LIBRO

GIBSON ELECTRICS, THE CLASSIC YEARS. A.R. Duchossoir AN ILLUSTRATED HISTORY FROM THE MID-'30s TO THE MID-'60s

 

GIBSON ELECTRICS, THE CLASSIC YEARS. A.R. Duchossoir.

AN ILLUSTRATED HISTORY FROM THE MID-'30s TO THE MID-'60s

Gibson Electrics - The Classic Years
Series: Book
Publisher: Hal Leonard
Format: Softcover
Author: A.R. Duchossoir

Since the inception of the first “electrical” guitars in the 1920s, no other manufacturer has produced a greater variety of professional quality models than Gibson. This book presents a documented account of the instruments released during a highly creative period from the 1930s up to the mid-60s, which saw the coming of age of the electric guitar. It describes all the models that have made history and contributed to establishing the reputation of Gibson. This edition features over 500 illustrations, including 100 in color, and previously unpublished material.

Inventory #HL 00330392
ISBN: 9780793592104
UPC: 073999647426
Width: 9.0"
Length: 12.0"
256 pages

FOREWORD
The original GIBSONEL ECTRICS, subtitled Volume 1, was first published in late 1981 and for the past 10 years or so I have often been asked when Volume 2 would be released. I effectively started writing it back in 1982, but Volume 2 never saw the light of day for reasons outside my control.
Subsequently, I penned other books and I probably managed to improve my primitive writing skills and also the way to look back at "old guitars". As time went by, it became more and more obvious to me that the original GE could be upgraded in several respects. Digging through my files, I realized that I had gathered a lot of material during my several trips to Kalamazoo which had not been fully exploited in what was the ex-Volume 1. Eventually, I ended up disliking this book profoundly, and last year I formed the project not only to rewrite it, but also to expand it.
At this juncture, I briefly pondered what period to cover? Should I attempt to consolidate vol. 1 & 2 in a single offering? With the benefit of hindsight - read the 10 years elapsed since the aborted publication of Volume 2 – it occurred to me that the truly meaningful electrics, the "classics", were those designed prior to 1965. This does not mean that nothing happened at Gibson afterwards, but the fact is that the pre-65 designs are still the most popular today, and the most influential. Admittedly, other cut-off points were a possibility. For instance: 1969, the year of Gibson's Diamond Jubilee, and also the year of the amicable take-over of Chicago Musical Instruments (Gibson's parent) by ECLwhich led to the formation of NORLIN.Or 1984, the year when the Kalamazoo factory was closed down and the production was definitively consolidated in Nashville. Even 1985, the year when NORLINended its involvement in the music business by selling Gibson after reporting losses of $158m over the previous 10 years!
Fortunately, Gibson did not go under and it was acquired by the able hands of Henry ]USZKIEWICZand a group of investors who managed to put it back on the right track. I took the view that the mid-60s were retrospectively a major turning point not just for Gibson, but for the guitar industry as a whole. Beyond designs, 1965 signalled the beginning of a new era for most US guitar makers. Equally, it is often overlooked that 1965 was the year when the production of Gibson instruments reached an all-time peak in the wake of the 1st "guitar boom". Last but not least, 1965 is the year when Ted McCARlY tendered his resignation as Gibson president after acquiring Paul BIGSBY'sbusiness.
The new GIBSON ELECTRICS,subtitled "THE CLASSICYEARS", consequently spans from the beginnings of the electric guitar until the mid-60s. For a better display of information, I reckoned it would be appropriate to split the historical recap from the specifications of production electrics - Spanish guitars and basses - cataloged during this period. This book is therefore divided in two main parts, with a third leg detailing what I call identification numbers.
The latter are quite useful for assessing the vintage of an instrument and Part Three features previously unpublished material. In other words, the new edition practically incorporates three books into one (for the same price!). Many people have contributed, yesterday and today, to the making of the new GE. Being domiciled in Paris, I wish to stress that this research has been greatly facilitated over the years by the kind cooperation of many friends and guitar aficionados in the USA.I hope the list of acknowledgements does justice to all of them, even though their input may date back many years.
A special mention goes to all the Gibson people, past and present, who always have been very receptive to my quest for information. Conversations with old-timers like Ted McCARlY,Walter FULLER,Seth LOVER,Wilbur MARKER, Julius BELLSON,or with early electric pioneer Alvino REYhave been invaluable to enlighten the chapters of Part One and give them a human dimension beyond facts and figures.
I am particularly appreciative of the active contribution of a few key individuals who have helped me to complete this project in a relatively short time. These are John SPRUNG(and his wife Jenny for tolerating a rather hectic family life over the past 6 months), Jim COLCLASURE, Walter CARTER,George GRUHNand my wife Susan. I also want to thank people like Gil SOUTHWORTHand Brian FISCHERfor giving me access to their impressive collection of Gibson electrics. Finally, my gratitude goes to HALLEONARDfor allowing me to turn an old book into a brand new one. At the time of closing this long foreword, I can't help but think of my father who passed away since I wrote the first GE, and without whom I might never have known Gibson guitars. This one's for you, dad. A.R. DUCHOSSOIR Ma 1993

THE DEVELOPMENT OF ELECTRICS UP TO THE MID-60s INTRODUCTION
Who invented the electric guitar? However straightforward this question may be, it does not usually suggest one instant answer as several pioneers -some known, some unknown- may claim an input into its development. Historically, the earliest attempts to electrify an instrument can be traced back to the 1890s, but they can hardly be construed as the first steps towards the electric guitar as we know it today. For instance, one W.H. GILMAN secured patent #488,520 on December 20, 1892 for an 'Electrically Operated Stringed Music Instrument' which actually encompassed an electrically-actuated automatic banjo. It was not until the 1920s that the electric guitar began to take shape in the light of scientific advances in sound amplification and amplifier circuitry.
Why the electric guitar came into being is an easier question to answer. Owing to its intrinsic lack of volume and carrying power, the traditional acoustic guitar was more often than not relegated to the rhythm section in most bands up to the 1930s. With the notable exceptions of classical pieces or purely stringed- instrument ensembles, the guitar did not become a recognized solo voice in its own right until it was amplified. The growing popularity of dance music thus led guitarists to seek ways to be heard over the sound of brass and reed instruments, let alone drums. The need for more power brought about developments such John DOPYERA'stesophonic guitar with its internal spunmetal resonator and triggered a significant enlargement of body dimensions. It also explains why the banjo, because of its bright and cutting sound, was often preferred to the guitar in early jazz oups. Besides this extra power to vie with other instruments in orchestras, providing a greater tone consistency is also cited a factor behind the early research carried out to electrify the guitar. By all accounts, this was part of the rationale followed by lloyd LOARin the early 1920s. lloyd A. WAR (1886-1943) was a multi-talented personality: musician, composer, teacher, mandolin performer, physics engineer and researcher. In June 1919 he came to work for the GffiSO MANDOLIN-GUITARMfg. Co., Ltd. where he took over e eral positions as acoustic engineer, factory production manager, manager of the stringed instrument repair department and purchasing agent. Today, Loar is best remembered for his role in the development of the Master series, ie the L-5 guitar, the F-5 mandolin, the H-5 mandola, the K-5 mando-cello and the Mastertone banjo construction. On top of his contribution to some of Gibson's finest stringed acoustic instruments ever made, Loar designed experimental electrics during his 5-year stint with the company. His meticulous approach to acoustic physics and instrument playability apparently led him to believe that the only way to produce instruments with tonal consistency was to electrify them. In the early 20s, his views were favourably considered by Lewis A. WILLIAMSwho was one of the founders and major stockholders of the Gibson company, and its secretary and general manager at the time. Williams was also a pioneer in the field of loudspeakers and sound reproduction. He is thus credited with several innovations in instrument design such as the elevated fretboard and pickguard, while being a central figure behind the Master series. This explains why Williams brought in Loar at Gibson and supported his efforts in the development of modern stringed instruments. But differences of opinion within the company as to Gibson's product focus and marketing strategy brought about a reshuffle at management level. It can be argued that electrical instruments were certainly part of the discussions which took place. Loar's (and Williams') conceptions were probably ahead of their time but deemed insufficiently marketable by the riskaverse board of directors chaired by the venerable John . ADAMS. They were consequently relegated to a back seat in favour of less adventurous designs. This boardroom row led 1. A. Williams and C. V. Buttelman, then sales and advertising manager, to resign at the end of 1923. Lewis Williams was briefly replaced by someone called FERRIS, before the position of general manager was entrusted to a newly hired accountant named Guy HART. Lloyd Loar soldiered on for about a year after Williams' departure, but he did not get along too well with his new general manager. Their lack of entente prompted the termination of Loar's contract at the end of 1924. Eventually, both Loar and Williams joined forces in their post-Gibson days and went on to form together the ACOUSTI-LECTRIC Company in January 1934 (later renamed the VIVI-TONECompany in February 1936). The earliest Gibson electric instruments were reportedly perfected by 1924 and then shown to some of the compan agents who at that time were mostly artists and teacher. However, these agents were not ready yet, musically and otherwise, to accept such a radically novel concept for which no music was specifically written. In the face of a negative reaction from its prime sales force, the new management of Gibson then resolved not to go ahead with the experimental electrics.

CONTENTS
FOREWORD .
ACKNOWLEDGEMENTS .

PART ONE: THE DEVELOPMENT OF ELECTRICS UP TO THE MID-60s .
INTRODUCTION: Who invented the electric guitar? .
CHAPTER 1: The first production electrics (1935-1939) .
CHAPTER 2: The second wave of pre-war electrics (1940-1942) .
CHAPTER 3: The early post-war era (1946-1948) .
CHAPTER 4: The apogee of the amplified guitar (1948-1951) .
CHAPTER 5: The first solid body electric (1951-1952) .
CHAPTER 6: The expansion of the electric line (1953-1955) .
CHAPTER 7: The first thinline electrics (1955-1957) .
CHAPTER 8: The advent of the humbucking pickup (1955-1957) .
CHAPTER 9: The Modernistic Guitars (1957-1959) .
CHAPTER 10: The double cutaway thinline electrics (1958-1960) .
CHAPTER 11: The inception of restyled solid bodies (1958-1963) .
CHAPTER 12: The hollow body Artist models (1960-1965) .
CHAPTER 13: The original Firebird series (1963-1965) .
EPILOGUE: The end of an era .
CHAPTER NOTES .
COLOUR SECTION: 30 YEARS OF GIBSON ELECTRICS .

PART TWO: THE PRODUCTION ELECTRICS UP TO THE MID-60s .
INTRODUCTION .
CHAPTER 1: The pre-war electrics (1936-1942) .
CHAPTER 2: The post-war full body electrics (1946-1965) .
CHAPTER 3: The solid body electrics (1952-1965) .
CHAPTER 4: The thinline electrics (1955-1965) .

PART THREE: THE IDENTIFICATION NUMBERS UP TO THE MID-60s .
INTRODUCTION .
CHAPTER 1: Factory-order numbers (1936-1961) .
CHAPTER 2: Serial numbers (1936-1961) .
CHAPTER 3: Serial numbers (1961-1965) .
INDEX . 

Price: €26,00
€26,00

PICKUPS WINDINGS AND MAGNETS Guitar Became Electric Mario Milan Centerstream LIBRO

PICKUPS, WINDINGS AND MAGNETS ... And the Guitar Became Electric. Mario Milan.

Series: Guitar
Publisher: Centerstream Publications
Medium: Softcover
Author: Mario Milan

Guitar collectors rejoice! The first book to examine pickups in detail is here! Covers everything from the first experiments to classic models conceived for Rickenbacker, Gibson, Fender, Gretsch, Danelectro, Epiphone and others, with an overview of Japanese and European manufacturers. Includes a 32-page color section of the most popular models and rarities, a timeline, info on building pickups and technical specs, and biographical notes on George Beauchamp, Leo Fender, Seth Lover, Larry DiMarzio and Seymour Duncan. 178 pages.

Price: €34,99
€34,99

JOHNSON JACK-SLEEP THROUGH THE STATIC-TABLATURE-LIBRO SPARTITI CHITARRA ACCORDI

JOHNSON JACK, SLEEP THROUGH THE STATIC. TAB.

Series: Play It Like It Is
Publisher: Cherry Lane Music TAB
Artist: Jack Johnson

Jack's fifth studio CD spent three weeks perched atop the Billboard 200 album chart, and also debuted at #1 worldwide. Our artist-approved folio features all 14 tunes, plus an intro from Jack himself. 104 pages.

ADRIFT
ALL AT ONCE
ANGEL
ENEMY
GO ON
HOPE
IF I HAD EYES
LOSING KEYS
MONSOON
SAME GIRL
SLEEP THROUGH THE STATIC
THEY DO, THEY DON'T
WHAT YOU THOUGHT YOU NEED
WHILE WE WAIT

Price: €27,99
€27,99

JOHNSON JACK AND FRIENDS-SING-A-LONGS AND LULLABIES FOR THE FILM CURIOUS GEORGE-TABLATURE

JOHNSON JACK AND FRIENDS, SING-A-LONGS AND LULLABIES FOR THE FILM CURIOUS GEORGE. TAB.

Guitar Recorded Versions
Series: Guitar Recorded Version
Publisher: Hal Leonard TAB.
Artist: Jack Johnson

This matching folio to the popular monkey movie soundtrack includes all 13 songs from the soundtrack by Jack Johnson, Includes all uke parts from the original recording and B&W art from the film. 96 pages.

Broken
Jungle Gym
Lullaby
People Watching
Questions
Sharing Song
Supposed To Be
Talk Of The Town
The 3 R's
Upside Down
We're Going To Be Friends
With My Own Two Hands
Wrong Turn

Price: €27,99
€27,99

ACOUSTIC GUITAR SONGS FOR DUMMIES. TABLATURE

ACOUSTIC GUITAR SONGS FOR DUMMIES. 34 songs. 256 PAGEs. TAB.

About A Girl, NIRVANA -Across The Universe, BEATLES -Angie, ROLLING STONES -Annie's Song, JOHN DENVER -Behind Blue Eyes, THE WHO -Best Of My Love, EAGLES -Blackbird, BEATLES -Crazy Little Thing Called Love, QUEEN -Drive, INCUBUS -Dust In The Wind, KANSAS -Fly To The Angels, SLAUGHTER -Free Fallin', TOM PETTY -I'd Love To Change The World, ALVIN LEE -Iris, GOO GOO DOLLS -Landslide, FLEETWOOD MAC -Layla, CLAPTON -Leaving On A Jet Plane, PETER, PAUL & MARY -Love Of A Lifetime, FIREHOUSE -Maggie May, ROD STEWART -Night Moves, BOB SEEGER -Norwegian Wood (This Bird Has Flown), BEATLES -Patience, GUNS N' ROSES -Pink Houses, MELLENCAMP -Signs, TESLA -Space Oddity, BOWIE -Tangled Up In Blue, DYLAN -Tears In Heaven, CLAPTON -Thick As A Brick, JETHRO TULL -3 AM, MATCHBOX 20 -Time In A Bottle, JIM CROCE -To Be With You, Mr. BIG -Wanted Dead Or Alive, BON JOVI -When The Children Cry, WHITE LION -You've Got A Friend, JAMES TAYLOR. TAB.

Series: Guitar Collection TAB
This songbook will have even beginning guitarists playing 34 of the best acoustic rock songs ever with the help of performance notes and guitar tab arrangements. 256 pages.

Price: €20,99
€20,99

BONAMASSA JOE BEST OF Play It Like It Is TABLATURE CHITARRA Blues Deluxe-Faux Mantini-Had To Cry Today

BEST OF JOE BONAMASSA. GUITAR TABLATURE

ARTIST APPROVED

THIS BOOK WAS APPROVED BY JOE BONAMASSA IN PERSON

Best of Joe Bonamassa

Series: Play It Like It Is
Publisher: Cherry Lane Music
Format: Softcover - TAB
Artist: Joe Bonamassa

11 artist-approved note-for-note guitar transcriptions from this guitar mastermind, complete with an interview and photos. Includes: Blues Deluxe • Miss You, Hate You • New Day Yesterday • Pain and Sorrow • The River • So, It's like That • Woke up Dreaming • and more.
Inventory #HL 02500921
ISBN: 9781575608945
UPC: 884088089481
Width: 9.0"
Length: 12.0"
116 pages
 

Blues Deluxe - WORDS AND MUSIC BY: JEFFREY ROD - 1967
Faux Mantini - WORDS AND MUSIC BY: JOE BONAMASSA - 2004
Had To Cry Today - WORDS AND MUSIC BY: STEVE WONWOOD - 1969
If Heartaches Were Nickels - WORDS AND MUSIC BY: WARREN HAYNES - 1995
Miss You, Hate You - WORDS AND MUSIC BY: JOE BONAMASSA, RICHARD FELDMAN - 2000
My Mistake - WORDS AND MUSIC BY: JOE BONAMASSA, MARK LIZOTTE - 2002
New Day Yesterday - WORDS AND MUSIC BY: IAN ANDERSON - 1970
Revenge Of The 10 Gallon Hat - WORDS AND MUSIC BY: JOE BONAMASSA - 2004
The River - WORDS AND MUSIC BY: JOE BONAMASSA, ROBERT HELD - 2004
So, It's Like That - WORDS: MICHAEL HIMELSTEIN - MUSIC BY: JOE BONAMASSA - 2004
Woke Up Dreaming - WORDS AND MUSIC BY: JOE BONAMASSA, WILL JENNINGS - 2003

116 pages.

 

... emulating some of my favorite singers-Paul Rodgers,
Gregg Allman, Rod Stewart. Sometimes it was
frustrating. I'd been playing guitar for so long, and
had gotten control over that, but this was uncharted
territory. Ultimately, it's allowed me a freedom as an
artist I hadn't felt before."
Joe's muscular fusion of righteous playing
and keenly etched vocals has never been more
seamless than on his latest solo album, You & Me.
Produced by South African-born studio ace Kevin
Shirley-whose credits include Led Zeppelin, the
Black Crowes, Aerosmith, and Joe Satriani-the
disc potently blends a "big rock sound," intense British
blues (about which Joe's especially passionate),
and gritty Delta roots. It's packed with standouts,
including an interpretation of Charley Patton's "High
Water Everywhere" (a tribute to New Orleans), "So
Many Roads" (a blues classic made famous by Otis
Rush), and "Tea for One," a Zeppelin gem embellished
with a full orchestra-and Jason Bonham
on drums. Bonamassa, who's been getting deeper
into songwriting, also cites the originals "Bridge to
Better Days" and the Ray Charles-inflected "Asking
Around for You" as favorites.
You & Me is mature work that continues to
unspool the artistic thread that began with Bonamassa's
solo debut, 2000's Top 10 Blues disc A New Day
Yesterday, named for the 1969 Jethro Tull classic
that Joe makes his own with (as allmusic.com calls
it) "a jaw-dropping performance." Produced by the
legendary Tom Dowd-whose career included work
with Aretha Franklin, Ornette Coleman, Eric Clapton
Ray Charles, John Coltrane, Rod Stewart, and
scores of others-the album features guest shots
by Gregg Allman, Rick Derringer, and Leslie West,
among other greats. The powerhouse original song
“miss You, Hate You" remains a cornerstone of Joe's
repertoire, as does the slide guitar showcase "Cradle
rock." In 2002 Bonamassa released So, It's Like
that, a brew of dead-on blues and classic pop-rock
production featuring all originals, including the tour
de force "Pain and Sorrow." The album was his first to
hitr 1 on Billboards Blues chart.
In 2003-designated "Year of the Blues" by
congress-Bonamassa returned with his heartfelt
tribute to the genre, Blues Deluxe, packed with nine
classics and three originals. In the liner notes, Harrris
Cohen observes that Joe "never loses touch with
the raw emotion that makes the blues what it is."
Reviewing Blues Deluxe, former Creem editor Jaan
Uhelszki added, "New York guitar phenom walks tall
in the blues tradition ... jettisoning fiery riffs inspired
by John Lee Hooker, B.B. King, Elmore James, and
Albert Collins into the future with furious playing, a
hard-rock sensibility, and a grizzled voice that owes
a debt to Gregg Allman. Equally inspired by the
Delta blues and the mid-'60s British blues boom,
the young firebrand ... is able to fuse those two
schools together, creating edgy blues-rock." Bonamassa
further honed that fusion on 2004's Had to
Cry Today, another sweat-soaked mix of innovative
and classic sounds made electrifying through his
gale force playing.
Bonamassa is also deeply committed to Blues
in the Schools, developed by the Memphis-based
Blues Foundation to educate students about the
legacy of the blues and to promote and preserve its
heritage. Joe has helped bring the program into over
100 schools across the country, and response has
prompted the Foundation to indefinitely extend it. "I
love the way the kids' eyes light up," says Joe. "We introduce
them to Muddy Waters, Robert Johnson, and
other legends. I explain this amazing musical family
tree to them, and talk about how almost every artist
today can be traced back to the origins of blues and
jazz." In 2005 Bonamassa became the youngest-ever
member of the Blues Foundations' 25-person Board
of Directors. "When they told me my name was in
the hat for it," he remembers, "I had that 'it's nice just
to be nominated' feeling. Then I was on a plane to
Memphis to actually become a part of it, and it was
an incredible honor."
Currently, when not performing shows as one of
the hardest-working artists on the road today, Bonamassa
is writing material for an acoustic album he's
planning to release in 2007. "I'm known as an electric
guitar player," he says, "but a big part of my music
started on the acoustic end, and I want to also show
that side of me." Born on May 8, 1977 (the day that
would have been blues icon Robert Johnson's 66th
birthday), Joe lives in Los Angeles with his evergrowing
collection of vintage and custom-made guitars
(now reaching the 200 mark). "I still feel like same
four-year-old who just got his first guitar for Christmas,"
says Joe-with a passion that's heard in every
note he plays.
 

Price: €23,99
€23,99

TCHAIKOVSKY NUTCRACKER FOR GUITAR IN TAB Arr. Ken Hummer TABLATURE SPARTITI CHITARRA LIBRO

TCHAIKOVSKY, NUTCRACKER FOR GUITAR: IN TAB. Arr. Ken Hummer. TAB.

About Nutcracker for Guitar: In TAB
Arranged by Ken Hummer. For Guitar. Classical Guitar Folio. Book. 48 pages. Every piece from Tchaikovsky's Nutcracker ballet is expertly arranged for guitar, including the holiday favorites "Waltz of the Flowers" and "Dance of the Sugar Plum Fairy." This collection is a must for guitarists planning a holiday recital and all who enjoy playing for friends and family. Each piece is clearly written in standard music notation and TAB for easy reading.

Price: €14,99
€14,99

SCARLATTI DOMENICO-MUSIC OF FOR TWO GUITARS-VOLUME 1-Julian Gray & Ronald Pearl SPARTITI

SCARLATTI DOMENICO, MUSIC OF FOR TWO GUITARS, VOLUME 1. by Julian Gray & Ronald Pearl.

Product Description:
Domenico Scarlatti's wealth of invention and the immediacy of his emotional appeal - from darkest tragedy to bold farce - have long attracted guitarists to make his music their own. This collection of nine sonatas arranged by the Gray/Pearl Duo gathers music displaying both Scarlatti's virtuosic dash and lyrical poignancy. The volume contains an un-edited score as well as performance-ready parts with suggested fingerings, technical solutions and interpretive articulations. This is the first book in an exciting new series from the eminent American guitar duo of Julian Gray and Ronald Pearl.

Song Title: Composer/Source:
K. 115 Domenico Scarlatti
K. 119 Domenico Scarlatti
K. 147 Domenico Scarlatti
K. 175 Domenico Scarlatti
K. 213 Domenico Scarlatti
K. 227 Domenico Scarlatti
K. 234 Domenico Scarlatti
K. 33 Domenico Scarlatti
K. 531 Domenico Scarlatti

Price: €24,99
€24,99

PACHELBEL JOHANN CANON IN D GUITAR SOLO TABLATURE CHITARRA CLASSICA SPARTITO PAUL HENRY

PACHELBEL JOHANN, CANON IN D GUITAR SOLO. TAB.

Series: Guitar Sheet
Composer: Johann Pachelbel
8 pages

Price: €7,99
€7,99

DADI MARCEL GUITAR LEGEND TABLATURE LIBRO Chattanooga-Swingy Boogie-Blueberry-FINGERPICKING

DADI MARCEL, GUITAR LEGEND. Swingy Boogie - Swingy Boogie (harmony) - My family in Massapequa - Cocktail party - Blueberry - Old time picking parlor - Pinewood road - Chattanooga train - Nous trios - Waltz for Paula - Song for Steve and Anne-Marie - To mom and Dad - Two days with Charlie - Holiday's with Samuel - Romantic Sauerkraut - Billy the Keith - Billy the Keith (Harmony) - Angelina B - Angelina B (Harmony) - My old friend Pat (Harmony) - Easy Rollin' - Easy Rollin' (Harmony) - When fingers dreams of you - When fingers dreams of you (Harmony) - Sonia - A letter from abi - Oh Dadi Blue - Winther's Waltz - The ballad of Greg Ladey - Song for ma femme - Le Derviche tourneur - Fluide Glacial - Lullaby for Stéphanie - Number one son - Big Chief - Prière pour Michel Lopez - Poor Lonesome Dadi - Song for Jerry - Marcel's Rag - Marcel's Rag (harmony) - Egged bus red - Egged bus red (harmony) - Old black piano - Old black piano (harmony) - Milk shaker - Nashville tops - From Paris with love - From Paris with love (harmony) - En attendant Joachim - Things we used to do - Marcel Samba - Song for Léo - Roger Chesterfield. TAB.

Price: €21,99
€21,99
Syndicate content