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(CD only​!​) Paris 19​:​36 - London 20​:​16

by Benoit Viellefon Hot Club

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    This is a "CD ONLY EDITION" consisting of a selection of 17 tracks from the Paris-London Hot club recording Sessions. (You will still be able to download the tracks if you buy a CD.) This is a limited edition, and there are less than 200 copies left.

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    All 17 songs (+5 bonus tracks) songs will be released digitally exclusively as a the double digital album release on Bandcamp in autumn 2023:

    "PARIS - LONDON" - By Benoit Viellefon Hot Club
    Digital Album £8
    11 Digital tracks
    Release date: End of September 2023

    "LONDON PARIS" - By Benoit Viellefon Hot Club
    Digital Album £8
    11 Digital tracks
    Release date: Early October 2023

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    Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of London Paris, Paris London, Caught on film (Live at Oriole), Swing a la mode, Out with the wrong women, (CD only!) Paris 19:36 - London 20:16, Mon amour, Live at the Quecumbar, and 1 more. , and , .

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------------------------- ABOUT THIS TRACK ------------------------- Music by Django Reinhardt & Stephane Grapelli Published 1939
-------------------------------------- HONEYSUCKLE ROSE - LYRICS -------------------------------------- Music by Fats Waller, words by Andy razaf Published 1929 Every honey bee fills with jealousy When they see you out with me Goodness knows You're my honeysuckle rose When you're passin' by, flowers droop and sigh And I know the reason why Goodness knows You're my honeysuckle rose Don't buy sugar You just have to touch my cup You're my sugar It's sweeter when you stir it up When I'm taking sips from your tasty lips Seems the honey fairly drips Goodness knows You're my honeysuckle rose ------------------------- ABOUT THIS TRACK ------------------------- "Honeysuckle Rose" is a 1929 song composed by Thomas "Fats" Waller with lyrics by Andy Razaf. It was introduced in the 1929 Off-Broadway revue "Load of Coal" at Connie's Inn as a soft-shoe dance number. Waller's 1934 recording was inducted into the Grammy Hall of Fame in 1999. During a visit to the West Side of Asbury Park, New Jersey in 1928, Waller wrote the song with Razaf at 119 Atkins Avenue in a home that still stands today.
----------------------------------- OUT OF NOWHERE - LYRICS ----------------------------------- Music by Johnny Green, lyrics by Edward Heyman Published 1931 You came to me from out of nowhere You took my heart and found it free Wonderful dreams, wonderful schemes from nowhere Made every hour sweet as a flower for me If you should go back to your nowhere Leaving me with a memory I`ll always wait for your return out of nowhere Hoping you`ll bring your love to me ------------------------- ABOUT THIS TRACK ------------------------- "Out of Nowhere" is a popular song composed by Johnny Green with lyrics by Edward Heyman and published by Famous Music. It was popularized by Bing Crosby, and was the first recording under his Brunswick Records contract. He recorded it on March 30, 1931 and it became his first number one hit as a solo artist. Crosby also sang it in the film Confessions of a Co-Ed (1931) and in his short film I Surrender Dear (1931). He recorded it again in 1954 for his album Bing: A Musical Autobiography. Other 1931 recordings were by Leo Reisman and his Orchestra (vocal by Frank Munn) which reached No. 6 in the charts of the day, Smith Ballew and his Orchestra, Ruth Etting, and Roy Fox and His band (vocal: Al Bowlly) recorded July 31, 1931. The song's harmonic progression has been used in several later songs, such as Alexander Courage's "Theme from Star Trek", Tadd Dameron's "Casbah", Fats Navarro's "Nostalgia", Gigi Gryce's "Sans Souci", and Lennie Tristano's "317 East 32nd Street." It has become a jazz standard, with dozens of instrumental and vocal versions by various artists.
----------------------------------- THEM THERE EYES - LYRICS ----------------------------------- Written by Maceo Pinkard, Doris Tauber, and William Tracey Published 1930 I fell in love with you the first time I looked into them there eyes And you have a certain lil cute way of flirtin' with them there eyes They make me feel so happy, they make me feel so blue I'm fallin', no stallin' in a great big way for you My heart is jumpin' you started somethin' with them there eyes You'd better look out little brown eyes if you're wise They sparkle, they bubble, they're gonna get you In a whole lot of trouble, oh baby, them there eyes ------------------------- ABOUT THIS TRACK ------------------------- "Them There Eyes" is a jazz song written by Maceo Pinkard, Doris Tauber, and William Tracey that was published in 1930. One of the early recorded versions was performed by Louis Armstrong in 1931. It was made famous by Billie Holiday, who recorded her version in 1939 for Vocalion Records. A version by Emile Ford & The Checkmates reached number 18 on the UK Singles Chart in 1960. Bing Crosby (recorded November 20, 1930 as The Rhythm Boys with Gus Arnheim and his Cocoanut Grove Orchestra.) This was popular and reached the charts of the day in 1931.
----------------------------------- SEPTEMBER SONG - LYRICS ----------------------------------- Music by Kurt Weill, lyrics by Maxwell Anderson Published 1930 When I was a young man courting the girls I played me a waiting game If a maid refused me with tossing curls I'd let the old Earth make a couple of whirls While I plied her with tears in lieu of pearls And as time came around she came my way As time came around, she came When you meet with the young girls early in the spring You court them in song and rhyme They answer with words and a clover ring But if you could examine the goods they bring They have little to offer but the songs they sing And the plentiful waste of time of day A plentiful waste of time Oh, it's a long, long while from May to December But the days grow short when you reach September When the autumn weather turns the leaves to flame One hasn't got time for the waiting game Oh, the days dwindle down to a precious few September, November And these few precious days I'll spend with you These precious days I'll spend with you ------------------------- ABOUT THIS TRACK ------------------------- "September Song" is an American standard popular song composed by Kurt Weill with lyrics by Maxwell Anderson. It was introduced by Walter Huston in the 1938 Broadway musical production Knickerbocker Holiday. The song has been recorded by numerous singers and instrumentalists. Origins The song originated from Walter Huston's request that he should have one solo song in Knickerbocker Holiday if he was to play the role of the aged governor of New Netherland, Peter Stuyvesant. Anderson and Weill wrote the song in a couple of hours for Huston's gruff voice and limited vocal range. Knickerbocker Holiday was roughly based on Washington Irving's Knickerbocker's History of New York set in New Amsterdam in 1647. It is a political allegory criticizing the policies of the New Deal through the portrayal of a semi–fascist government of New Amsterdam, with a corrupt governor and councilmen. It also involves a love triangle with a young woman forced to marry the governor Peter Stuyvesant while loving another. The musical closed in April 1939 after a six-month run. In "September Song", a man now recognizes the "plentiful waste of time" of earlier days, and in the "long, long while from May to December", having reached September, he is looking forward to spending the precious days of autumn with his loved one.
Hungaria 02:57
------------------------- ABOUT THIS TRACK ------------------------- Music by Django Reinhardt Published 1939
---------------------------------------- LULU'S BACK IN TOWN - LYRICS ---------------------------------------- Music by Harry Warren, lyrics Al Dubin Published 1935 I gotta get my old tuxedo pressed Gotta sew a button on my vest 'Cause tonight I've gotta look my best Lulu's back in town Gotta get a half a buck somewhere Gotta shine my shoes and slick my hair Gotta get myself a boutonniere Lulu's back in town ------------------------- ABOUT THIS TRACK ------------------------- First performed in the 1935 film Broadway Gondolier, directed by Lloyd Bacon, where it was sung by Dick Powell and The Mills Brothers. "Lulu's Back in Town" was popularized by Fats Waller in his recording of 8 May 1935 for Victor Records which made the US charts. Others who recorded it include Dick Powell, Mel Tormé, Mills Brothers, Wingy Manone, Chick Bullock, Bob Howard, Teddy Hill, Bert Ambrose, Ted Fiorito, Thelonious Monk, Art Tatum, Oscar Peterson, Booker T. & the M.G.'s, and Leon Redbone. You can tell all my pets All my Harlem coquettes Mister Otis regrets That he won't be aroun' You can tell the mailman not to call I ain't comin' home until the fall And I might not get back home at all Lulu's back in town
----------------------------------------------- I'LL SEE YOU IN MY DREAMS - LYRICS ----------------------------------------------- Music by Isham Jones, lyrics by Gus Kahn Published 1924 I'll see you in my dreams And then I'll hold you in my dreams Someone took you right out of my arms Still I feel the thrill of your charms Lips that once were mine Tender eyes that shine They will light my way tonight I'll see you in my dreams Yes I will... see you in my dreams You know I'll... hold you in my dreams I know that... someone took you right out of my arms But... still I feel the thrill of your charms I dream of... lips that once were mine And those... tender eyes that shine I know... they'll light my way tonight When I... see you in my dreams Yes they will... light my way tonight Because I'll... see you in my dreams ------------------------- ABOUT THIS TRACK ------------------------- I'll See You in My Dreams" is a popular song, composed by Isham Jones, with lyrics by Gus Kahn, and published in 1924. It was recorded on December 4 that year, by Isham Jones conducting Ray Miller's Orchestra. Released on Brunswick Records, it charted for 16 weeks during 1925, spending seven weeks at number 1 in the United States. Other popular versions in 1925 were by Marion Harris; Paul Whiteman; Ford & Glenn; and Lewis James; with three of these four reaching the Top 10. The song was sung by Jeanne Crain in Margie (1946) and was chosen as the title song of the 1951 film, I'll See You in My Dreams, a musical biography of Kahn. Popular recordings of it were made by many leading artists, including Cliff Edwards, Louis Armstrong, Bing Crosby (recorded November 27, 1947), Doris Day, Ella Fitzgerald, Mario Lanza, Tony Martin, Anita O'Day, The Platters, Ezio Pinza, Sue Raney, Jerry Lee Lewis (1958, instrumental), Andy Williams,[9] and Linda Scott.[10] A "Texas Swing" version of the song was recorded by Bob Wills and his Texas Playboys. The song was also recorded by Django Reinhardt and the Quintet of the Hot Club of France, and inspired Merle Travis to record it as a guitar instrumental. Many other guitarists, including Chet Atkins and Thom Bresh, followed in Travis's footsteps. Michel Lelong, a French guitarist, published the first tablature of Travis's arrangement for the American publisher/guitarist Stefan Grossman's Guitar Workshop during the 1980s, following by Thom Bresh (Merle Travis's son) for Homespun Tapes, and Marcel Dadi for Stefan Grossman's Guitar Workshop. It was recorded by Mario Lanza on his Coca-Cola Show of 1951-2 and is available on a compilation album mastered from those same shows, and featuring the same title, I'll See You in My Dreams, released by BMG in 1998.
Nuages 04:11
------------------------- ABOUT THIS TRACK ------------------------- Music by Django Reinhardt Published december 1940
------------------------------------------- HOW CAN YOU FACE ME? - LYRICS ------------------------------------------- Music by Fats Waller Published december 1940 How can you face me After what I've gone through All on account of you Tearing my heart in two? Woman, have you no conscience How could you be so bold? Why have you grown so cold After the lies you told? No one now seems to be on the level Since I've found out that my angel was just a dog Known as the devil Why does I love ya, hon Why did you teach me how? After you broke each vow How can you face me now? (talking over solos) Oh you dirty dog, get out in the street Get out, get out How can you face me now? No, I didn't go there last night No, you know I wasn't there, neither I went to the other place Yeah, don't you talk back to me, shut up Well alright, take your dogs on out the street Yeah, get out, just get up, go on and keep goin' Yeah
Swing gitan 03:14
------------------------- ABOUT THIS TRACK ------------------------- Music by Django Reinhardt Published december 1940
------------------------------------------------------------ I CAN'T GIVE YOU ANYTHING BUT LOVE - LYRICS ------------------------------------------------------------ Music by Jimmy McHugh, Lyrics by Dorothy Fields Published december 1928 I can't give you anything but love, baby. That's the only thing I've plenty of,baby. Dream awhile, scheme awhile We're sure to find Happiness and I guess All those things you've always pined for. Gee I'd like to see you looking swell, baby. Diamond bracelets Woolworth doesn't sell, baby. Till that lucky day you know darned well, baby. I can't give you anything but love. ------------------------- ABOUT THIS TRACK ------------------------- "I Can't Give You Anything but Love, Baby" is an American popular song and jazz standard by Jimmy McHugh (music) and Dorothy Fields (lyrics). The song was introduced by Adelaide Hall at Les Ambassadeurs Club in New York in January 1928 in Lew Leslie's Blackbird Revue, which opened on Broadway later that year as the highly successful Blackbirds of 1928 (518 performances), wherein it was performed by Adelaide Hall, Aida Ward, and Willard McLean. Adelaide Hall on the cover of Vu magazine in 1929 In the 100-most recorded songs from 1890 to 1954, "I Can't Give You Anything But Love, Baby" (1928) is No. 24. Jimmy McHugh and Dorothy Fields had written the score for a revue at Les Ambassadeurs Club on 57th Street, New York, which featured the vocalist Adelaide Hall. However, the producer Lew Leslie believed that they still missed a 'smash' tune. The team pondered for a while before finally playing Leslie "I Can't Give You Anything but Love, Baby". This was the song Leslie had been looking for and he immediately included it in the revue. One advertisement called it "the song success of the Nation." Blackbird Revue opened on January 4, 1928, with Adelaide Hall singing "I Can't Give You Anything but Love, Baby" solo. Later on, Fields and McHugh wrote a second half for the revue and Leslie expanded the production. With extra songs and extra performers added (including the vocalist Aida Ward), Leslie renamed the revue Blackbirds of 1928 and took the full production for a tryout in Atlantic City, New Jersey, where it appeared at Nixon's Apollo Theatre. On May 9, 1928, Blackbirds of 1928 opened at the Liberty Theatre, Broadway. The idea behind the song came during a stroll Fields and McHugh were taking one evening down Fifth Avenue; they saw a young couple window-shopping at Tiffany's. McHugh and Fields understood that the couple could not afford to buy jewelry from Tiffany's, but nevertheless they drew closer to them. It was then they heard the man say: "Gee, honey I'd like to get you a sparkler like that, but right now, i can't give you nothin' but love!" Hearing this, McHugh and Fields rushed to a nearby Steinway Tunnel, and within an hour they came up with "I Can't Give You Anything but Love, Baby". Some controversy surrounds the song's authorship. Andy Razaf's biographer Harry Singer offers circumstantial evidence that suggests Fats Waller might have sold the melody to McHugh in 1926 and that the lyrics were by Andy Razaf. Alternatively, Philip Furia has pointed out that Fields' verse is almost identical to the end of the second verse of Lorenz Hart's and Richard Rodgers' song "Where's That Rainbow?" from Peggy-Ann, the 1926 musical comedy with book by Fields' brother Herbert and produced by their father Lew.
Coquette 03:48
------------------------- COQUETTE - LYRICS ------------------------- Music by Johnny Green and Carmen Lombardo, lyrics by Gus Kahn. Published december 1928 Tell me, why you keep fooling Little coquette, Making fun of the one who loves you Breaking hearts you are ruling Little coquette, True hearts tenderly dreaming of you. Someday you'll fall in love as I fell in love with you. Maybe the one you love will just be fooling too. And when you are alone with all your regrets, You know, my little coquette, I love you. ------------------------- ABOUT THIS TRACK ------------------------- "Coquette" is a 1928 fox trot jazz standard. It was composed by Johnny Green and Carmen Lombardo, with lyrics by Gus Kahn. Guy Lombardo had great success with the song in 1928.
-------------------------------------------- I FALL IN LOVE TOO EASILY - LYRICS -------------------------------------------- Music by Jule Styne, lyrics by Sammy Cahn Published december 1944 I fall in love too easily I fall in love too fast I fall in love too terribly hard For love to ever last My heart should be well schooled 'Cause I've been fooled in the past But still I fall in love so easily I fall in love too fast My heart should be well schooled 'Cause I've been fooled in the past But still I fall in love too easily I fall in love too fast ------------------------- ABOUT THIS TRACK ------------------------- "I Fall in Love Too Easily" is a 1944 song composed by Jule Styne with lyrics by Sammy Cahn. It was introduced by Frank Sinatra in the 1945 film Anchors Aweigh. The film won an Academy Award for its music; "I Fall in Love Too Easily" was nominated for an Academy Award for Best Original Song, which it lost to Rodgers and Hammerstein's "It Might As Well Be Spring". Sammy Cahn has said of the conception of the sixteen-bar song: "This song was written one night in Palm Springs. When I sang the last line, Jule Styne looked over at me and said, 'So. That's it.' I knew he felt we could have written on, but I felt I had said all there was to say, and if I had it to do over, I would stop right there again." Frank Sinatra recorded "I Fall in Love Too Easily" for Columbia on 1 December 1944 in New York, arranged by Axel Stordahl. A cover by the English singer Steve Conway was issued by British Columbia in 1946. The song has become an often-played jazz standard. It has been recorded by Eugenie Baird with Mel Tormé and the Mel-Tones, Chet Baker, Ray Conniff, Royce Campbell, Johnny Hartman, Keith Jarrett, Shirley Horn, Ralph Towner, Tony Bennett, Anita O'Day, Diane Schuur, Fred Hersch and Katharine Mcphee, among others. Eliane Elias included the song on her 2000 album Everything I Love. Barry Manilow opened his Grammy nominated album "Night Songs" in 2014 with his rendition. Karen Souza recorded the song on her 2017 album Velvet Vault. Melody Gardot included the song in her 2020 album Sunset in the Blue. Miles Davis first recorded the song for Seven Steps to Heaven and it became part of the repertoire of his 1960s quintets with Herbie Hancock and later Chick Corea. In concert, Davis and Corea's duet evolved into an introduction to Wayne Shorter's Sanctuary: an improvisation derived (and abstracted) from the song provides an introduction and interlude to Shorter's composition on the album Bitches Brew.
Swing 48 03:02
------------------------- ABOUT THIS TRACK ------------------------- Music by Django Reinhardt Published december 1948
------------------------- ABOUT THIS TRACK ------------------------- Music by Django Reinhardt & Stephane Grapelli Published december 1939
------------------------------------- AFTER YOU'VE GONE - LYRICS ------------------------------------- Music by Turner Layton, lyrics by Henry Creamer Published december 1918 Now won't you listen honey, while I say, How could you tell me that you're goin' away? Don't say that we must part, Don't break your baby's heart You know I've loved you for these many years, Loved you night and day, Oh! honey baby, can't you see my tears? Listen while I say After you've gone and left me cryin' After you've gone there's no denyin' You'll feel blue, you'll feel sad You'll miss the dearest pal you've ever had There'll come a time, now don't forget it There'll come a time when you'll regret it Someday, when you grow lonely Your heart will break like mine and you'll want me only After you've gone, after you've gone away After you've gone and left me cryin' After you've gone there's no denyin' You're gonna feel blue, and you're gonna feel sad You're gonna feel bad And you'll miss, and you'll miss, And you'll miss the bestest pal you ever had There'll come a time, now don't forget it There'll come a time when you'll regret it But baby, think what you're doin' I'm gonna haunt you so, I'm gonna taunt you so It's gonna drive you to ruin After you've gone, after you've gone away. ------------------------- ABOUT THIS TRACK ------------------------- "After You've Gone" is a 1918 popular song composed by Turner Layton with lyrics by Henry Creamer. It was recorded by Marion Harris on July 22, 1918, and released by Victor Records. The song became so popular that the sheet music was later decorated with tiny photographs of the 45 men who made the song famous, including Paul Whiteman, Rudy Vallée, B.A. Rolfe, Guy Lombardo, and Louis Armstrong. The chorus adheres to a standard ABAC pattern but is only 20 measures long. There are four 4-bar phrases, followed by a 4-measure tag. The song is harmonically active, with chord changes in almost every measure. The opening four notes are identical to the opening notes of "Peg o' My Heart" (1912) — at the time songwriters often borrowed the first few notes of a hit melody.


By Dave Doyle - June 28, 2020 - Album Reviews

As a pianist, I’m drawn to any album which puts the storehouse center stage. It’s rare that I’ll get excited about a Benny Goodman, Louis Armstrong, or Tommy Dorsey disc when raiding charity shop record bins—a hobby I very much hope to resume soon—but I’ll pounce on anything which flashes me that eighty-eight-toothed, black-and-white smile; some of my most-played records include those by Joe “Fingers” Carr, Nat King Cole, and Jelly Roll Morton.

But there’s one eight-fingered string-slinger whose vinyls always catch my eye; a virtuoso of their belly fiddle who will always have a place on my record shelf. Of course, I’m talking about Django Reinhardt.

Perhaps it’s the fact that my old Uncle Joe—whose excellent musical tastes were the crucible of my own—is a huge Django fan. Maybe it’s the timeless, effortlessly loveable, laid-back sound of French hot jazz. Either way, Django gets a seat at my top table alongside musicians wielding way more strings. So I’m a very eager (if slightly late) arrival at the “Chateau de Viellefon,” proprietor one Benoit Viellefon, another jazz guitarist who could almost be mistaken for his late compatriot’s ghost (in look and sound).

Hailing from Paris, Benoit is now a staple of the London jazz scene. As well as strumming around 100 gigs a year—including regular Sunday night slots at Ronnie Scott’s—he and his various outfits are hot property on the British swing dance circuit. Benoit has recorded five albums in the last five years, latterly with his Hot Club quartet, in the shape of Paris 19:36 – London 20:16.

This effort offers a great mix of tempos, showing off the group’s talents at paces suitable for Lindy Hop, balboa or an end-of-night shuffle-and-sway. It features solid recreations of Django classics like “HCQ Strut” and “Hungaria,” as well as hot jazz takes on contemporary hits like Fats Waller’s “How Can You Face Me” and “Honeysuckle Rose,” which were recorded by the great guitarist. (The last of these new versions achieves peak French, in showcasing Benoit’s own charmingly Continental voice.)

“I Can’t Give You Anything But Love” is one of my all-time favorite numbers: it really is difficult to spoil, no matter who’s performing it. So I was utterly delighted by Benoit’s upbeat arrangement, graced with another beautiful French-accented vocal by Gabrielle Ducomble. Likewise, Daniel Oates’s singing on “I Fall In Love Too Easily” is suitably Gallic—in its recumbent style, if not in vowel sounds—being very much evocative of the superb Chet Baker version.

Recorded late last year—old-school, around just a couple of condenser mics—Paris 19:36 – London 20:16 achieves its aim of transporting listeners to a smoky French cellar eighty years ago. And I’m pleased to note that it even features some sterling stride piano—listen for it on “HCQ Strut,” “Nuages,” and “Swing 48.”

So if your idea of a good time involves fiddles duelling with clarinets, backed by a rhythm section hotter than the French Riviera in high summer, then this is the disc for you. Find it on Benoit’s Bandcamp page and keep this outstanding outfit together, until we can enjoy them live again.

Dave Doyle is a swing dancer, dance teacher, and journalist based in Gloucestershire, England. Write him at contact@davedoyle.co.uk. Find him on Twitter @DaveDoyleComms.


released October 16, 2019

Benoit Viellefon - Lead Vocals, Rhythm guitar
Duncan Hemstock - Clarinet (Lead vocals on track 4 & 7)
Dan Oates - Violin + (Lead vocals on track 14)
Gabrielle Ducomble - Lead vocals (on track 12)
Andrew Oliver - Piano
Eleazar Speafico Ruiz - Double bass
Louis Thomas - Double bass
Tom Dennis - Trumpet
Dave Shulman - Clarinet
Harry Diplock - Lead guitar
Matin Weatley - Lead guitar

Recorded in 3 days in the autumn of 2016 at Porcupine Studio London.
Engineer by Nick Taylor.
Produced by Benoit Viellefon & Nick Taylor.

By Benoit Viellefon

After 9 years on the circuit and about 1300 concerts, I have finally recorded the Hot Club playing 1930-40's Hot Swing and Gypsy Jazz. The band being a firm favourite on the British dance scene, (Balboa, Shag, Fox Trot, Lindy Hop), we were under strong pressure to release an album. Done! The birth was difficult but the baby is cute, and the music is excellent apparently... BUY ONE: You'll keep us going & keep our music alive!

We have tried to replicate that raw energy of the live shows in the studio. Without alcohol and women, it was bound to be a real challenge but somehow it happened. Only traditional recording techniques were used, with all the musicians recording live in the same room through a couple of Neuman condenser microphones. We recorded a total 22 songs over 3 days, with most of the band’s regular musicians, so it reflects the ever flexible line up, with sometimes piano or guitar, and violin or trumpet plus inevitably double bass, and myself on guitar and vocals. There are also couple of guest singers too, you will be surprised!

This album, according to the fans and critics who got to listen to it before the official release, is our finest recording to date...


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Benoit Viellefon London, UK

Benoit Viellefon is a French singer and guitarist established in the UK. Specialised in 1920's 1930's and 1940's music, Benoit is resident at Ronnie Scotts and other famous clubs. Benoit appears in many Hollywood films, TV and radio productions, festivals, and performed for VIP such as Madonna, the Queen, or the Kremlin. He often tours with his 3 bands: The Orchestra, the Hot Club, the trio. ... more

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