston
While I sit and sigh, the time goes draggin' by
I'd like to kill the guy who wrote the Charleston, Charleston
We parted 'cause I couldn't do the Charleston, Charleston
She'd still be here if I could do the Charleston, Charleston
I'm takin' lessons now, ; I'll win her back somehow
I wonder where my baby is tonight
Josephine Baker (born Freda Josephine McDonald, naturalised French Joséphine Baker; 3 June 1906 – 12 April 1975) was an American-born French entertainer, French Resistance agent and civil rights activist. Her career was centered primarily in Europe, mostly in her adopted France. She was the first black woman to star in a major motion picture, the 1927 silent film Siren of the Tropics, directed by Mario Nalpas and Henri Étiévant.
During her early career, Baker was among the most celebrated performers to headline the revues of the Folies Bergère in Paris. Her performance in the revue Un vent de folie in 1927 caused a sensation in the city. Her costume, consisting of only a short skirt of artificial bananas and a beaded necklace, became an iconic image and a symbol both of the Jazz Age and the Roaring Twenties.
Baker was celebrated by artists and intellectuals of the era, who variously dubbed her the "Black Venus", the "Black Pearl", the "Bronze Venus", and the "Creole Goddess". Born in St. Louis, Missouri, she renounced her U.S. citizenship and became a French national after her marriage to French industrialist Jean Lion in 1937. She raised her children in France.
She aided the French Resistance during World War II. After the war, she was awarded the Resistance Medal by the French Committee of National Liberation, the Croix de Guerre by the French military, and was named a Chevalier of the Légion d'honneur by General Charles de Gaulle. Baker sang: "I have two loves, my country and Paris."
Baker refused to perform for segregated audiences in the United States and is noted for her contributions to the civil rights movement. In 1968, she was offered unofficial leadership in the movement in the United States by Coretta Scott King, following Martin Luther King Jr.'s assassination. After thinking it over, Baker declined the offer out of concern for the welfare of her children.[6][7][third-party source needed]
On 30 November 2021, she entered the Panthéon in Paris, the first black woman to receive one of the highest honors in France.[8] As her resting place is to remain in Monaco a cenotaph will be installed in vault 13 of the crypt in the Panthéon.[9]
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#gypsyJazz #jazzmanouche #jazzmusic
This song comes from our very first album and is composed by our singer Isobel Cope. It's about always holding on to that sense of wonder that we have as children...that we all to often lose as adults. Keep the wonder alive!
Mixed and edited: www.isobelcope.com
Filmed: https://www.mariakirchner.at/
#Wonderlost
You lost your wonder in a crowded room
you lost your wonder to a man from the moon
you lost your wonder, many years ago
you loved your wonder, don't leave it all alone
You, as a child
Childish thoughts and dreams
dreaming #magicalcircles
circling close to you
and you as a child, childish thoughts and dreams
dreaming magical circles
circling close
close all around but you had to grow old
You lost your wonder as the years went by
you lost your wonder sometimes low, sometimes high
you lost your wonder it was drawn out of you
you loved your wonder but it slipped from your view
a slave to clocks that mock you,
wiping chaos from your life
the wilderness of youth burning guiltily inside
and now you ask if chaos is the freedom that you seek
smuggling glossy thoughts of magic
take that step you fear
Join us in wonder, in this crowded room
take back your wonder from the man from the moon Reclaim your wonder from all the years that you've lost Join us in wonder, don't be wonderlost
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#bolero #jazzmusic
We had the wonderful pleasure of working with Lyricist Santiago Larramendi this summer on his and Gaby Moreno's wonderful song Bolero A La Vida! Nominated for the #LatinGrammyAwards 2021.
Mixed and edited: www.isobelcope.com
Filmed and Colour Graded: @avie.studio
#BOLEROALAVIDA
Autores: L: SantiagoLarramendi – M: #GabyMoreno
(Goraki Music Publishing Admn by Only Solutions Entertaiment(ASCAP)/Lil Sparrow (SESAC) Admin by Peermusic.
Vocal Coach Spanish: Santiago Larramendi
Bäckerei Kulturbackstube, Innsbruck, Austria.
Dance concept, choreography and performance by BRIGIDA PEREIRA NEVES and ALICE WHITE
Filmed by TonTrafik
www.tontrafik.com
instagram.com/tontrafik
Mix: www.isobelcope.com
and contact us at www.hotclubdunax.com Thanks for the support!
Summer memories from 2020. We managed to play this lovely gig in Gumpersdorf despite Corona!
We hope you like this new Vlog style Video!
Filmed and edited by: Robert Putenau
robert-p.com
Bäckerei Kulturbackstube, Innsbruck, Austria.
Dance concept, choreography and performance by BRIGIDA PEREIRA NEVES and ALICE WHITE
Filmed by TonTrafik
www.tontrafik.com
instagram.com/tontrafik
Check out our Releases on hotclubdunax.bandcamp.com
and contact us at www.hotclubdunax.com Thanks for the support!
#jazzmusic #jazztrio #jazzstandards
"Dream a Little Dream of Me" is a 1931 song with music by Fabian Andre and Wilbur Schwandt and lyrics by Gus Kahn. It was first recorded in February 1931 by Ozzie Nelson and also by Wayne King and His Orchestra, with vocals by Ernie Birchill. A popular #standard, it has seen more than 60 other versions recorded, with one of the highest chart ratings by #TheMamas&ThePapas in 1968 with Cass Elliot on lead vocals.
Lyrics:
"Dream A Little Dream"
Stars shining bright above you,
Night breezes seem to whisper, "I love you".
Birds singing in the sycamore tree,
"Dream a little dream of me".
Say "nighty-night" and kiss me.
Just hold me tight and tell me you'll miss me.
While I'm alone and blue as can be,
Dream a little dream of me.
Stars fading, but I linger on, dear.
Still craving your kiss,
I'm longing to linger 'til dawn, dear.
Just saying this:
Sweet dreams 'til sunbeams find you.
Sweet dreams that leave all worries behind you.
But in your dreams whatever they be,
Dream a little dream of me.
Stars fading, but I linger on, dear.
Still craving your kiss,
I'm longing to linger 'til dawn, dear.
Just saying this:
Sweet dreams 'til sunbeams find you.
Sweet dreams that leave all worries behind you.
But in your dreams whatever they be,
Dream a little dream of
Dream a little dream of
Dream a little dream of me.
Of me.
Dream a little dream of me.
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How Insensitive Cover by Hot Club du Nax Trio
Insensatez(Jobim, Gilberto, Kent;Getz, metheny, montgomery.....)
#bossanova #tomjobim #jazzmusic
Jazz Singer Isobel Cope on Vocals, Arian Kindl on Guitar and Violinist/Singer Tomas Novak.
"How Insensitive" is a bossa nova and jazz standard song composed by Brazilian musician Antônio Carlos Jobim. The lyrics were written in Portuguese by Vinícius de Moraes and in English by Norman Gimbel.
In 1965, the album Getz/Gilberto was the first jazz album to win the Grammy Award for Album of the Year. It also won for Best Jazz Instrumental Album – Individual or Group and for Best Engineered Album, Non-Classical. The album's single "Garota de Ipanema" ("The Girl from Ipanema"), one of the most recorded songs of all time, won the Record of the Year. Jobim composed many songs that are now included in jazz and pop standard repertoires. The song "Garota de Ipanema" has been recorded over 240 times by other artists. His 1967 album with Frank Sinatra, Francis Albert Sinatra & Antônio Carlos Jobim, was nominated for Album of the Year in 1968.
Lyrics:
How insensitive
I must have seemed
When he told me that he loved me
How unmoved and cold
I must have seemed
When he told me so sincerely
Why he must have asked
Did I just turn and stare in icy silence
What was I to say
What can you say
When a love affair is over
Now he's gone away
And I'm alone
With a memory of his last look
Vague and drawn and sad
I see it still
All his heartbreak in his last look
Why, he must have asked
Could I just turn and stare in icy silence
What was I to do
What can one do
When a love affair is over
We hope you enjoy the old school flare!
With Lukas Bamesreiter on Guitar and Vocals, Dario Michele Gurrado on Double Bass and the wonderful Yvonne Moriel on Saxophone.
Lyrics:
Strangers in the night
Exchanging glances
Wondering in the night
What were the chances
We'd be sharing love
Before the night was through?
Something in your eyes
Was so inviting
Something in your smile
Was so exciting
Something in my heart told me I must have you
Strangers in the night, two lonely people
We were strangers in the night
Up to the moment when we said our first hello
Little did we know
Love was just a glance away, a warm embracing dance away
And ever since that night
We've been together
Lovers at first sight
In love forever
It turned out so right
For strangers in the night.
Performed by: Isobel Cope (Vocals), Tomas Novak (Violin), Arian Kindl (Solo Guitar), Lukas Bamesreiter (Rhythm Guitar) and Dario Michele Gurrado (Double Bass).
Filmed at: resort-innsbruck.com
Filmed by: sinnemarv.com
Edited and Mixed: isobelcope.com
"White Christmas" is an Irving Berlin song reminiscing about an old-fashioned Christmas setting, released in 1942. The version sung by Bing Crosby is the world's best-selling single with estimated sales in excess of 50 million copies worldwide. When the figures for other versions of the song are added to Crosby's, sales of the song exceed 100 million.
White Christmas Lyrics
I'm dreaming of a white Christmas
Just like the ones I used to know
Where the tree tops glisten
And children listen
To hear sleigh bells in the snow, the snow
Said, I'm dreaming of a white Christmas
With every Christmas card I write
May your days, may your days, may your days
Be merry and bright
And may all your Christmas' be white
I'm dreaming of a white Christmas
Just like the ones I used to know
Where the tree tops glisten
And children listen
To hear sleigh bells in the snow, oh
I'm dreaming of a white Christmas
With every Christmas card I write
May your days, may your days, may your days
Be merry and bright
And may all your Christmas' be white
I'm dreaming of a white Christmas
With every Christmas card I write
May your days be merry and bright
And may all your Christmas' be white
New CD releases DECEMBER 2020 *** hotclubdunax.bandcamp.com
Support us this #Christmas by supporting our new albums 'Christmas Time Is Here' and 'Kind Of #GypsyJazz'. Thank you for sticking with us this year! Happy #Vintage Christmas from us!
Performed by: Isobel Cope (Vocals), Tomas Novak (Violin), Arian Kindl (Solo Guitar), Lukas Bamesreiter (Rhythm Guitar) and Dario Michele Gurrado (Double Bass).
Filmed at: resort-innsbruck.com
Filmed by: sinnemarv.com
Edited and Mixed: isobelcope.com
'Zat You, Santa Claus? Lyrics
Louis Armstrong
Gifts I'm preparing
For some Christmas sharing
But I pause because
Hanging my stocking
I can hear a knocking
'Zat you, Santa Claus?
Sure is dark out
Ain't the slightest spark out
'Pon my slackened jaw
Who's there?
Who is it?
Stopping for a visit?
'Zat you, Santa Claus?
Are you bringing
A present for me
Something pleasantly
Pleasant for me?
Then it's just
What I've been waiting for
Would you mind
Slipping it under the door?
Cold winds are howling
Or could that be growling?
My legs feel like straws
My, my, oh, me, my
Kindly would you reply?
'Zat you, Santa Claus?
Yes, hanging the stocking
I can hear a knocking
'Zat you, Santa Claus?
I say, who's there
Who is it?
Are you stopping
For a visit?
'Zat you, Santa Claus?
New CD releases DECEMBER 2020 *** hotclubdunax.bandcamp.com
Support us this #Christmas by supporting our new albums 'Christmas Time Is Here' and 'Kind Of #GypsyJazz'. Thank you for sticking with us this year! Happy Vintage Christmas from us!
Performed by: Isobel Cope (Vocals), Tomas Novak (Violin), Arian Kindl (Solo Guitar), Lukas Bamesreiter (Rhythm Guitar) and Dario Michele Gurrado (Double Bass).
Filmed at: resort-innsbruck.com
Filmed by: sinnemarv.com
Edited and Mixed: isobelcope.com
I'd like you for Christmas Lyrics
I'd like you for Christmas
Please make my wish come true
'Cause I'd dream trees and deck the hallways
If I knew you'd be mine for always
I won't be blue on Christmas
If old Saint Nick comes through
And he remembers that I'd like you for Christmas, New Year's, Easter too
She'd like you for Christmas
Please make my wish come true
'Cause she'd dream dreams and deck the hallways
If she knew you'd be hers for always
I won't be blue on Christmas
If old Saint Nick comes through
And he remembers that I'd like you for Christmas, New Year's, Easter too
New Year's, Easter too
Scat Solo
Let it snow let it snow let it snow....
I wish it could be christmas every day...
'Cos last Christmas I gave you my ha ha ha ha ha
Santa Baby won't you hurry down my chimney
#alliwantforchristmasisyou !
Performed by: Isobel Cope (Vocals), Tomas Novak (Violin), Arian Kindl (Solo Guitar), Lukas Bamesreiter (Rhythm Guitar) and Dario Michele Gurrado (Double Bass).
Filmed at: resort-innsbruck.com
Filmed by: sinnemarv.com
Edited and Mixed: isobelcope.com
"Christmas Time Is Here" is a popular Christmas standard written by Lee Mendelson and Vince Guaraldi for the 1965 television special #ACharlieBrownChristmas, one of the first animated Christmas specials produced for network television in the United States.
Christmas Time Is Here Lyrics
Vince Guaraldi Trio
Christmas time is here
Happiness and cheer
Fun for all that children call
Their favorite time of the year
Snowflakes in the air
Carols everywhere
Olden times and ancient rhymes
Of love and dreams to share
Sleigh bells in the air
Beauty everywhere
Yuletide by the fireside
And joyful memories there
Christmas time is here
We'll be drawing near
Oh, that we could always see
Such spirit through the year
Thank you so much for your support we couldn't make music without you!
O Poštaris Avel - Hot Club du Nax LIVE
Filmed at one of our #concerts a few weeks ago. Lucky for us this festival was not cancelled and we were able to play again!
So here for you all: O #Poštaris Avel #live in Gumpesdorf.
/:A poštaris avel,telegramos avel.:/
/: ginava,ginava, čingela,čingela,
džamore,džamore,džamore,na kama duj.:/
/:Idze poštár,idze,telegram mi neše.:/
/:Kedz som ho čitala,čitala,vlasy si trhala,trhala,
srdce mi pukalo,pukalo,ja nechcem ho.:/
and contact us at www.hotclubdunax.com Thanks for the support!
Support us this Christmas by supporting our new albums 'Christmas Time Is Here' and 'Kind Of #GypsyJazz'. Thank you for sticking with us this year! Happy VintageChristmas from us!
The next in our 'Hot Club Presents' series. This time introducing 'Lux Trio' with our very own guitarist Lukas Bamesreiter singing the #JazzStandard #BeautifulLove
We hope you enjoy the old school flare!
With Lukas Bamesreiter on Guitar and Vocals, Dario Michele Gurrado on Double Bass and the wonderful Yvonne Moriel on Saxophone.
Lyrics:
Beautiful love, you are all mystery
Beautiful love, what have you done to me
I was contented 'till you came along
Thrilling, my soul with your song
Beautiful love, I've roamed your paradise
Searching for love, my dreams to realize
Reaching for heaven, depending on you
Beautiful love, will my dreams come true
Beautiful love, you are all mystery
Beautiful love, what have you done to me
I was contented 'till you came along
Thrilling, my soul with your song
Beautiful love, I've roamed your paradise
Searching for love, my dreams to realize
Reaching for heaven, depending on you
Beautiful love, will my dreams come true
Beautiful love, you are all mystery
Beautiful love, what have you done to me
I was contented 'till you came along
Thrilling, my soul with your song
On a recent trip to Ferrara, Italy we had the pleasure to play with a #tapdancer! Very spontaneous - just how we like it :)
Thank you to you all for sticking by us over these last few difficult months!
Thank you so much for the support! We couldn't make music without you! hotclubdunax.com
Celebrating the online release of our debut #Album "Love Is Where You Hang Your Hat" - Now available on Spotify/Itunes etc!
Buy and download it here: hotclubdunax.bandcamp.com/releases
'Losing My Head' track 7 from our Album composed by our singer #IsobelCope
Losing my head
You're making me lose my head
you're making me quiver as you lavish your trouble all over me
whispering on your knees
you're making me lose my head. In the aftermath I cannot sleep. Im a spiral in this corrupt kaleidoscope of your love. a hostage on my knees
oooh a tasted tremor a painted feather
leading thoughts of survival in your chaos compulsive chemical dream
but do I want to wake up?
Why can't I lost my head? Why can't I like it that you lavish your trouble over me? My apocalyptic release
I want to lose my head the violent flavour the taste of the blossom
sweetly growing
liquid thunder dreams of your touch
golden electric predator ooh lost in the greedy echo of our rough blind burnt wolves howling through the night
feeding grinning inside
Thank you so much for your support we couldn't make music without you!
Booking: hotclubdunax@gmail.com
Embraceable you Cover by Hot Club du Nax (Trio)
Hot Club du Nax has opened it's YouTube doors to invite other groups within the Hot Club Family to share their Videos. You'll see a lot of faces you already know well...and a few lovely new ones!
We hope you enjoy the variety of the music and love the new videos as much as we do!
This video features the 'Izzy Cope Trio' - with the Hot Club du Nax Singer - Isobel Cope, Guitarist - Lukas Bamesreiter and Double bass player - Flo Hupfauf.
Filmed by: Robert Puteanu
Recorded & mixed by: www.isobelcope.com
We recorded this #livemusic video in the attic of the Bäckerei Kulturbackstube in Innsbruck, Austria. '#EmbraceableYou'.
"Embraceable You" is a popular jazz song with music by #GeorgeGershwin and lyrics by Ira Gershwin. The song was written in 1928 for an unpublished operetta named East Is West. It was published in 1930 and included in the Broadway musical Girl Crazy where Ginger Rogers performed it in a song and dance routine choreographed by Fred Astaire.
#BillieHoliday's 1944 recording was inducted into the Grammy Hall of Fame in 2005.
Support us this Christmas by supporting our new albums 'Christmas Time Is Here' and 'Kind Of #GypsyJazz'. Thank you for sticking with us this year! Happy VintageChristmas from us!
On a recent trip to Ferrara, Italy we had the wonderful luck to have our very first jam session with a #tapdancer! Thank you to Andrea for joining us!
#gypsy jazz #tapdancing #streetmusic
"All of You" is a popular song written by Cole Porter and published in 1954.
It was introduced by Don Ameche in the Broadway musical Silk Stockings and featured in the film version as well, when it was sung by Fred Astaire.
Notable recordings
Ahmad Jamal – for the album Ahmad Jamal Plays (1955)
Kenny Burrell – for the album Kenny Burrell (1957)
Anita O'Day - included on her album Anita O'Day Swings Cole Porter with Billy May (1959)
Annie Ross – for her album Annie Ross Sings a Song with Mulligan! (1959)
Bill Evans – featured the song on his live 1961 album Sunday at the Village Vanguard
Billie Holiday - on the album Last Recording (1959)
Bobby Darin (1963) - included on the compilation album The Swinging Side of Bobby Darin (2005).
#EllaFitzgerald - on her album Ella Fitzgerald Sings the Cole Porter Song Book (1956)
Karrin Allyson - on her album Collage (1996)
#FrankSinatra - on Trilogy: Past Present Future (1980).
Mel Tormé - for his album Musical Sounds Are the Best Songs (1956).[2]
Michael Holliday - included on the album Hi! (1958).[3]
Miles Davis - on 'Round About Midnight (1957).
Modern Jazz Quartet - on the 1955 album Concorde.
McCoy Tyner - on Live at Newport (1963).
Nancy Wilson - for her album Like in Love (1960)
Robert Goulet - on the album Two of Us (1962).
Sammy Davis Jr. - a single release in 1956.
#SarahVaughan - for the album After Hours at the London House (1958)
Tony Bennett - included as a bonus track on the CD reissue of When Lights Are Low (1964). Recorded again for Steppin' Out (1993)
Tony Martin - a single release in 1957.
Support us this Christmas by supporting our new albums 'Christmas Time Is Here' and 'Kind Of #GypsyJazz'. Thank you for sticking with us this year! Happy VintageChristmas from us!
Celebrating the online release of our debut Album "Love Is Where You Hang Your Hat" - Now available on Spotify/Itunes etc!
Buy and download it here: hotclubdunax.bandcamp.com/releases
Here's Track 5 from our Album "#Tricotism" written by bass player #OscarPettiford
Oscar Pettiford (September 30, 1922 – September 8, 1960) was an American jazz double bassist, cellist and composer. He was one of the earliest musicians to work in the bebop idiom.
Biography
Oscar Pettiford and Junior Raglin at the Aquarium of New York City in November 1946
Pettiford was born at Okmulgee, Oklahoma. His mother was Choctaw, and his father was half Cherokee and half African American.
He grew up playing in the family band in which he sang and danced before switching to piano at the age of 12, then to double bass when he was 14. He is quoted as saying he did not like the way people were playing the bass so he developed his own way of playing it. Despite being admired by the likes of Milt Hinton at the age of 14, he gave up in 1941 as he did not believe he could make a living. Five months later, he once again met Hinton, who persuaded him to return to music.
In 1942 he joined the Charlie Barnet band and in 1943 gained wider public attention after recording with Coleman Hawkins on his "The Man I Love". Pettiford also recorded with Earl Hines and Ben Webster around this time. After he moved to New York, he was one of the musicians (together with Dizzy Gillespie, Thelonious Monk, Kenny Clarke) who in the early 1940s jammed at Minton's Playhouse, where the music style developed that later was called bebop. He and Dizzy Gillespie led a bop group in 1943. In 1945 Pettiford went with Hawkins to California, where he appeared in The Crimson Canary, a mystery movie known for its jazz soundtrack, which also featured Josh White. He then worked with Duke Ellington from 1945 to 1948 and for Woody Herman in 1949 before working mainly as a leader in the 1950s.
As a leader he inadvertently discovered Cannonball Adderley. After one of his musicians had tricked him into letting Adderley, an unknown music teacher, onto the stand, he had Adderley solo on a demanding piece, on which Adderley performed impressively.
Pettiford is considered the pioneer of the cello as a solo instrument in jazz music.[citation needed] He first played the cello as a practical joke on his band leader (Woody Herman) when he walked off stage during his solo spot and came back, unexpectedly with a cello and played on that. In 1949, after suffering a broken arm, Pettiford found it impossible to play his bass, so he experimented with a cello a friend had lent him. Tuning it in fourths, like a double bass, but one octave higher, Pettiford found it possible to perform during his rehabilitation (during which time his arm was in a sling) and made his first recordings with the instrument in 1950. The cello thus became his secondary instrument, and he continued to perform and record with it throughout the remainder of his career.
He recorded extensively during the 1950s for the Debut, Bethlehem and ABC Paramount labels among others. During the mid-1950s he played on the first three albums Thelonious Monk's recorded for the Riverside label.
In 1958 he moved to Copenhagen, Denmark and started recording for European companies. After his move to Europe he often performed with European musicians, like Atilla Zoller, and also with other Americans who had settled in Europe, like Bud Powell and Kenny Clarke. He died in 1960 in Copenhagen shortly before his 38th birthday, from a virus closely related to polio.
Along with his contemporary, Charles Mingus, Pettiford stands out as one of the most-recorded bass-playing bandleader/composers in jazz.
Thanks so much! www.hotclubdunax.com
Celebrating the online release of our debut Album "Love Is Where You Hang Your Hat" - Now available on Spotify/Itunes etc!
Buy and download it here: hotclubdunax.bandcamp.com/releases
"#SweetGeorgiaBrown" is a jazz standard and pop tune composed in 1925 by Ben Bernie and Maceo Pinkard, with lyrics by Kenneth Casey.
History
Reportedly Ben Bernie came up with the concept for the song's lyrics – although he is not the accredited lyricist – after meeting Dr. George Thaddeus Brown in New York City: Dr. Brown, a longtime member of the State House of Representatives for Georgia, told Bernie about Dr. Brown's daughter Georgia Brown and how subsequent to the baby girl's birth on August 11, 1911 the Georgia General Assembly had issued a declaration that she was to be named Georgia after the state, an anecdote which would be directly referenced by the song's lyric: "Georgia claimed her – Georgia named her."
The tune was first recorded on March 19, 1925, by bandleader Ben Bernie, resulting in a five-week number one for Ben Bernie and his Hotel Roosevelt Orchestra.
One of the most popular versions of "Sweet Georgia Brown" was recorded in 1949 by Brother Bones and His Shadows and later adopted as the theme song of the Harlem Globetrotters basketball team in 1952.
Support us this Christmas by supporting our new albums 'Christmas Time Is Here' and 'Kind Of #GypsyJazz'. Thank you for sticking with us this year! Happy VintageChristmas from us!
Celebrating the online release of our debut Album "Love Is Where You Hang Your Hat" - Now available on Spotify/Itunes etc!
Buy and download it here: hotclubdunax.bandcamp.com/releases
This is the third track on the album, written by our very own violin star Tomas Novak...keep an eye out for the rest of the album coming to YouTube soon!
Tomáš's youtube: @tomasnovak3744
Tomáš's instagram: instagram.com/tomas_novak_violine
Lyrics:
Are you you are you happy
are you sad are you blue
are you red are you good are you bad
it really doesn't matter that you're a fox and you're a cat
love is where you hang your hat
are you sweet are you sour
are you open or discreet
are you a are you b are you z
it really doesn't matter that you're the entire alphabet
love is where you hang your hat
love is where your sun is
love is where your song is on
and you travel lightest
are you fly are you dope
are you high are you low
are you me are you re are you do?
it doesn't matter that you're Hubbard Fred of Cole King Nat
love is where you shower....
Are you a knight are you a Jinn
Are you at Sheik are you a queen
Are you abracadabra or
skiibaba sim-salabim
It really doesn't matter that you're Montague and Capulet
Love is where you hang your hat
Are you on are you off
Are you in are you out
Are you up are you down
Or inside out
It doesn't matter that anyway you look at it
Love is where you hang your hat
love is where your sun in
love is where your song is on and you travel the lightest
When you're singing in French
bout your feet trying to hatch
when you're going through hell
for old Ursula's spell
when you're leaving see number three
you will see it's but a great rambunctious swell
It really doesn't matter that you're loving someone else instead
everybody is knowin' that love can be quite intricate
love is where is
love is where is
love
is
where
you
hang your ha ha ha ha ha ha hatschiew
Get your album online here: hotclubdunax.bandcamp.com/releases
Booking: hotclubdunax@gmail.com
Hot Club du Nax has opened it's YouTube doors to invite other groups within the Hot Club Family to share their Videos. You'll see a lot of faces you already know well...and a few lovely new ones!
We hope you enjoy the variety of the music and love the new videos as much as we do!
This first video introduces the 'Izzy Cope Trio' feat. the Hot Club du Nax Singer - Isobel Cope, Guitarist - Lukas Bamesreiter and Double bass player - Flo Hupfauf.
Filmed by: Robert Puteanu
Recorded & mixed by: www.isobelcope.com
We recorded this video in the attic of the Bäckerei Kulturbackstube in Innsbruck, Austria. It's the Jazz Standard "Just Friends"
"#JustFriends" is a popular song that has become a jazz standard. The song was written in 1931 by John Klenner with lyrics by Sam M. Lewis. Although introduced by Red McKenzie and His Orchestra in October 1931, it first became a hit when singer Russ Columbo performed it with Leonard Joy’s Orchestra in 1932. It charted again the same year in a version by Ben Selvin and His Orchestra and has been recorded often since.[1]
In 1987, guitarist Larry Coryell covered the song from his album "Toku Do."
Other recordings
Tony Bennett with Stan Getz and Herbie Hancock – Jazz (1964)
Dizzy Gillespie with Oscar Peterson, Freddie Hubbard, and Clark Terry – The Trumpet Summit Meets the Oscar Peterson Big 4 (1980)
Earl Hines – Fatha Plays Classics (1977)
Lee Konitz with Bill Evans – Live at the Half Note (1959)
Red McKenzie – 1931
Charlie Parker – 1949
Sonny Rollins with Coleman Hawkins – Sonny Meets Hawk (1963)
Cecil Taylor with John Coltrane – Coltrane Time (1959)
Sarah Vaughan – 1949
Joe Williams – In Good Company (1989)
Lyrics
Just friends, lovers no more
Just friends but not like before
To think of what we've been
And not to kiss again
Seems like pretending
It isn't the ending
Two friends drifting apart
Two friends but one broken heart
We loved, we laughed, we cried
Suddenly love died
The story ended
But we're just friends
Two friends drifting apart
Two friends but one broken heart
We loved, we laughed, we cried
Suddenly love died
The story ended
But we're just friends
Thank you so much for the support! We couldn't make music without you!
Booking:
hotclubdunax.com
hotclubdunax@gmail.com
facebook.com/hotclubdunax
Edited and mixed by: isobelcope.com
Hot Club du Nax - #IGotRhythm
Gypsy Jazz Band 'Hot Club du Nax' play 'I Got Rhythm'.
Jazz Singer Isobel Cope on Vocals, Jazz Guitarists Arian Kindl and Lukas Bamesreiter, Double Bass Player Dario Michele Gurrado and Violinist Tomas Novak.
Filmed by www.mariakirchner.at
"I Got Rhythm" is a piece composed by #GeorgeGershwin with lyrics by #IraGershwin and published in 1930, which became a jazz standard. Its chord progression, known as the "#rhythmchanges", is the foundation for many other popular jazz tunes such as Charlie Parker's and Dizzy Gillespie's bebop standard "Anthropology (Thrivin' on a Riff)".
Composition
The song came from the musical Girl Crazy which also includes two other hit songs, "Embraceable You" and "But Not for Me", and has been sung by many jazz singers since. It was originally written as a slow song for Treasure Girl (1928) and found another, faster setting in Girl Crazy. Ethel Merman sang the song in the original Broadway production and Broadway lore holds that George Gershwin, after seeing her opening reviews, warned her never to take a singing lesson.
The piece was originally penned in the key of D♭ major. The song melody uses four notes of the five-note pentatonic scale, first rising, then falling. A rhythmic interest in the song is that the tune keeps behind the main pulse, with the three "I got..." phrases syncopated, appearing one beat behind in the first bar, while the fourth phase "Who could..." rushes in to the song. The song's chorus is in a 34-bar AABA form. Its chord progression (although often reduced to a standard 32-bar structure, for the sake of improvised solos), is known as the "rhythm changes", and is the foundation for many other popular jazz tunes. The song was used as the theme in Gershwin's last concert piece for piano and orchestra, the Variations on "I Got Rhythm", written in 1934. The song has become symbolic of the Gershwins, of swing, and of the 1920s.
As usual, George Gershwin wrote the melody first and gave it to Ira to set, but Ira found it an unusually hard melody for which to create lyrics. He experimented for two weeks with the rhyme scheme he felt the music called for, sets of triple rhymes, but found that the heavy rhyming "seemed at best to give a pleasant and jingly Mother Goose quality to a tune which should throw its weight around more." Finally he began to experiment with leaving most of the lines unrhymed. "This approach felt stronger," he wrote, "and I finally arrived at the present refrain, with only 'more-door' and 'mind him-find him' the rhymes." He added that this approach "was a bit daring for me who usually depended on rhyme insurance."
Ira also wrote that although the phrase "who could ask for anything more?" is repeated four times in the song, he decided not to make it the title because "somehow the first line of the refrain sounded more arresting and provocative."
Lyrics:
I got rhythm
I got music
I got my man
Who could ask for anything more?
I got daisies
In green pastures
I got my man
Who could ask for anything more?
Old Man Trouble
I don't mind him
You won't find him
'Round my door
I got starlight
I got sweet dreams
I got my man
Who could ask for anything more?
Support us this Christmas by supporting our new albums 'Christmas Time Is Here' and 'Kind Of #GypsyJazz'. Thank you for sticking with us this year! Happy VintageChristmas from us!
Thank you so much for the support! We couldn't make music without you!
Booking:
hotclubdunax.com
hotclubdunax@gmail.com
facebook.com/hotclubdunax
Edited and mixed by: isobelcope.com
Hot Club du Nax - "#AlmostLikeBeinginLove"
Gypsy Jazz Band 'Hot Club du Nax' play "Almost Like Being in Love" LIVE at the Shag 'n' Ball Alpine Jitterbug Festival, Innsbruck.
Jazz Singer Isobel Cope on Vocals, Jazz Guitarists Arian Kindl and Lukas Bamesreiter, Double Bass Player Dario Michele Gurrado and Violinist Tomas Novak. Filmed by Robert Puteanu.
"Almost Like Being in Love" is a show tune with music by Frederick Loewe and lyrics by Alan Jay Lerner. It was written for the score of their 1947 musical Brigadoon. The song was first sung by David Brooks in the #Broadway production. It was later performed in the 1954 film version by #GeneKelly.
Michael Johnson version
"Almost Like Being in Love"
"Almost Like Being in Love" was revived in a downbeat ballad version by singer Michael Johnson (U.S. no. 32, 1978).[3] His rendition became a Top 10 Adult Contemporary hit in both the U.S. (no. 4) and Canada (no. 10).
Other versions
There were three hit versions of the song in the United States in 1947. Frank Sinatra's version was the highest charting at no. 20. Mildred Bailey and Mary Martin both charted with the song at no. 21 that year.[5]
Nat King Cole recorded more than one version of the song, including a later version that was used as the closing song in the 1993 movie Groundhog Day which starred Bill Murray. Cole's version, in the key of G major like the original, features a ii–V–I turnaround (2-5-1) in G, a pair of similar 2-5-1 sequences in E major and D major for the bridge, after which it raises the refrain a half-step with a 2-5-1 in A flat major.
Frank Sinatra rerecorded the song for his 1961 album Come Swing with Me! The song was also made popular by Shirley Bassey. Like Judy Garland, Bassey performed this song as a medley with the song, "This Can't Be Love".
Bradley Walsh recorded his version of the song for his 2016 debut album Chasing Dreams. More recently it was performed in an episode of The Marvelous Mrs. Maisel by Darius de Haas.
Lyrics
"Almost Like Being In Love"
What a day this has been
What a rare mood I'm in
Why it's almost like being in love
There's a smile on my face
For the whole human race
Why it's almost like being in love
All the music of life seems to be
(Just) Like a bell that is ringing for me
And from the way that I feel
When the bell starts to peel
I would swear I was falling, I could swear I was falling
- It's almost like being in love
Thanks so much! www.hotclubdunax.com
Singer Isobel Cope on Vocals, Solo Guitar Arian Kindl and Rhythm guitar Lukas Bamesreiter, DoubleBass Player Dario Michele Gurrado and Violinist Tomas Novak.
Filmed by Marvin Smith.
Lyrics:
Everybody wants to be a cat,
because a cat's the only cat
who knows where it's at.
Tell me! Everybody's pickin' up on that feline beat,'cause everything else is obsolete.
Now a square with a horn,
can make you wish you weren't born,
ever'time he plays;but with a square in the act,
you can set music back
to the caveman days.
I've heard some corny birds who tried to sing,
Still a cat's the only cat
who knows how to swing.
Who wants to dig
a long-haired gig
or stuff like that?When everybody wants to be a cat.
A square with that horn,
makes you wish you weren't born,
ever'time he plays; oh a rinky, tinky, tinky,
With a square in the act,
you can set music back
to the caveman days- oh a rinky, tinky, tinky.
Yes!- Everybody wants to be a cat,
because a cat's the only cat
who knows where it's at;
while playin' jazz you always has a Welcome mat,
'cause everybody digs a swingin' cat.
Everybody, everybody, everybody wants to be cat.
Hallelujah!
Everybody, everybody, everybody wants to be cat.
Buy and download it here: hotclubdunax.bandcamp.com/releases
This is the second track on the album, chosen by our bass player Dario Michele Gurrado...keep an eye out for the rest of the album coming to YouTube soon!
Concorde is an album by the Modern Jazz Quartet, recorded in New York on July 2, 1955, and first released that year as an LP, Prestige 7005, with liner notes by Ira Gitler. The album was reissued in 2008 as part of the Rudy Van Gelder Remasters collection.
The album is the first to feature drummer Connie Kay, who replaced Kenny Clarke in 1955. It is also the first Modern Jazz Quartet LP conceived from the beginning as a long playing record; previous MJQ recordings had been released as 78's, 10 inch 33's or reissues of these formats on a 12-inch LP. The liner notes acknowledge the additional playing time of the LP format by asking the listener to regard this album as a performance set "at one of America's leading jazz rooms".
Writing for AllMusic, Lindsay Planer described the transition between percussionists as "both smooth and sensible". He highlighted the interpretation of the songs in the Gershwin medley as "nothing short of definitive", saying that "All manner of post-bop jazz listeners will find much to enjoy throughout Concorde."


