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Not sure, but it’s always seemed to me that there is an appalling lack of cowbell in gypsy jazz.
Just watched several videos on your YouTube channel. You guys are freaking gooooood. I love the taste, the modernism in your playing, and excellent attention to a snappy, propulsive rhythm (often over-looked). More please.
We’re happy to keep the thread going and share a new video with you! This time, the classic Gypsy Jazz trio is joined by a special guest — the piano. And for the occasion, we’ve chosen Cool Eyes by Horace Silver.
The song carries a classic rhythm changes energy, but with Horace Silver’s unmistakable sound: bluesy, playful, and full of movement!
Hope you like it!
Man, this is so well recorded. Every instrument is captured accurately and the final mix is spot on. Brilliant performance, it could be put on the album just like that. Just don't tell me this was the first take...
I play in a group called DC Ambiance. Took me years to get to this place
https://youtu.be/4dF6H6BJuVY?si=u4hkzCi-fP44JIEd
Me too! And I still managed to throw off the bass player with my goofy count-in. Even goofier, I don't think I ever noticed this before.
But English concertina totally fits, especially when it comes to waltzes.
I guess that makes three of us? 😂
And this time the guest is the cello! On this occasion playing a piece by John Coltrane. This is another chapter of our project "Jazz contra les cordes" (literally “jazz against the ropes,” a Spanish/Catalan boxing idiom meaning being cornered, or in a tough spot, here used as a musical pun) reinterpreting music written after Django Reinhardt’s death, but using the classic gypsy jazz instrumentation.
Hope you like it!
Love it, one of my favorite Coltrane tunes from right after his time with Monk, which I think is evident in the changes
I was always knocked out by the Baro Ferret recordings from the 60s with the trio supplemented by drums, a shrill Farfisa organ for the upper range, and vibes lower down. The result? That place where hotel lounge kitsch and 'Silent Way' era Miles Davis collide.
Pierre "Baro" Ferret - Reglement De Compte - Paris 1965-66