It was during one of these informal jam sessions that members of the Hot Club "discovered" the pair. The Salle Gaveau at 45 rue La Boetie was regularly used for jazz concerts; Pierre Nourry organized an appearance of the Quintette du Hot Club de France on 20 October 1937 and the group performed there again in March of the next year. The Salle Pleyel at 252 rue du Faubourg-Saint-Honore was the venue for several important jazz performances beginning in the years before World War II. The Quintette du Hot Club de France and several American artists, including Louis Armstrong, Duke Ellington, and Cab Calloway, performed there in the pre-war years. In 1949, 1952, and 1954 the Festival International de Jazz (popularly, the Paris Jazz Fair) organized by the Hot Club under the direction of Charles Delaunay was held in this hall. Louis Armstrong gave two important concerts in this hall; the concerts were held on 9 and 10 November 1934. It is to these performances that Panassie devotes an entire chapter of his "Douze annees de jazz." The Hot Club organized tours for several visiting American musicians; Earl Hines' tour of France in the 1960s was organized through the regional Hot Club affiliate branches. During the 1960s, the Club also organized tours for Bill Harris, the blues pianist Memphis Slim, and Sister Rosetta Tharpe. The Quintette du Hot Club de France was founded with the help of Pierre Nourry and, later, the full backing of the Hot Club. In August 1934, Nourry, then secretary of the Hot Club, vouched for Django Reinhardt and his talents when he brought him and Nin-Nin Reinhardt into the Publicis Studios, a recording studio for amateur musicians. Nourry paid 80 francs of his money to have them recorded and even tracked down a bassist, Juan Fernandez of Martinique, to round out a trio. The discs made during this session were sent to jazz critics to showcase the new "Jazz a Cordes" style. Pierre Nourry and Charles Delaunay then approached the Odeon label for the purpose of acquiring an audition for the full quintet; on 9 October 1934, the quintet came to the Odeon studio for their audition. On Django's advice, they brought American singer Bert Marshall from the Hotel Claridge band to make for a more commercial recording. The record was declared inspiring by several listeners, but was decried by the executives at Odeon.