Duo Gadjo: Meet Me in Paris | French Café | Pinterest | Music, Paris and Songs
New EventsHOMEABOUTSHOWSMUSICGALLERYHOT FRIENDSCONTACT Duo Gadjo's music is largely inspired by the sounds of the 20's and 30's, when jazz was the new thing and Paris was the place to be. Their style is often called ' Gypsy Jazz' as pioneered by the great guitarist Django Reinhardt SEE US LIVE !. Meet me in Paris by Duo Gadjo and their Hot Friends. Meet me in Paris album by Duo Gadjo and their Hot Friends on Tv StrinG Music World. Duo Gadjo and Their Hot Friends y3y3games.info bands. but i' m going to inform you that once they release their new single Meet Me In Paris.
It's a hard and demanding kiss, and his fingers tangle themselves into the hair at the nape of her neck while his thumbs rest on her cheeks. She's caught off guard, but only momentarily. She remembers this with him.
This is what they are. All pent of passion and aggression and snide comments and sarcastic remarks leading to - well this.
She kisses him back, her hands finding his waist, digging into the soft fabric of his white dress shirt. He pushes her back against the nearest wall, one hand leaving her hair to wander down to her exposed thigh.
Her skin is soft under his touch and he digs his fingers in, enjoying the soft moan that accompanies the movement. He knows she's not a porcelain doll. He knows she's not going to break from a little That's part of what she likes about him. He isn't always careful. He pulls his lips away from hers to trail softer kisses down the smooth column of her neck, before biting at the sensitive skin in just the right place, earning him a breathy moan.
He smirks at her eagerness, but doesn't comment on it. Instead he slides the hand that's not currently glued to her thigh up to tease her breasts through the thin fabric of the silk dress. She bites back the moan in her throat and manages to successfully unbutton his shirt, groaning in annoyance at him to remove it completely.
He's less than pleased at having to remove his hands from her body, but complies, and no sooner is the shirt on the floor than his hands are right back to where they were before. He moves his hand around to her back, slowly sliding the zipper down while claiming her lips in another heated kiss.
The dress glides down her body, pooling on the ground at her feet, and she's left in nothing but a pair of lacy green panties. His eyes darken at the sight, and he can't help but ask, "Are you sure you weren't at the club for me?
When she pulls away he takes a step back, taking a minute to appreciate how amazing she looks. Just before he knows she's going to get uncomfortable with his staring, he takes her hand and tugs her to him again, claiming her lips in a softer kiss this time.
She removes his belt while his hands roam over her soft skin, sometimes to pinch her nipples, sometimes to gently squeeze her bum. She manages to push his trousers from his hips, leaving him clad in noting but a pair of boxer briefs. He trails a few kisses down her neck and across her shoulder, meanwhile she runs her hands up his toned chest, remembering his body just as he remembers hers.
It hasn't really been that long. He presses another kiss to her lips before saying, "Bed. She lets him lead her into his bedroom - and she's not surprised by its decorations. It's not much different from the bedroom at his old flat. Same green silk sheets. He gently nudges her onto the bed, and settles onto it next to her, capturing her lips in another kiss while he lets the hand that isn't supporting him on his side tease her breasts for a moment, before sliding down to finger the hem of her lacy knickers.
Her hands tangle in his hair, and with a tug she indicates that she wants him to continue. He slides his fingers into her panties and finds her hot and wet already. Without warning her slides first one, then two of his long, slender fingers inside her. She's unable to stifle her moan, and it slips past her lips, making Draco smirk in satisfaction.
He loves knowing exactly how much he affects her - because Merlin knows she affects him. Her breathing comes in small pants as she dangerously approaches her orgasm - which Draco notices, of course. With a smirk fit for the Slytherin Prince, he settles himself between her legs.
Not again, I -" "Again? No, no, I assure you I haven't done this yet. He glances between her legs before meeting her eyes again and says, "I have every intention of making you come at least two more times tonight.
She moans softly at the light touch, but those soft moans quickly turn to loud moans. His tongue expertly slides over her folds, flicks against her already sensitive clit, before plunging into her tight cavern - and then repeats the process all over again.
Her hands tangle into his hair, and she's so close and mumbling incoherent things - all the while trying to push him away because it's just too much. But he's not having any of it. He slides his arms around her thighs, locking her in place, and continues his onslaught. She's coming undone in a matter of moments, moaning and arching her back and - Well Draco loves every second of it.
He slowly kisses his way back up to her lips, pressing kisses to her neck and shoulders while she catches her breath. He smirks against her mouth before saying, "Ah, only for you.
Before he can deliver more sweet torture, she nudges his shoulder, pushing him so that he's on his back and she's sitting beside him. He bites the inside of his cheek to avoid doing anything - she's barely touched him, and he refuses to act like a teenage boy - though that's exactly how she makes him feel.
In the best possible way. She shifts onto all fours, pressing soft kisses down his chest and stomach, before pressing another kiss to his swollen member. He can't contain the slight groan this time, and she smirks, pleased that she can affect him like he affects her - though of course they both know this by now.
She grips him in her small hand, slowly pumping up and down before building up speed. She enjoys his soft groans, and when she takes him into her mouth he curses, his hand going to her hair. A few moments later he tugs her up, his eyes a molten silver as he flips them over so he's on top again.
He lowers himself between her legs, and slowly slides inside her. She's so blissfully tight - she's always so blissfully tight. When you jam with top players they are not tearing you ears with continuous fortissimo phrases but you can feel they are involved and are giving you some energy. Well, it gets worse when they are at home. Once again, it is a matter of balance but you gotta make that guitar sound, I mean for real!
Sound is the basis of music, it is the first information listeners receive. After all we are producing something together right now, right? Jamming with some soloist that pops up, plays, and leaves the bandstand without even looking at you is no pleasure at all.
It says a lot. Man, if you blow your horn or play your violin for 10 minutes, the least you can do is to thank the rhythm section.
I remember Samois a few years ago: We just wanted to enjoy jamming together as we met only once a year or so. After 5 minutes a bass and a guitar came along, sat and started playing loud and out of pace, without even looking us in the eye or saying hello.
Then another two guitars joined in. Hummm okay… Then a violin player just came and started soloing over whosever solo it was. That guy finished his solo, and just walked out to the next jam before the end of the song. Not to say, but some soloists have to learn to stay with the band during a whole song. This will give you the feel, the general mood, and people are always happy to share a smile with the musicians.
It just takes a second. If you play acoustic it remains the best way to be heard correctly. This is even more true considering the directive sound projection of a petite bouche. All right come and play but remember dude: Some just wait the end of a chorus to start theirs without asking permission.
Most of the time people look at each other, make themselves understood or pass their turn clockwise for instance. The MC must also keep an eye to all the musicians coming in the venue so that he can have everybody playing during the session. It avoids tension and interest going down during the session if you have limited time and beginners will feel more secure that way rather that coming after a killer version of Cherokee by a Stochelo disciple in front of an engaged audience.
Moreover it really helps the audience feeling involved and connected with the musicians. Make a choice When having both kinds of instruments the amplified ones always tend to get louder and louder. Not so many people are aware and educated enough to have a good balance when playing. We are talking here about jam or small gigs because that problem is much rarer with a skilled sound engineer.
duo gadjo meet me in paris
Anyway they are so much medium frequencies in a Stimer or an electric pick-up that it tends to take over the acoustic guitar. First, you can put people in a difficult situation: I personally feel insecure to have to transpose a song on the spot, except a super-easy one. I think one should go to a jam to play, propose what he can do and not be asked to sit on a school bench.
Actually, singers but also violin and trumpet players, tend to get all the audience attention, however good or bad they play.
Always wait to hear the performance, you never know. It was unexpected, strange but beautiful! A group of persons will be more efficient for that than a single one to fulfill this task.
Connecting people Music should always be a moment of sharing and fun. If you are a regular and see a new face come in, welcome him to make him feel at ease. Jamming is a very important and unavoidable aspect of learning jazz.
Jamming gets you out of your comfort zone. Out of the routine you can have at home or with your friends. It forces to you to interact and pushes you forward.
Remember that music is made to give people emotions. But if you hear the same guys playing in a dozen jams, the average level of the pros will always be higher, more regular. As pilots have to acquire flight time, I think music can be considered the same way. Take advantage of jams to work your time, sound, interplay and get chops from the other musicians. As a conclusion, I will quote what Serge Krief often says to his students: Posted by Michel Mercier on March 6, at The Selmer album revealed him to a broader audience, but his musical journey started at a very early age and brought him to the highest sphere of Jazz manouche.
I started at the age of 5: His mother is an ethnomusicologist and she had a school where she taught traditional singing. I started to listen to tsigan songs and a lot of other stuff. There were a lot of records there: Then when I was 18 a buddy of mine called Pierrick Hardy, a great jazz guitar player and teacher who plays on a Lowden folk guitar, phoned me. We had already started quite a confidential band with Norig, playing in tiny venues.
Things went on and, little by little, I stopped cello for 3 years. I worked and played like crazy for 5 years.Stardust
You also play other instruments, right? I learned the piano because I compose a lot and was also interested in classical music composition. And double bass as well? The richness that I think I have in my own music comes from all of that: So well, yes, I would recommend all musicians to listen to music as a general thing, not as a particular style. All the great musicians, regardless of background, took their inspiration from numerous sources. That concerns jazz but not only: But indeed Django is not specifically jazz manouche to me.
How did you get to know Django? I listened to it so much, I was a real fan but I was not listening to Django. Then I listened a lot and for a long time! When you listen to the basic recording and note that they even cover some complete Django and Grappelli solos it sounds good but just as any Gypsy Jazz recording.
Is it too closed? Are there some fusions that you like? Well myself, I love my own playing by the way… just joking! Bireli and Angelo are the two players I like to listen to, and for completely different reasons. He pushes you to play music, otherwise he gets bored. Anyway Bireli and Angelo would really be the guitarists that influenced me the most.
I got one but also started playing with the round end which changed a lot of things. Does it really make a difference? What I tell to my students is that cello players have a meter of bow to produce some sound. Playing with the round end brings two things.
Sweeping with a 5 mm pick is just terrible, I wish you the best with it! So that round end playing allows both to play modern style and get a fat tone when needed.
Meet Me in Paris
Do you still practice your guitar? What would you do on a regular practice day? Same as I always did.