More than one historic guitar session took place in those Parisian recording studios in 1997. Immediately after the Django festival at Samois, the Hot Club de Norvège, Babik Reinhardt, Romane, and John Jorgenson recorded the HOT SHOTS album in the Studio Bastille, and our special guest was the talk of the town; the 17 year old Dutch guitar virtuoso Jimmy Rosenberg. By that time Jimmy had already been a part of the rapidly growing international gypsy jazz scene for five years. He had played everywhere, and with everybody, and was rocketing with mile high expectations towards the new millennium. Many regarded Jimmy as the greatest new guitar talent after Django himself. The HOT SHOTS album was released early in the autumn, and received a warm welcome worldwide. Just a few months later it was time to produce the first solo album from this prodigious debutant Jimmy Rosenberg.
This time we met in the Sysmo Studio, at Butte Montmartre, not far from Porte de Clignancourt and its famous flea market. I was still in awe from my previous recording session in the same studio nine years earlier, with Chet Baker and Philip Catherine. The poetry and melancholy was still in the walls, and the Sysmo session actually became Chet Baker's very last studio album. Jimmy, on the other hand, was a young and rising star - or perhaps more like Icarus? Rising on beautiful foolish arms, as Joni Mitchell so beautifully described him, headlong towards the sun? In any case, in order to give Jimmy a profound musical challenge in the studio I invited two other extraordinary guitar players: Angelo Debarre and Bireli Lagrene. We had all met briefly at the Django Festival in Oslo four years earlier. Now they were the three new masters of contemporary jazz manouche, a diabolic constellation, a Trinity even, but also reputedly bohemians.
The new recording session went surprisingly easily, in fact it was over in only two days, and the ONE AND ONLY album was released soon after. The CD was filled to the brim with hardcore guitar improvisations, a pyrotechnical masterpiece expected to become the first in a long string of pearls in the years to come. But faith and fate would have it differently.
The success we had with the HOT SHOTS and the ONE AND ONLY albums opened up many new doors, and shortly after Jimmy Rosenberg found himself in the middle of a group of international artist managers, record producers, directors, promo babes, brokers, dealers, family, fortune hunters and 'advisors' who all wanted a piece of the cake. It started out as the American dream, but soon it turned into a rock'n'roll nightmare, better described elsewhere.

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