The publisher groups OSW 110-1 and 111-1 as two sides of Pinetop Smith’s Boogie Woogie, recorded in the Philippe Brun session of February 1940. This guide covers the pair while both archive rows remain intact. Compare the ending of side one with the opening cue of side two; distinguish the recorded break from an intended musical cadence.
FeelSource-specific phrasing; establish the recorded pulse
MeterFollow the documented arrangement; no metre inferred from title
MusicPinetop Smith
Guide coverage8 / 12 sections present
Owner content reviewed — 2026-10-21T08:20:29Z by admin. Coverage measures presence, not accuracy. Content review does not certify rights or musical perfection.
See what is here and what is missing
✓ Recording evidence
○ Key & form
○ Chart
✓ History
✓ Playing notes
✓ Practice plan
○ Backing track
✓ Django recording
○ Django solo study aid
✓ Illustration
✓ Sources
✓ Difficulty
Django's Recordings
Django recordings for this tune. Uploader dates and take labels remain source claims; only an evidenced exact association enables a row’s Listen control.
1 historical recording entries · source text preserved
Entry
Year
Recording / session / release evidence
Listen
01
1940
Boogie Woogie Pt.I,OSW 110-1 ,"Fremeaux FA 309, Classics 813, Jazz Time 252707-2","22/2/40 - Paris - Philippe Brun (tpt), Guy Paquinet (tbn), Alix Combelle (cl), Charlie Lewis(p), Django Reinhardt (g),Marceau Sarbib(b),H.P.Chadel(d)"
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A dash means no video has been associated with this exact historical recording. Tune-level listening resources remain available above.
History & Listening
The publisher groups OSW 110-1 and 111-1 as two sides of Pinetop Smith’s Boogie Woogie, recorded in the Philippe Brun session of February 1940. This guide covers the pair while both archive rows remain intact.
Tune details
Music: Pinetop Smith
Documented in archive: 1940
Original key: Not established
Study level: Intermediate listening work; advanced arrangement and source awareness
Melody & head
Compare the ending of side one with the opening cue of side two; distinguish the recorded break from an intended musical cadence.
Two record sides need not be a single uninterrupted modern arrangement; agree a live transition rather than copying a disc gap.
Compare the ending of side one with the opening cue of side two; distinguish the recorded break from an intended musical cadence. Source-attributed credits: Source-attributed credit: Pinetop Smith. Roles follow the cited source; legal rights are not certified.
Chart & Form
Establish the melody, bass arrivals and actual phrase length before assigning chord functions. Loop one riff with its preceding rest. Play the rhythm on a muted string, then add pitches and a quiet foot pulse.
Inherited notation retained exactly. No new complete chart, concert key or take-specific transcription is certified.
No readable chord chart has been added for this title.
Play along
No backing track has been added.
Study Django's Solo
Performed studies, transcriptions, TAB, notation and lessons for studying Django’s solo. Inclusion does not certify note-for-note accuracy.
No Django solo study aid yet. Know a useful resource — or want to record a study of this solo?
Similar tunes
Follow a shared key, a harmonic idea or a familiar form. Keys refer to this site’s chart editions; other recordings may use a different key.
Related chord movement
No sufficiently supported harmonic comparison has been added yet.
Same chart key
No match is established in the current chart metadata.
Same form
No match is established in the current chart metadata.
Behind the illustration
This image is an editorial illustration; a connection to this recording has not been established.
Original AI-assisted editorial artwork inspired by the tune’s mood; not a documented historical scene.
Original AI-assisted illustration created for Djangopedia
Selected performances by notable Gypsy Jazz players and ensembles. Inclusion is editorial and does not imply an objective popularity ranking.
Notable Gypsy Jazz performances are being curated.
Improvisation
Target notes & voice leading
Compare the ending of side one with the opening cue of side two; distinguish the recorded break from an intended musical cadence.
Sing the destination before adding an approach note.
Pitch choices
Establish the actual harmony before choosing a scale. Begin with the melody and the destination note; no tune-wide scale formula is asserted.
Loop one riff with its preceding rest. Play the rhythm on a muted string, then add pitches and a quiet foot pulse.
Comping & voicings
Keep a short, consistent chord release under the riff. Let the bassist establish the pattern and leave space for brass replies.
Voicing note sets
Keep a short, consistent chord release under the riff. Let the bassist establish the pattern and leave space for brass replies.
Keep the accompaniment clear
First rehearse the specific phrase entry and release described above; add a chord pulse only when it supports that phrase.
Two record sides need not be a single uninterrupted modern arrangement; agree a live transition rather than copying a disc gap.
Practice room
Slow phrase practice, adjusted to the chosen source; no historical BPM asserted
Your assignment
Loop one riff with its preceding rest. Play the rhythm on a muted string, then add pitches and a quiet foot pulse.
Loop these changes
Loop one riff with its preceding rest. Play the rhythm on a muted string, then add pitches and a quiet foot pulse.
Keep a short, consistent chord release under the riff. Let the bassist establish the pattern and leave space for brass replies.
Metronome
Use a quiet quarter-note click for short loops. Keep the preceding rest and the next entry in the loop; remove the click briefly to test internal time.
Transposition
After learning the chosen fragment and its actual harmony, move that fragment to one nearby key by naming the target notes. Do not transpose an unverified progression.
At the session
Confirm the composition identity, concert key and complete arrangement before calling the tune. Agree pickup and ending together.
Start together
Use the chosen recording’s entry cue only after checking its phrase length.
Finish together
Agree a plain final arrival and a visible cutoff; do not assume a live video’s tag is universal.
Two record sides need not be a single uninterrupted modern arrangement; agree a live transition rather than copying a disc gap.
Two record sides need not be a single uninterrupted modern arrangement; agree a live transition rather than copying a disc gap.
Arranging the tune
Solo guitar
Begin with the melody alone, then add only independently established bass arrivals. Keep a short, consistent chord release under the riff. Let the bassist establish the pattern and leave space for brass replies.
Trio or larger group
Keep a short, consistent chord release under the riff. Let the bassist establish the pattern and leave space for brass replies.
Vocal considerations
Follow the song’s breathing where a vocal version exists. Establish the singer’s key independently; lyrics are not reproduced here.
Sources & credits
This player guide combines inherited recording evidence and editorial study notes. Musical study notes are editorial suggestions; compare them with the recording.
Work/arrangement identity, source credit and recording context; inherited rows retained.
Illustration credit & provenance
Original AI-assisted illustration created for Djangopedia
Original AI-assisted editorial artwork inspired by the tune’s mood; not a documented historical scene.
Generated with the native image-generation tool on 2026-10-21; original editorial artwork, not a historical photograph.
Prompt: Use case: stylized-concept. Asset: one original Djangopedia tune illustration, landscape 1536x1024, 3:2. Title context only, do not write words: Boogie Woogie — parts I & II.
Scene: A seated guitarist and a standing trumpeter trade short rhythmic replies beside a pair of blank black record discs. The two discs are distinct flat circles, not numbers or labelled record sleeves.
Style: witty 1950s cartoon serigraph, dry graphic and unsentimental. Confident chunky contours, flat separate ink shapes, mildly exaggerated expressive adult faces and hands, humorous posture, strong asymmetric composition. Limited palette: indigo, dusty pink, muted turquoise and cream. Slight screen-print misregistration and occasional dry ink texture, generous clean paper. No gradients or glossy shading.
Django-like guitarist where present: documented swept-back dark hair and thin pencil moustache, individual mature face. Supporting adults are distinct individuals in historically informed 1930s–1940s jazz-circle clothing. No ethnic caricatures or stereotypes. Keep heads, hands and instrument bodies within the frame, plausible instrument anatomy.
No text, letters, numerals, notation, logos, watermark, border, photorealism, dreamy sunset, hearts or romantic haze. Imagined editorial scene, not a documented event. Entirely original composition, no reproduction of an existing artist’s print.
Research & rights notes
Two record sides need not be a single uninterrupted modern arrangement; agree a live transition rather than copying a disc gap.
Complete chart, concert key and full form remain unverified.
No new exact historical recording_ref/video association is asserted.
No qualifying tune-specific backing selected in this bounded search; no generic or wrong-work backing substituted.
No complete performed Django solo recreation selected. Any score-following or partial study is labelled explicitly.
