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The Parisian musette style — from the accordion-banjo-drum trios typically heard in dance halls in the Roaring Twenties, to the refined swing of the 1940s.

The complete text read (in French) by the author for radio broadcast in 1954.

The author in conversation, even singing a couple of songs, and readings from Au Bout De La Nuit and Mort A Credit by Michel Simon and Arletty.

The great Argentinian guitarist’s swinging blend of Latin, Brazilian and Jazz, recorded in 1965 — with Los Cinco Caballeros — and a decade later, his last sides.

Somewhere between rhythm and blues, Trinidadian calypso and Jamaican mento. The burgeoning revival of Blind Blake (and there’s a Harold McNair, blimey.)

Running back to 1909 - the more refined, dignified, classical style of Paul Robeson, and the University groups and Glee Clubs, to run alongside the church and field-recording rawness which is all the rage.

Lovely stuff —  the great Louise Bennett’s opener, say, or Laurel Aitken’s Nebuchadnezzar. Ken Khouri and Stanley Motta recordings; Ernest Ranglin, Sugar Belly, Lester Sterling in the house. Decent booklet.