Del Sasser - Written by Sam Jones 1960

(If You Never Fall In Love With Me) Cover

Del Sasser 1960 ( If You Never Fall In Love With Me ) Cover

L-O-V-E 1964 by Bert Kaempfert, lyrics Milt Gabler
Gypsy style cover, vocals on utube play along...
Paintings:
https://www.facebook.com/JablonskyArt

L-O-V-E 1964 Cover

written by lyricist Sammy Cahn and composer Jule Styne 1945
Home recording on utube backingtrack during corona self-isolation

Let It Snow! Let It Snow! Let It Snow! 1945 Cover

"I Wonder Who's Kissing Her Now" is a popular song. The music was written by Harold Orlob, the lyrics by Will M. Hough and Frank R. Adams. Orlob worked for Joseph E. Howard generating songs for Howard's productions and Howard presented the song as his own work for several years.[1] The song was published in 1909 and was first introduced in the 1909 musical The Prince of To-Night when it was performed by Henry Woodruff.[2]


Music: https://www.youtube.com/watch?v=H8ZOwPHdYcc


Early popular recordings were by Henry Burr (1909), Billy Murray (1910) and Manuel Romain (1910).[3] An instrumental version plays as background music when Malloy and Reed are cruising the parking lot of the Domino bar in 'Routine Patrol: The Drug Store Cowboys'. In 1947 "I Wonder Who's Kissing Her Now" was used as the title song of a movie about Joseph E. Howard, leading to renewed popularity for the song. At this time Orlob brought suit to declare himself the composer, eventually reaching an out-of-court settlement with Howard for the two of them to receive joint credit. Orlob did not claim royalties.[4] An instrumental version is played in the background as Malloy and Reed cruise the parking lot of the Domino bar in 'Routine Patrol: The Drug Store Cowboys'.

Other versions

    Bing Crosby – in the film The Star Maker (1939).
    June Haver and others in the film I Wonder Who's Kissing Her Now (1947)[5]
    Perry Como with Ted Weems' Orchestra – a 1939 recording[6] which reached the No. 2 position in the Billboard charts in 1947.[7] Como recorded the song again on May 29, 1947.[8]
    Danny Kaye – recorded for Decca Records (catalog No. 24110) on June 15, 1947.[9]
    Ray Noble and His Orchestra (vocal by Snooky Lanson and the Sportsmen) – reached the No. 11 position in the Billboard charts in 1947.[10]
    Dinning Sisters – their version briefly charted in 1947.[11]
    Ray Charles – a single release (1951) (Ray Charles discography)
    Henri Salvador - in a French translation by Henri Christiné titled Malgré tes serments (1957)
    Crazy Otto released a version of the song on his 1958 EP Crazy Otto International, Vol. 2. as part of medley with the songs "Manhattan" and "Dungaree Doll".[12]
    Michael Holliday – a single release, recorded November 4, 1960.[13]
    Bobby Darin – The Unreleased Capitol Sides (1964).[14]
    Dean Martin – for his album Sittin' on Top of the World (1973)
    Harry Nilsson - for his album A Little Touch of Schmilsson in the Night (1973)
    George Hamilton IV – his single reached No.81 in the US Country charts in 1977. (George Hamilton IV#Discography).
    Anne Murray (as "I Wonder Who's Kissing Him Now") – for her album I'll Be Seeing You (2004)

Lyrics

    You have loved lots of girls in the sweet long ago.
    And each one has meant heaven to you.
    You have vowed your affection to each one in turn.
    And have sworn to them all you'd be true.
    You have kissed neath the moon while the world seemed in tune.
    Then you left her to hunt a new game.
    Has it ever occurred to you lately, my boy?
    That she's probably doing the same.

    Chorus
    I wonder who's kissing her now.
    Wonder who's teaching her how.
    Wonder who's looking into her eyes.
    Breathing sighs, telling lies.
    I wonder who's buying the wine.
    For lips that I used to call mine.
    Wonder if she ever tells him of me.
    I wonder who's kissing her now.[15]

    If you want to feel wretched and lonesome and blue.
    Just imagine the girl you loved best.
    In the arms of some fellow who's stealing a kiss.
    From the lips that you once fondly pressed.
    But the world moves of pace and the loves of today.
    Flit away with a smile and a tear.
    So you never can tell who is kissing her now.
    Or just who you'll be kissing next year.

    Chorus

I Wonder Who's Kissing Her Now 1909 Cover

J'attendrai 1936 "Tornerai" composed by Dino Olivieri (music) and Nino Rastelli (lyrics) 
Vocals : Dennis Jablonsky

"J'attendrai" (French for "I will wait"[1]) 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 a French version of the Italian song "Tornerai" (Italian for "You Will Return"[2]) 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),[3][4]), and become a hit in Italy.

The French lyrics were written by Louis Poterat,[5] 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 Django Reinhardt and Stéphane 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.[6]

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.[4] 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).
A popular version of the song was recorded by Dalida for her 1975 album J'attendrai. Single issued on January 12, 1976. The following year, she covered the song again for her disco album Coup de chapeau au passé: that version reached the Dutch charts on February 21, 1976. It has status of first disco hit in France.[7]

Inspired by Django Reinhardt's version, many stars of the European Gypsy Jazz scene have recorded the song, including Raphaël Faÿs (2000), Fapy Lafertin (1996), Angelo Debarre (2007), and Jimmy Rosenberg (2000). Other Gypsy Jazz versions have been recorded by North American groups such as The Hot Club of Detroit, The Hot Club of San Francisco, and Hot Club Sandwich.

French singer Raquel Bitton sings "J'attendrai" on her album Boleros.

Italian singer Raffaella Carrá covered the song in Italian, titled Tornerai in her 1976 album Forte Forte Forte, and later in Spanish, titled Volveré.

Canadian singer Jill Barber covered the song in her French album Chansons, which was released in 2013.

A recent version of this song was recorded by Italian singer Antonella Ruggiero on the album Souvenir d'Italie, released in 2007.

In 2010, Greek singer Vicky Leandros recorded this song in a new German version entitled "Wenn Du Gehst" ("When you leave"), which is included in her album Zeitlos ("Timeless")

J'attendrai 1936 Cover

Music written by Georges Ulmer and Marcel Antoni

First release by Django Reinhardt & le Quintette du Hot Club de France avec Stephane Grappelly (1947)

Si Tu Savais 1947 ( If Only You Knew ) Cover

Nina Simone Estate has released a track called “The Time Is Now” a self-recorded demo of solo voice and piano which the jazz icon made at her home in Mount in Vernon, circa 1966. The track comes to us from the archives of Gerrit De Bruin and was featured on the Hidden Treasures album, a limited edition Dutch pressing of only 2000 copies which was included in David Brun-Lambert’s biography of the influential singer and composer but has never been unavailable to the general public before now


Nina Simone – The Time Is Now Lyrics:

The time is now, I need you
Hold me close
The time is now, I need you
So don’t be cold

The time is now, so don’t worry
I’ll love you good
The time is now, don’t worry baby
I know I should

When I first, when I first met you
I knew that you were for me
I could never forget you
And I knew that one day you’ll see that the time is now
Don’t you know I need you
So hold me close
The time is now, don’t hesitate
Don’t wait, just love me once more

Nina Simone - The Time Is Now - remastered

Gypsy jazz (also known as gypsy swing, jazz manouche or hot club-style jazz) is a style of small-group jazz originating from the Romani guitarist Jean "Django" Reinhardt (1910–53), in conjunction with the French swing violinist Stéphane Grappelli (1908–97), as expressed in their group the Quintette du Hot Club de France.[2] Because its origins are in France, Reinhardt was from the Manouche (French Sinti) clan, and the style has remained popular amongst the Manouche, gypsy jazz is often called by the French name "jazz manouche", or alternatively, "manouche jazz" in English language sources.[3] Some scholars have noted that the style was not named manouche until the late 1960s; the name "gypsy jazz" began to be used around the late 1990s.[4]

Reinhardt was foremost among a group of Romani guitarists working in Paris from the 1930s to the 1950s. The group included the brothers Baro, Sarane, and Matelo Ferret and Reinhardt's brother Joseph "Nin-Nin" Reinhardt.[5] While his fellow guitarists also sometimes featured as soloists with their own groups⁠ or on other recordings (although never with Reinhardt's Hot Club Quintette⁠), Reinhardt is universally recognised as the most outstanding improviser among them, as well as the originator (from around 1934 onwards) of the style of "hot" guitar playing now generally considered the archetype of "gypsy jazz" guitar.

The style was popular in France and, via recordings and appearances by the original Quintette, in other European countries before and immediately after the Second World War, but fell out of favour as the "swing era" came to an end, being replaced in its homeland by bebop, mainstream jazz, and eventually, rock and roll, however had a resurgence from the 1970s onwards among performers and audiences at festivals, etc., in particular the Festival Django Reinhardt which commenced in 1968 at Samois-sur-Seine, France (the location of Reinhardt's last residence) and continues to the present time.
The origins of gypsy jazz can be traced to the Manouche[6] gypsy Django Reinhardt, who after serving his musical "apprenticeship" playing in musette bands with accordionists, and also accompanying popular singers of the day, became acquainted with jazz music and began incorporating this into his repertoire and playing style. After initially hearing ragtime and Dixieland music, Reinhardt listened to Duke Ellington, Joe Venuti and Eddie Lang, and especially Louis Armstrong via the record collection of painter Émile Savitry in Toulon, France, in 1931.[7] After Reinhardt met violinist Stéphane Grappelli, they played together informally when they were not playing dance music with a small orchestra at the Hôtel Claridge in Paris during the summer of 1934. According to an account in a book by Michael Dregni, Grappelli played a chorus, then Reinhardt began to improvise. Sometimes they were accompanied on double bass by Louis Vola, the band's leader, and on rhythm guitar by Roger Chaput. This was the core of Reinhardt's band. The addition of Reinhardt's brother Joseph on rhythm guitar made it the Quintette du Hot Club de France.[8]

This classic lineup, with occasional changes in membership on double bass and rhythm guitar, entered the recording studio later that year. They recorded extensively until the outbreak of war in 1939 when the Quintette was on tour in England. Reinhardt returned to Paris while Grappelli remained in London for the duration of the war. After the war, they reunited in London and recorded with an English rhythm section. The days of the "hot club" sound were over, as both men had pursued independent musical paths. Reinhardt had moved to an electric guitar sound influenced by bebop. His sons, Lousson and Babik, played in a style influenced by American jazz.

Vocals: Dennis Jablonsky
Guitar: Rainer Lüdike

Gypsy Duo Jazz Medley - swing manouche hot club-style

Gypsy jazz (also known as gypsy swing, jazz manouche or hot club-style jazz) is a style of small-group jazz originating from the Romani guitarist Jean "Django" Reinhardt (1910–53), in conjunction with the French swing violinist Stéphane Grappelli (1908–97), as expressed in their group the Quintette du Hot Club de France.[2] Because its origins are in France, Reinhardt was from the Manouche (French Sinti) clan, and the style has remained popular amongst the Manouche, gypsy jazz is often called by the French name "jazz manouche", or alternatively, "manouche jazz" in English language sources.[3] Some scholars have noted that the style was not named manouche until the late 1960s; the name "gypsy jazz" began to be used around the late 1990s.[4]

Reinhardt was foremost among a group of Romani guitarists working in Paris from the 1930s to the 1950s. The group included the brothers Baro, Sarane, and Matelo Ferret and Reinhardt's brother Joseph "Nin-Nin" Reinhardt.[5] While his fellow guitarists also sometimes featured as soloists with their own groups⁠ or on other recordings (although never with Reinhardt's Hot Club Quintette⁠), Reinhardt is universally recognised as the most outstanding improviser among them, as well as the originator (from around 1934 onwards) of the style of "hot" guitar playing now generally considered the archetype of "gypsy jazz" guitar.

The style was popular in France and, via recordings and appearances by the original Quintette, in other European countries before and immediately after the Second World War, but fell out of favour as the "swing era" came to an end, being replaced in its homeland by bebop, mainstream jazz, and eventually, rock and roll, however had a resurgence from the 1970s onwards among performers and audiences at festivals, etc., in particular the Festival Django Reinhardt which commenced in 1968 at Samois-sur-Seine, France (the location of Reinhardt's last residence) and continues to the present time.
The origins of gypsy jazz can be traced to the Manouche[6] gypsy Django Reinhardt, who after serving his musical "apprenticeship" playing in musette bands with accordionists, and also accompanying popular singers of the day, became acquainted with jazz music and began incorporating this into his repertoire and playing style. After initially hearing ragtime and Dixieland music, Reinhardt listened to Duke Ellington, Joe Venuti and Eddie Lang, and especially Louis Armstrong via the record collection of painter Émile Savitry in Toulon, France, in 1931.[7] After Reinhardt met violinist Stéphane Grappelli, they played together informally when they were not playing dance music with a small orchestra at the Hôtel Claridge in Paris during the summer of 1934. According to an account in a book by Michael Dregni, Grappelli played a chorus, then Reinhardt began to improvise. Sometimes they were accompanied on double bass by Louis Vola, the band's leader, and on rhythm guitar by Roger Chaput. This was the core of Reinhardt's band. The addition of Reinhardt's brother Joseph on rhythm guitar made it the Quintette du Hot Club de France.[8]

This classic lineup, with occasional changes in membership on double bass and rhythm guitar, entered the recording studio later that year. They recorded extensively until the outbreak of war in 1939 when the Quintette was on tour in England. Reinhardt returned to Paris while Grappelli remained in London for the duration of the war. After the war, they reunited in London and recorded with an English rhythm section. The days of the "hot club" sound were over, as both men had pursued independent musical paths. Reinhardt had moved to an electric guitar sound influenced by bebop. His sons, Lousson and Babik, played in a style influenced by American jazz.

Vocals : Dennis Jablonsky
Guitar : Rainer Lüdike

All Of Me Gypsy Swing Duo manouche hot club-style

https://youtu.be/dToUWoeyvww
Gypsy jazz (also known as gypsy swing, jazz manouche or hot club-style jazz) is a style of small-group jazz originating from the Romani guitarist Jean "Django" Reinhardt (1910–53), in conjunction with the French swing violinist Stéphane Grappelli (1908–97), as expressed in their group the Quintette du Hot Club de France.[2] Because its origins are in France, Reinhardt was from the Manouche (French Sinti) clan, and the style has remained popular amongst the Manouche, gypsy jazz is often called by the French name "jazz manouche", or alternatively, "manouche jazz" in English language sources.[3] Some scholars have noted that the style was not named manouche until the late 1960s; the name "gypsy jazz" began to be used around the late 1990s.[4]

Reinhardt was foremost among a group of Romani guitarists working in Paris from the 1930s to the 1950s. The group included the brothers Baro, Sarane, and Matelo Ferret and Reinhardt's brother Joseph "Nin-Nin" Reinhardt.[5] While his fellow guitarists also sometimes featured as soloists with their own groups⁠ or on other recordings (although never with Reinhardt's Hot Club Quintette⁠), Reinhardt is universally recognised as the most outstanding improviser among them, as well as the originator (from around 1934 onwards) of the style of "hot" guitar playing now generally considered the archetype of "gypsy jazz" guitar.

The style was popular in France and, via recordings and appearances by the original Quintette, in other European countries before and immediately after the Second World War, but fell out of favour as the "swing era" came to an end, being replaced in its homeland by bebop, mainstream jazz, and eventually, rock and roll, however had a resurgence from the 1970s onwards among performers and audiences at festivals, etc., in particular the Festival Django Reinhardt which commenced in 1968 at Samois-sur-Seine, France (the location of Reinhardt's last residence) and continues to the present time.
The origins of gypsy jazz can be traced to the Manouche[6] gypsy Django Reinhardt, who after serving his musical "apprenticeship" playing in musette bands with accordionists, and also accompanying popular singers of the day, became acquainted with jazz music and began incorporating this into his repertoire and playing style. After initially hearing ragtime and Dixieland music, Reinhardt listened to Duke Ellington, Joe Venuti and Eddie Lang, and especially Louis Armstrong via the record collection of painter Émile Savitry in Toulon, France, in 1931.[7] After Reinhardt met violinist Stéphane Grappelli, they played together informally when they were not playing dance music with a small orchestra at the Hôtel Claridge in Paris during the summer of 1934. According to an account in a book by Michael Dregni, Grappelli played a chorus, then Reinhardt began to improvise. Sometimes they were accompanied on double bass by Louis Vola, the band's leader, and on rhythm guitar by Roger Chaput. This was the core of Reinhardt's band. The addition of Reinhardt's brother Joseph on rhythm guitar made it the Quintette du Hot Club de France.[8]

This classic lineup, with occasional changes in membership on double bass and rhythm guitar, entered the recording studio later that year. They recorded extensively until the outbreak of war in 1939 when the Quintette was on tour in England. Reinhardt returned to Paris while Grappelli remained in London for the duration of the war. After the war, they reunited in London and recorded with an English rhythm section. The days of the "hot club" sound were over, as both men had pursued independent musical paths. Reinhardt had moved to an electric guitar sound influenced by bebop. His sons, Lousson and Babik, played in a style influenced by American jazz.

Vocals : Dennis Jablonsky
Guitar : Rainer Lüdike

Mister Sandman Gypsy Swing Duo manouche hot club-style

written by Florian Hermann 1879
lyrics by Yevhen Hrebinka 1843
musik by Jazzing
Backing Tracks, Vol. 3
℗ 2023 Jazzing
vocals and translation by Dennis Jablonsky

Valse hommage Opus 21 for piano

Schwarze Augen - Dark Eyes - Очи чёрные 1879

first home studio try outs...
Weed Smoker's Dream by Joe McCoy, first performed by the Harlem Hamfats 1936 
In style of Benny Goodman and Peggy Lee(Why Don't You Do Right) Jamtrack/Jamkazam

Jazzmanfree

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