"Un violon, 2 guitares, la pompe, le swing
Des samples, une basse, Dirty Dance Swing"

Zaïdi Diab : chant, violon
Teddy Diab: guitare
Mathieu Layazid: rap, MPC, guitare

mixé par Emmanuel Casals
masterisé par Poldoore

www.accentswingproductions.fr

La Théorie Du Big Band

La Petite Fille Des Caravanes

Bouger Les Murs

Race De Pourri

Un film réalisé écrit et réalisé par Corentin Burguière.

Musique composée et orchestrée par Kamil Bicgel.

Violon: Elena Philouze
Guitares manouches: Pierre Prince et Clément Beudin
Contrebasse: Juliette Boyer

Mixage / Mastering: Kamil Bicgel

Suite Les Mots des Autres

Dans le fond des sentiments

Je t'aime !

Quelque chose d'incroyable

Altamira guitars are crafted by a highly skilled team luthiers, led by owner/luthier Hanson Yao who was an apprentice of the famed Rodriguez workshop in Spain. Altamira's Gypsy models are built using old world methods by just two luthiers who have been specially assigned to the task. Altamiras have become some of our best selling instruments over the years, finding their way into the hands of numerous professionals who have found them up to the task of high level performing and recording. The tone and projection of these instruments rivals some of the best handmade instruments, making them a wonderful deal at this price.

This guitar features solid birdseye maple back and sides, spruce top, and a mahogany neck. A set of AG vintage tuners is included. The higher quality materials of this solid wood model produce a richer and drier tone similar to many handmade European guitars. 

For more info or to buy see: https://www.djangobooks.com/Item/altamira-tb

Altamira TB

The Dell'Arte Hommage has long been one of the best selling Gypsy jazz guitars of all time. Made in San Diego by John Kinnard, this model has proven itself in the hands of so many of the greats including Jimmy Rosenberg, Boulou Ferre, Angelo Debarre, Robin Nolan, etc.

This special one-of-a-kind Homage model features a beautiful pearl inlay and on the rope style rosette,  rope binding, and gold Schaller deluxe tuners. A Carlos pickup is included.
The Hommage is a tribute to the large bodied guitars built by Jacques Favino in the 1960s-70s. The larger body and scale length improves the bass response and volume of the guitar. The tone is fairly open with a warm yet penetrating high end that is conducive to lead playing. It has a springy, fast attack that allows you to play clearly with minimum force. Most importantly, this instrument has the volume and "bark" you'd expect of a classic Favino guitar.

The top is spruce, the back and sides are koa, and the neck is walnut. All of this adds up to a guitar that is both visually and sonically nothing short of spectacular!

This guitar is in very good condition with several dings and scratches on the body, some light fretwear, and some significant pickwear which exposed some of the top wood but was later repaired with additional finish. The setup is particularly noteworthy as it plays very, very easily with super low 2.6mm action.

Dell'Arte stopped producing guitars over a decade ago. Here's a rare chance to get one in great condition!

For more info or to buy see: https://www.djangobooks.com/Item/dell-arte-hommage-special

2010 Dell'Arte Hommage Special

Shelley Park needs no introduction. Over the past two decades she has earned a reputation as one of the top makers of Selmer style guitars. Her guitars are known for their impeccable workmanship, aesthetic beauty, and warm satisfying tone. This guitar is no exception.

The Elan model features a  640mm scale, 15 3/4 " lower bout, and a 4" body depth.  The top is spruce, the back and sides are made of solid Australian blackwood and the binding is walnut. The neck is constructed of walnut. The ebony fingerboard has a modern, sleek look which is free of fingerboard markers, but does have side dots for positioning. Hardware includes a set of Schaller three on a plate tuners and a DR tailpiece.

This instrument is in very good condition. The frets just some very light wear and the body just has a couple of dings on the side near the bass bout. There is a long crack running from the treble side of the soundhole to the rim. It has been repaired and is stable. The action is set low at 3mm which, along with the short scale, make it a breeze to play. Chording requires very little hand strength making it a great choice for those in need of an easy player.

This guitar has a full bodied, balanced tone with much more bass and mids than is typical of a Gypsy guitar. These qualities make it very versatile and generally more modern in sound, allowing to be used in many styles but always has that Gypsy sound when you want it.

This instrument is a nice deal as it would be over $5300 new. Why not give this modern Gypsy masterpiece a whirl? You wont be disappointed!

For more info or to buy see: https://www.djangobooks.com/Item/shelley-park-2004-elan-12-fret-2

2004 Park Elan 12 Fret

This is one of the very rare model #45 Busatos which was the the fancier, more ornate model in Busato's catalog. The rhinestone studded headstock is one-of-a-kind.

A guitar of this stature needs no introduction. Next to Selmers, Busatos are the most sought after guitars by today's top players. So many contemporary Gypsy jazz guitarists play these exquisite guitars:

Romane (he plays a Busato on most of his recordings over the last 5 years)

Stochelo Rosenberg (performs with his Selmer but is an avid collector and player of Busatos)

Yayo and Fanto Reinhardt (Romane's rhythm section get an amazing dry rhythm sound with their Busatos!)

Moreno and of course, Django himself! (see Django's Busato here: Django's Busato).

Django is rumored to have written the ballad Anoumanon his Busato.

So what makes a Busato so great? Generally speaking, it simply out performs other guitars in almost every way. First off, they are positively the loudest guitars ever made! I've compared Busatos to numerous classic Gypsy guitars such as Jacques Favinos and Selmers as well as new guitars by J.P. Favino, Dupont, ALD, and Dell Arte. A good Favino is pretty loud...but the Busato is just a cannon. A vintage Selmer is actually quite timid by comparison. The Busato has three tonal elements which really make it cut in acoustic settings. 1) It is extremely dry. It has little or no natural wetness (reverb.) This makes the guitar much more focused and is therefore much easier to hear in a loud jam setting. 2) The tone is very pure with very simple overtones. The fundamental pitch of single notes are very strong while the overtones are extremely clean and even. Very flute like in character. A Selmer sounds more complex, but is also somewhat "messier" sounding which dampens projection. 3) It responds to the slightest touch. Just barely strike the strings and you get a lightening fast bolt of sound. I really like this because you don't have to play these guitars hard to be loud. Busatos yield an exceedingly wide frequency response. They have a crisp, bright high end which gives your leads some sparkle and adds ambiance and clarity to rhythm work. There's not much mids, except for a slight upper midrange nasalness. But nothing like a Favino in that regard. Like a Favino, there is far more low end than a Selmer, and it's an incredibly tight, clear low end. Not mushy or ill defined in anyway. The tight low end of a Busato mixed with it's dry character really make it excel for rhythm playing. It's just so clear. The high end cracks like a whip and the bass notes are like a kick in the gut. The dimensions of this Busato is smaller than usual, close to that of a Selmer: Body is 15 3/4" across the lower bout and the scale length is 670mm. Busatos are also the curviest Gypsy guitars out there. The bombé (top arch) is the most pronounced I've ever seen on a Selmer type guitar. It's like a huge bubble under the bridge. The back is also beautifully arched.

This guitar has Brazilian rosewood back and sides, a spruce top, and mahogany neck. This guitar has the original clover tuners and tailpiece. The hardware is in excellent condition. The tuners are perfectly functional and turn very smoothly. There are at least 5 top cracks, all of which have been professionally cleated and are stable. the fingerboard looks to have been replaced (although the fingerboard dots look original?) and a truss rod was installed. The frets are new.

This guitar is currently strung with Argentine 10s and is incredibly easy to play. It plays like butter with no buzzes or other sonic problems. Action is very low at 2.8mm.

This instrument just has the sort of wear you'd expect of an instrument of this age (i.e. small scratches, dings, pickwear, etc.) It's extremely rare to find a Busato that is so well preserved, and even rarer to find the elusive Modele #45 in such good condition!

For more info or to buy see: https://www.djangobooks.com/Item/busato-grand-modele-deluxe-4

1940s Busato Modele #45

How the fuck did I get this far
Here ends the plans on my Ca-lalendar-ar-ar-ar
New year new auto-psychoanalysis
Hear as I rot inside my jobless room as I catch you up on what's been new

I sometimes ponder whether i am fully human
I think im just attached to full neutrality
I dont invalidate me but it makes me curious
Does it explain why i lack strong identity?

Last year I learned I'm slightly oriented
And I'm still learning what to make of it
One poorly aged line on what's left of Happy It Ended
I tell ya Sidekick Syndrome is a bitch
(Had that my whole life)

Like, I compartmentalised the ways in which I'd value soulmates I'd never wanna rank
Rather I did it to avoid picking a "one true"
When more than 1 said I was their "first place"
Cuz I can't lie, I'd have an answer
But it won't be entertained
Yeah I can't lie, I know where I'd end up
But I don't wanna say
Wanna say
Wanna say

happy birthday little poser
happy birthday human being
let's start the next arc shall we?

Ameristralian Alcohol + 1

Ameristralian Alcohol

Con questa cover ho voluto reinterpretare il brano "Non vorrei crepare" di Boris Vian, portando un tocco personale e moderno a un testo intriso di poesia e significato. Ho cercato di mantenere intatta l’essenza dell’originale, arricchendola con arrangiamenti contemporanei che invitano l’ascoltatore a immergersi in un’atmosfera unica.

Questo progetto nasce dal desiderio di omaggiare l’eredità artistica di Vian, fondendo la tradizione con un’interpretazione attuale. Spero che la mia versione possa trasmettervi le emozioni e la passione con cui è stata realizzata.

Grazie per l’ascolto! Non esitate a lasciare un commento o a condividere le vostre impressioni.

NON VORREI CREPARE

ÇA FAIT PAF CHEZ LES FAFS !
-un essai de mise en alerte des gens sur des sujets très graves-
Critique du comportement des fachos du RN par rapport à une décision de justice les concernant. Là où le fascisme conteste la justice, les juges et la Démocratie...
J'essaye, malgré tout, de garder un certain humour.

PREMIER TEXTE:
Oh, oh, oh, il fait chaud, chaud, chaud,
Chez les charlots, ça danse au tempo,
Les guitares jouent dans un feu d'artifices,
Et la nuit s'éclaire de leurs malices.

Oh eh, oh eh, ça swing sur le parquet,
Avec les fafs, on ne va pas s'arrêter,
Les airs fous s'envolent, chassant les ombrages,
La lumière du swing trace ses passages.

[Refrain]
Oh, ne crie pas trop fort, chéri, je t'en prie,
Goebbels pourrait se lever entre deux nuits,
Mais rions, chantons, restons dans la lumière,
La liberté danse et brille sur cette terre.

Les câbles claquent, les cordes chantent haut,
Et les pavés résonnent sous nos grands sauts,
De l'accordéon monte un souffle farceur,
Chez les charlots, on oublie la rancœur.

Les ombres nous regardent, mais on ne les craint pas,
Le jazz, ma belle, c’est notre combat,
Les notes vagabondent, elles ne se laissent jamais prendre,
Ce feu de musique, jamais à éteindre.

[Refrain]
Oh, ne crie pas trop fort, chéri, je t'en prie,
Goebbels pourrait se lever entre deux nuits,
Mais dansons, jouons, restons dans la lumière,
La liberté s’allume au cœur des clairières.

DEUXIÈME TEXTE:
Oh, oh, oh, il fait chaud, chaud, chaud,
Chez les charlots, sous le chapiteau !
Les guitares dansent, la nuit s’allume,
Le swing embrase jusqu’à la lune.

Oh eh, oh eh, on tape des mains,
Ça fait paf chez les fafs, tout va bien !
Les chandelles fondent, les refrains fous,
La vie éclate, tout est à nous.

[Refrain]
Ne crie pas trop fort, chut, silence feutré,
Goebbels pourrait un jour se réveiller !
Le rire est notre arme, un feu éclatant,
Brûlons les ombres, portons le printemps.

Oh là là, le bal est enflammé,
Les notes jonglent, prêtes à s’élancer.
Les souliers craquent au rythme doré,
Un goût de liberté vient charmer l’été.

Les mains s’enlacent sous le ciel ouvert,
Un souffle manouche chasse les éclairs.
Contre les murs gris, la joie détonne,
Une flamme est née, qui toujours résonne.

[Refrain]
Ne crie pas trop fort, chut, silence feutré,
Goebbels pourrait un jour se réveiller !
Le rire est notre arme, un feu éclatant,
Brûlons les ombres, portons le printemps.

TROISIÈME TEXTE:
Oh, oh, oh, il fait chaud, chaud, chaud chez les charlots,
Un swing endiablé brûle nos petits carreaux.
Les cordes s’enflamment, les doigts courent en émoi,
Et la nuit devient folle, sous la gitane lune en soie.

[Refrain]
Oh eh, oh eh, ça fait paf chez les fafs !
Un éclat de rires, au milieu des brefs éclats.
Ne crie pas trop fort, écoute bien la musette,
Sans réveiller Goebbels, faisons la pirouette !

Les guitares s’embrassent dans ce joyeux chaos,
Un accord ici, un solo qui fait le beau.
Les cœurs battent la mesure comme un métronome,
Et la vie chante fort en ce petit pandémonium.

[Refrain]
Oh eh, oh eh, ça fait paf chez les fafs !
Les doigts dansent sur les cordes comme des acrobates.
Ne crie pas trop fort, sous la lueur des lampions,
Préservons ce moment, loin de toute tension.

De l'huile dans les lampes, et le thé sur le feu,
Un parfum de folie qui réveille les cieux.
Peu importe la nuit, peu importe l’histoire,
Ce soir, nous écrivons un tout nouveau grimoire !

[Refrain]
Oh eh, oh eh, ça fait paf chez les fafs !
Un feu d’artifice dans ce swing prévenant les baffes.
Ne crie pas trop fort, Goebbels pourrait grogner,
Mais nous, on s’envole dans un éclat de brisé.

NOTA:
J'ai mixé les trois morceaux différents sur le même thème.
Cinq logiciels utilisés + l'IA.

(Texte/composition/orchestration/mixage de Thierry LAMIREAU)

ÇA FAIT PAF CHEZ LES FAFS !

Bonjour à tous, voici " Gypsy Dream ", un petit instrumental récréatif, entre soleil et liberté, à écouter sans modération. (2025)        Laurentides Music 2025

Gypsy Dream entre soleil et liberté, à écouter sans modération. (2025)

Imerso na tradição do Jazz Manouche, Gonçalo Mendonça Manouche Swingtet convida-vos a reviver a época do swing parisiense dos anos 30 lembrando a magia de um período dourado da história da música com a influência cigana do lendário Django Reinhardt.

Dinette Live at Smoothfm

Farewell Blues live at Smoothfm

Amateur de sons ayant parfois travaillé à RADIO FRANCE dans les années 1990 notamment à l'Atelier de Création Radiophonique de FRANCE CULTURE et dans deux locales de Radio France.

@goncalomendonca.pt

Imerso na tradição do Jazz Manouche, Gonçalo Mendonça Manouche Swingtet convida-vos a reviver a época do swing parisiense dos anos 30 lembrando a magia de um período dourado da história da música com a influência cigana do lendário Django Reinhardt.

A nossa música:

Os músicos do grupo Gonçalo Mendonça Swingtet nutrem a mesma paixão pela música swing, sobre a forte influência do guitarrista cigano de etnia manouche, Django Reinhardt. 

As harmonias relativamente simples contrabalançam com uma forte pulsação rítmica, onde a vertiginosa energia e velocidade de alguns temas desafiam a habilidade dos músicos.

Algumas melodias são bastante orelhudas, outras são misteriosas, proporcionando uma riqueza de texturas capaz de cativar um público diverso.

A instrumentação acústica e a improvisação colectiva são predominantes, como se de uma conversa se tratasse, lembrando que o swing é um género musical popular, onde a transmissão e evolução da linguagem depende do contacto, da troca pessoal e da experiência vivida entre os músicos, promovendo a autenticidade e cumplicidade com o espectador.

Gonçalo Mendonça – guitarra solo
Francisco Menezes – saxofone tenor
Alcides Miranda – guitarra ritmo
Pedro Monteiro – contrabaixo

Scapin est un artiste-poète, un funambule des mots qui navigue entre l'errance et la quête de sens.  Ses textes, à la fois bruts et  lyriques, sont des miroirs  tendus à une réalité sans fard,  où le surréalisme coton les vérités inconfortables. Scapin, c’est un artisan du songe, un observateur acéré des faux-semblants qui manie les mots avec agilité, jouant des apparences et des illusions pour révéler les vérités cachées derrière les reflets trompeurs de la vie.
Il compose une poésie musicale qui oscille entre rock poétique, chanson à texte et spoken word. Ses chansons sont des tableaux vivants, peignant les âmes cabossées, les amours échouées et les illusions perdues.
À travers ses mots, il explore les silences, les absences et les reflets trompeurs d’un monde en perpétuel mouvement. Ses thèmes résonnent avec une universalité troublante : l’exil, la mémoire, la désillusion, mais aussi l’espoir têtu de ceux qui continuent à avancer, malgré tout.

Electro swing français, du swing dans les machines ! 
Résolument tourné vers le swing, le trio distille un jazz manouche traditionnel avec une touche de rap et d'électro. Compositions originales, textes en français, improvisations, standards, rien n'est laissé au hasard pour faire danser au son "Dirty". Un 2ème EP sortira en 2024.

Get The Crowd Swaggin out now

they/them

The pla is silent

I'm the popstar and the producer behind it all

pfp and banner by @traelmyx

Released on:
@neoluminum
@thehallelujahharmonizers
@half-heart-proj
@wearesilkenwood
@crossoverforcharity
@wearesafeinsound

Kamil Bicgel began playing music with classical guitar. Young pupil of the Francophone School of Music of Istanbul EFMI, he also studied the saxophone since the age of 11 the saxophone with Tamer Temel, renowned musician of the Istanbul Jazz scene.

During the following years, he developed his practice of the instrument by presenting levels 3 and 5 of the ABRSM (the Associated Board of the Royal Schools of Music) in classical guitar where he was awarded each time with mention and congratulations from the Jury. He also increased his ability as a self-taught multi-instrumentalist by learning piano, drums and bass, which will allow him to be versatile in the approach to composition in different styles, such as: classical, jazz, blues, rock, pop, folk, orchestral and world music.

In 2017, he joined the Institut Supérieur des Techniques Sonores ISTS at ESRA Bretagne in order to become a sound engineer. This allows him to develop techniques of sound recording but also mixing. In addition to the diploma, he also obtained the Pro Tools User certificate . At the same time as this course, he joined the Jazz section as a saxophonist at the Rennes' conservatory.

Between 2021 and 2023, he attended an image composition and orchestration Master Degree in Lyon under the direction of Jean-Marc Serre and Laeticia-Pansanel Garric.

He composed many soundtracks for various directors and production companies for short films, films, documentaries, advertisements. He also participated as a mixer, sound editor and sound operator.

New tracks tagged #Jazz Manouche