The Ultimate Django Book
Complete Django
A new release and one well overdue.
82 Melodies and themes attributed to Django Reinhardt, released in one volume with standard notation and TAB.
It is obvious from the outset this book has been made by those with a deep understanding of Django’s music, something that had to be if this book was to be taken seriously.
For many years we have had an Anthology book that did the job in a fashion but was seriously lacking in accuracy and authenticity. It looks as though here we have a successor worthy of Django’s name.
A full description of the notation and TAB used throughout the book is the first item you will come across, closely followed by chord shapes all shown in the keys of G and then again in the key of D, both showing root notes for transposition to different keys.
You will note the use of standard chords for accompaniment; this is deliberate as these were the chords played by the rhythm guitarists on the day. It was only Django who used the triad as a basis for rhythm and is shown when used by him throughout the book. If you want modern Gypsy voicing’s then use the Colin Cosimini “Gypsy Jazz Chord Books” Volumes 1 to 4 in conjunction with this book.
The listing of the 82 tunes is laid out in both chronological and alphabetical order.
Note the Improvisations are not in this book as it takes another book to cover them all and this has been done to a very high level of accuracy by Michael Horowitz in “Unaccompanied Django”
There is then a list of chronological landmarks in Django’s life.
The tunes are laid out in chronological order starting with Ultrafox 1935 Paris and ending in April 8th 1953 with Deccaphonie, how strange the first and last tunes to carry his name were both nods in the direction of record companies.
I have not as yet sat down with a guitar and played all these tunes through so cannot vouch for accuracy throughout but a glance at a few certainly shows a high level of workmanship has gone into these transcriptions and I look forward to spending a great deal of time with this great resource.
247 Pages 1.2.Kg
Available in the hotclub shop now £26.00
Gypsy picking by Michael Horowitz
Gypsy Picking, by Michael Horowitz This book has quickly become the quintessential method book for learning authentic gypsy jazz. If you want to get the true gypsy tone, phrasing, and volume, buy this book.
It's practically the only book out there which will explain, in great detail, the right hand technique of Django Reinhardt.
The book does a great job with explanations. Very clear text-descriptions as well as pictures to accompany the words. The practice guidelines are great advice to make sure your practice is as efficient as possible. He even tells you what gypsy picking is bad at! Most authors would simply try and sell there technique. I've come to find the 10 picking patterns in the book to be a great shortcut to internalizing this technique. What he's done is condensed the the most idiomatic right-hand movements into 10 open string exercises. These patterns cover the majority of movements you have to get used to which I feel have saved me tons of time rather than learning from situation to situation in transcriptions. To finish off, there are several licks and a trascription of a solo on a blues. These are all classic Reinhardt ideas as well as some contemporary gypsy stuff thrown in for good measure. It will help you start sounding like a gypsy jazzer in no time.
The main complaint I've heard about this book is that there is no accompanying video. Though the pictures suffice to show proper position, they can't show the proper motion. Michael says he has some plans to release an accompanying DVD, but until then I suggest buying Bireli Lagrene's "Live a Vienne" as a resource to see the technique in action. You'll see many of the featured performers using gypsy picking and the camera gets some excellent shots. Final comment: go buy this book now!!
Review by Takahito Arikushi
Marc Atkinson Trio - "III"
An eclectic mix of music from the mind and fingers of Marc Atkinson.
Here we have guitar from Waltz to Bluegrass to sounds I would expect to here as a sweeping film score.
The guitar sound is highly refreshing, the recording quality is second to none; and with the original compositions from Marc, obviously played from the heart with great skill, this CD is a delight to listen to. Anyone who is a fan of acoustic guitar music should definitely grab a copy of III.
Spread the word.
Currently you can listen to tracks and order from the www.marcatkinson.com website.
Joe Venuti - "Never before... Never Again"
When asked if I wanted a free book, as usual I replied "YES OF COURSE", and a short time later was delighted to receive this little gem from Richard Niles [www.richardniles.com]
Compiled by Richard Niles Romano the son of Tony Romano (the guitarist featured in the book and recordings) and Aiden Massey who made the violin transcriptions.
Richard is rightly proud of his fathers work which goes well beyond the standard fair as an entertainer in the 20's.
The book focus is on the great recording made by the pair in the late 40's on Just a memory Records "Never Before Never Again" 7 tracks included on the CD with additional interview with Tony Romano.
With all the transcriptions accompanied by the inclusive CD, the book is neatly laid out with explanations and directions on each tune to obtain swing and feel by Aidan Massey.
As well as the accurate violin transcriptions there are additional chords for guitar shown.
Overall I would say this book is aimed at the experienced violinist who wishes to gain a greater understanding of Venuti's genius.
A brief description on his remarkable 4 string bowing technique is something one should not try without a safety net.
Mel Bay
ISBN 0-7866-4131-2
Shown on amazon.com but not yet available.
A buyers guide
to some Gypsy Jazz related material by Stuart Neal.
A lone mans search for the perfect guitar tutuor that will make him into
a guitar playing GOD.
Le Guitare
Manouche - Vol. 1 Le solo de Minor Swing (1937)
Mandino Reinhardt has produced a VHS PAL Video titled "le Guitare Manouche
- Vol. 1 Le solo de Minor Swing (1937)" it is available for 29.47 euros
(including postage to UK) from ATEMA Alsace culturel.atema@wanadoo.fr
at d’ATEMA Alsace 2 rue du Commandant Francois, 67100 Strasbourg,
France. When I ordered a copy from them I received the video within FOUR
days - that's a good turnaround in anyone's book!
The 45 minute video appears to be produced by the ATEMA association as part
of their support to the manouche community in France. It re-affirms the
"une approache traditionnelle de la guitare manouche par des techniques
d'apprentissage orales et visuelles" - so there is no accompanying
booklet! Even my limited French allowed me to understand why.
The packaging of the video is very professional although the actual filming
is rather limited consisting of straight-forward studio footage of Mandino
Reinhardt playing the solo to Minor Swing. This he does by breaking up the
solo into 'bite sized' phrases and going over how each one should by fingered
with close ups of both left and right hand technique.
Essentially ('as it says on the tin'), he is demonstrating how the ‘guitare
manouche’ style would traditionally be passed on in the gypsy community
- by showing someone how to play something, not by reading about it in a
book. The video is a masterclass on the finer points of playing in the gypsy
style. Great emphasis is placed on phrasing and fingering technique - Mandino
plays some of the passages five or six times to emphasise exactly how they
should be executed. (My knowledge of conversational French is virtually
nil so I haven't gleaned much from the commentary and a simple set of subtitles
would have helped.)
The video is not as 'entertaining' as others currently available on the
market, but then again it is not intended as a general course on playing
in the gypsy style, it is a much more specialised analysis than that. I
would recommend it however, for players wishing to achieve that 'extra'
level of manouche authenticity to their playing. It calls for careful and
detailed analysis to transfer what you see on the screen to your own playing
style, but given that it only costs around £18.50 postage paid, it
is little enough to invest in one's hobby / interest / obsession!
It is also worth mentioning
that the video usually comes with a leaflet giving more details (albeit
in French) concerning manouche guitare teaching programmes offered by Mandino
Reinhardt and in so doing making reference to another video titled "Video
Pedagogique - Practical traditionnelle de la guitare manouche". I have
contacted d’ATEMA Association and confirmed that this is one and the
same as the 'Minor Swing video referred to above, although they do hope
to produce more videos featuring Mandino Reinhardt later in 2003. I have
my euro chequebook poised even as I write…………….
Since this article was written it appears d'Atema Association has folded. If you have a copy of the Minor Swing Vidio hanfg onto it as it will become a rarity.
______________________________
"The Gypsy Jazz Guitar" DVD
"The Gypsy Jazz Guitar" is a new instruction DVD by Romane from
PDG Music Publishing in France. This DVD has a French soundtrack, but includes
subtitles in either English or Italian so has pretty wide application. I
obtained a copy from a Spanish internet company at www.partituras.com
for 25.14 euros + 10.50 euros for p+p. They list it in French, English and
Italian versions, but I guess it's only the packaging that changes.
The DVD is in fact a previous Romane instruction video originally produced
in 1995 and titled "Virtuosite & Harmonies De La Guitar Jazz Manouche"
(PDG Productions), now repackaged and transferred to DVD format. Those who
know me will not be too surprised to discover that I already have a copy
of the VHS video, so I am in a position to compare the two.
The original video was only available in VHS - SECAM format, and will only
play in b&w on most UK video players producing a somewhat grainy picture
quality. Regrettably, the picture quality of the DVD is still below standard,
but is in colour. Surprisingly, the sound quality is very good, probably
even above average.
The big advantage the DVD has over the VHS tape version
is the addition of subtitles naturally clarifying exactly what Romane is
trying to demonstrate about the manouche style of playing and improvising.
The ability on the DVD to jump straight to a specific topic also gives it
a practical advantage over the VHS version.
In the DVD Romane covers the following topics:
· whole tone scale
· diminished 7th arpeggios
· harmonic progressions
· major & minor triads
· major & minor 9th arpeggios
· chromatic runs
· bitonality
· chord substitutions
· tritonic licks
· harmonic chord ‘colourings’ in “Minor Swing”
· comping
· right-hand chord tremolos
All this together with plenty of general comments and observations about playing in the manouche jazz style along the way.
Overall, I believe the DVD is well worth adding to the collection of the beginner/intermediate gypsy jazz style player – my general view being for an outlay of around £18 you could only expect to get around one hour’s instruction from a local guitar teacher - so for the same outlay to have 80 minutes of direct instruction which one can return to again and again by one of the leading exponents of the gypsy jazz style is really a ‘no brainer’ decision.
Finally, my one complaint is that on my copy the final ‘demonstration’ number, performed by Romane and Ninine, has the full sound track, but the picture appears ‘stuck’ and just stays on a still picture of Romane and Ninine. Not being familiar with DVD technology I would have thought that this is a problem with the original mastering production, and not the individual copy I received. Otherwise, if it was my DVD pressing the music track would have ‘stuck’ as well - therefore I guess all copies will be the same. I’d be interested to hear from any other owners if their copies are the same as mine. I know the track has a full vision track because it is included on the VHS video version.
______________________________
“Django Reinhardt - The Definitive Collection”
“Django Reinhardt - The Definitive Collection” is a new book
(2002) from American publishers Hal Leonard (www.halleonard.com)
of 20 “authentic transcriptions with notes and tablature” by
Pete Billmann and costing around $19.50.
Django tunes include ‘the usual suspects’ of Belleville, Daphne, Djangology, Nuages, and Swing 42 together with less frequently transcribed versions of Limehouse Blues, Marie, My Serenade, Stardust and The World is Waiting for the Sunrise amongst others.
The main criticism I have is the apparently slapdash way in which the transcriptions have been identified in the book. Django participated in over 500 recordings, many of which have been reproduced over and over again on numerous compilations of LP’s and CD’s around the world. So to identify a transcription solely as “from Djangology” or “from The Very Best of 1934-1939” seems to me to be far less than helpful. I have all the “Integrale Django Reinhardt” CD’s and have been unable to identify some of the transcriptions to a specific recording – failing this the alternative view must be they are far from “authentic transcriptions”! Why the publishers were simply unable to identify the recordings used as the basis for the transcriptions by date is a mystery to me.
With the book not including a CD it is doubly important that students are able to accurately identify the ‘source’ recording, and then compare their own attempts with the original, I have to say this publication does not make that very easy.
I was also confused by the advertising ‘blurb’ for the book saying it included note for note transcriptions of Django’s recordings, then to see the transcription of “Stardust” (identified as “from The Very Best of 1934-1939”), containing the annotation that the transcription of the Head is “piano arranged for guitar” - what is the point of this? If the book is supposed to be a collection of Django’s solos’ why include a piano arrangement? The rhythm guitar tablature also does not show any use of gypsy style triad chords, although this may be correct as the very limited film footage (see Stephane Grappelli – A Life in the Jazz Century by www.musiconearth.co.uk), of the HCQF appears to show Joseph playing full barre type chords.
Concerning the accuracy of the transcriptions, I have yet to make a full comparison although I would say that for the transcription of “Nuages”, identified in the book as “from Djangology”, I have a copy of the CD version of “Djangology” – mine consists of 10 separate CD’s with a total of approximately 240 different tracks including two versions of “Nuages” – so when I have worked out which one Pete Billmann has attempted to transcribe - I’ll be in a better position to decide how accurate or not his transcription has been!
Interestingly, the Hal Leonard book attributes “Nuages” as being written by Django Reinhardt and Jacques Larue. As both the versions I have on my copy of “Djangology” are attributed to Django Reinhardt alone, perhaps Pete Billmann has transcribed a different “Nuages” to the ones I have?
To be continued……………
Many thanks to Stuart for sharing
his thoughts and using credit card on our behalf.
Charles
Wizen et Jazz à Cordes Quartet
"Swing 39"
JAC Records
This album has been a long time in the works—and eagerly awaited by
fans of string jazz. French violinist Charles Wizen met up with Tunisian
guitarists Serge Krief and Richard Chiche at the 1998 Django Reinhardt Festival
in Samois-sur-Seine, France, and laid the groundwork for the Jazz à
Cordes Quartet. This session was recorded later when Krief and Chiche were
in Canada during a rare tour of North America. (A live show was also recorded
and is promised for future release.)
Wizen is a classically trained violinist who turned to jazz after hearing
the bowing of the famed Stephane Grappelli. Among other projects, he recorded
a much-sought-after album titled Djangology in 1987 with French Gypsy guitarist
Raphaèl Faÿs.
Krief is a fabled guitarist on the Paris scene, renowned for his innovative
and fiery approach to Django’s music. While he has been prolific in
playing gigs over the last decade, this is actually his first full recorded
album. Krief’s trusty sidekick, Chiche, provides his rock-solid rhythmic
accompaniment.
With the backing of Bassist Jean-François Martel, the quartet has
waxed fifteen cuts ranging from a miscellany of Django classics such as
“HCQ Strut,” “Daphne,” and the title cut “Swing
39” as well as several swing standards like “After You’ve
Gone” and a rollicking rendition of “Shine.” In addition,
Wizen offers three of his own compositions; on “Hannah’s Lullaby,”
Wizen plays both violin and guitar.
The band is tight and lively, with Chiche and Martel building a hot foundation
for the soloists to leap off. Wizen’s classical training shows through
his jazzy playing in his creamy tone, seamless vibrato, and perfect intonation;
his licks are classy and cool, accented by musical quotes throughout. Krief’s
fretwork is pure fireworks. He jumps on a solo with a great joie de vivre,
experimenting endlessly with the melody, and dazzling with his dynamic touch.
It has been worth the long wait for this album, wich is available through
a web retailer (www.bros.ca). One hopes we won’t have to wait too
long for the group’s live recording as well as a re-release of the
Wizen-Faÿs album and Krief and Chiche’s promised CD of electric
jazz. —MD
Basily
"Swing for the Gipsies"
Maxanter Records
The Dutch Gypsy group Basily has been prolific in releasing recordings and
playing concert dates on the Dutch scene but remains virtually unknown in
the rest of the world. This new album, Swing for the Gipsies, will hopefully
change that.
Basily is a sextet built from the foundation of four Basily family members:
violinist Tucsi, solo guitarist Popi, and rhythm guitarists Gino and Zonzo.
The family is joined by guitarist Martin Limberger and bassist Sani van
Mullem. Together, they have created a tight ensemble that got its start
playing Gypsy jazz influenced by their cultural hero, Django Reinhardt.
This new album continues in that tradition, but also adds traditional Hungarian
and Spanish Gypsy influences to the mix.
Basily is joined on this recording by the Dutch jazz pianist Beets and his
beautifully played and recorded piano round out the sound tremendously.
With the added piano and the instrumental interplay in the arrangements,
Basily is as cohesive and dynamic as the best of the famous Titi Winterstein
Quintett.
The album opens with the original title track, a bopping Gypsy swing tune
that is a dazzling showcase for the whole band as they swap lines between
guitar, piano, and violin. In the moody piano introduction to “Black
Eyes” (“Les Yeux Noirs”), the scene is set for a wild
Gypsy fandango that lifts this version far above most covers of an over-recorded
tune.
There are times on this album where one questions the musical direction.
For instance, the heavy-handed waves-breaking-on-the-shore synthesizer sounds
behind Chick Corea’s “Spain” sounds like a 1970s flashback.
The inclusion of this song—and other Latin numbers—is also questionable:
Long a standard of fellow Dutch Gypsy guitarist Stochelo Rosenberg, it seems
a too-obvious step down the Rosenberg Trio’s path. Basily is too good
to copy another band’s legacy.
Swing for the Gipsies is a hot disc full of character, dashing solos, and
a full, round sound that will make it a favorite. —MD
Django Reinhardt, Baro
Ferret, and Various Artists
"Gipsy Jazz School: Django’s Legacy"
Iris Music
Django Reinhardt was the brightest star in the constellation of the Gypsy
Jazz genre that he created. But sadly, his brilliance eclipsed numerous
other musicians, whose recordings and influence have long been forgotten.
Now, finally, the light is shining on these other stars.
This two-CD, 41-track set is without a shadow of a doubt the most important
new release of Gypsy Jazz in years. Opening with a couple rare and unreleased
cuts by Django, the selection of cuts then traces Django’s legacy
and the other Gypsy and non-Gypsy musicians that have followed in his path.
The first disc is made up of 26 tracks of historic Gypsy Jazz from 1938
to 1966; the second disc continues from 1967 to 2002. Almost all of the
material on the first disc comes directly or indirectly from renowned French
collector and historian Alain Antonietto's vast collection. There are a
handful of rarities by Django, including the 7:33-minute-long recording
of his Messe.
Yet the true gems are the recordings by Django's “followers.”
These start with two stunning, hard-to-find tracks by Joseph Reinhardt from
1943 that display the quiet brother’s unique and eccentric style;
two common but excellent examples of Etienne “Sarane” Ferret's
Swing Quintette de Paris, which rivalled Django’s Quintette for popularity
in the 1940s; two of Pierre “Baro” Ferret's astonishingly modern
bebop valses in the original 1946 recordings with Jo Privat on accordion
that are some of the rarest and most bizarre gypsy jazz sides anywhere;
two disappointingly mediocre cuts by Jean “Matelo” Ferret from
his too-commercial “Diner en Musique” album of 1951; two live
tracks of the amazing Jacques Montagne playing two-fingered electric bebop
at Baro's La Lanterne nightclub in 1964; two tracks, including the original
“La Gitane” by Paul “Tchan-Tchou” Vidal from his
circa 1960 “Guitare Party” album; two blazing cuts by Etienne
“Patotte” Bousquet; two unreleased and swinging cuts by the
great eastern-European jewish violinist Leo Slab (née Slabiak) with
Eugene “Ninine” Vees on electric guitar; one live shot of Django’s
first son Lousson; and three live unreleased tracks by Henri Crolla circa
1954. With the exception of the poor choice of Matelo Ferret tracks and
nothing representing Challain Ferret, Laro Sollero, or Ninine and Mondine
Garcia, this selection chronicles some of the best of the best post-Django
Gypsy Jazz recordings that collectors have searched high and low for for
years.
The 15 cuts on the second disc are less monumental. While it includes one
hot track from Babik's first session in 1967 for Charles Delaunay, the rest
of the cuts are nothing new or hard to find. They were likely tracks that
were easy to get licensing for and are often not the best examples of the
guitarists' work. Included here is a track apiece from Fapy Lafertin, René
Mailhes, the Rosenberg Trio, Tchavolo Schmitt, Bireli Lagrene, Christian
Escoudé, Romane, Patrick Saussois, Angelo Debarre, Raphael Fays,
Moreno Winterstein, Francis Alfred Moerman, as well as American Frank Vignola,
who seems a humble addition.
The two-CD set includes a 101-page book packed with text by Antonietto in
both French and English. Sadly, the English is so poorly translated that
it’s tough to decipher, but the material is still good if you struggle
through it. There's also scores of B&W photos and thorough personnel
listings.
This is a historic release that belongs in the collection of any and every
fan of Django or Gypsy Jazz. —MD
Romane & Stochelo
Rosenberg
"Élégance"
Iris Music
If you like your jazz hot, this duet from French Gypsy jazz guitarist Romane
and Dutch Gypsy prodigy Stochelo Rosenberg will have you cooking.
Élégance marks Romane’s seventh album since 1992 of
forward-looking Gypsy jazz. He has never been one to stay stuck in the past,
aping the best solos of Django and recreating the old sound of the Quintette
du Hot Club de France. Instead, he has crafted his own compositions with
one foot in history, the other keeping time in today’s musical scene.
Stochelo is the leader and solo guitarist of the Rosenberg Trio, which has
also put out seven albums of its own. Their CDs chart a journey from duets
with Stéphane Grappelli to more recent excursions into Latin music.
Stochelo plays here an original Selmer petite bouche guitar while Romane
picks his custom-built blue Maurice Dupont Selmer copy.
The album kicks off with a bang on Romane’s “Opus de Clignancourt,”
a tightly arranged modern piece fueled by fiery solos and a quick pace.
Stochelo’s smooth-sounding “Just Enough For Jazz” follows
with the kind of catchy, nostalgic melodies he has become famous for. Romane’s
“Soir de Trottoir” is a darkly hued, moody piece reminiscent
of Django’s “Tears.”
This is hot jazz at its best—and simplest. Two world-class guitarists
playing nothing but acoustic instruments and backed by a string bass. The
CD also includes a short video clip of Romane and Stochelo jamming. Hot
stuff! —MD
Romane
"Romane & The Frederic Manoukian Orchestra"
Iris Music
French jazz guitarist Romane has long been at the avant garde of Gypsy jazz.
With one foot firmly keeping time in the past, his compositions look toward
a brave new future.
This should come of little surprise, as one of Romane’s heroes was
Pierre “Baro” Ferret, the originator of the strange genre of
bebop waltzes that fused old musette stylings with modern jazz. But on this
new album, Romane takes a step backward in time while also taking a step
forward.
Romane & The Frederic Manoukian Orchestra blends Romane’s Gypsy
jazz compositions with the backing of a big band. The resulting sound is
certainly big.
In an interview with Vintage Guitar in Paris in 1999, Romane discussed the
inspiration for his big plans: After seeing Brian Setzer play his version
of big-band jump blues with the Brian Setzer Orchestra in San Francisco
in the late 1990s, Romane has been arranging and practising with his own
big band for three years now. Finally, he has released this CD, and hopefully
might tour with the whole group.
The mix of Gypsy jazz and big bands has a long history. Django Reinhardt
often sought to play with big bands, from his work with the American Transport
Command band post-World War II to his own "Django's Music" orchestra,
which was separate from the Quintette du Hot Club de France. Following in
Django's footsteps, French guitarist Sacha Distel worked with Claude Bolling's
orchestra and released a 45rpm medley of Django covers that ranged from
the cool (“Minor Swing” and “Nuages”) to the ludicrous
(the Swingle Singers-style vocals on “Djangologie”).
Now, Romane has climbed up onto the bandstand. On this CD, he has re-arranged—and
subtly re-titled—several of his older compositions to play big band
style. Among his personal standards are “Ninine’s Swing,”
“Opus of Clignancourt,” “Legend,” “The Look
of Laura,” and “Gypsy Fever.” In addition, he has composed
several new songs and even sings on one track, a zazou-style swing number
called “Madame” that is pure jump.
This is not your typical big band. The Frederic Manoukian Orchestra is trés
sophisticated, sounding more like the best of Duke Ellington's ensembles
or the modernistic orchestrations of Nino Rota. The band numbers up to twenty
members on some cuts.
Amazingly, Romane plays acoustic guitar on many of these tracks and comes
through loud and clear, due partly to the fact that this was cut in a recording
studio no doubt, but also due to the great arrangements. Several other tracks
feature his electric work. In both cases, he remains a strong proponent
of luthier Maurice Dupont’s Selmer-style guitars.
This new album will certainly be a flashpoint in the controversy between
Gypsy jazz traditionalists and modernists. Some will love Romane’s
adventurous step forward, others will hate it. But no one can argue that
it’s not a bold adventure. —MD
Tom Conway
"Hot Gypsy Nights"
Tomcat Music
This is an album of Gypsy jazz covers—and many of them timeworn covers
at that. But Hawaii-based guitarist Tom Conway and his trio of friends breath
life, energy, and flash into these songs, making them new and exciting.
Conway’s trio may just be the hottest Hot Club-style band in the United
States, following in the pyrotechnical fashion of Titi Winterstein’s
Quintett, Stochelo Rosenberg, and Angelo Debarre. The band is tight and
right.
Conway grew up in Detroit listening to the usual whitebread selection of
classic rock: Jimi Hendrix, the Beatles, the Rolling Stones, and Johnny
Winter. By high school, he was into Pat Martino and George Benson as well
as Wes Montgomery, the Mahavishnu Orchestra, and Return to Forever. With
guitar in hand, he moved to Los Angeles in 1984 to study privately with
Ted Greene and Jorge Strunz of Strunz & Farah. It was Strunz who turned
him on to Gypsy jazz. Now based on Maui, he says his is the sole band there
playing the music.
Conway’s trio also includes Willy Wainwright, a violinist who has
toured the United States with Ricky Van Shelton and Patty Loveless and was
based in Nashville for years. Marcus Johnson adds bass, and they are joined
on some cuts by pianist Gene Argel.
Conway’s favorite musicians in the genre include Stochelo and Jimmy
Rosenberg, Boulou Ferré, Angelo Debarre, Tchavolo Schmitt, and Romane’s
modern compositions. These influences show through strongly in the band’s
arrangements and Conway’s solos.
Along with the usual batch of Django Reinhardt tunes and a handful of Romane’s
songs, the band’s repertoire here includes Lulu Reinhardt’s
“Noto Swing” and “Swing 85” and Sonny Rollins’s
“Pent Up House”—all part of today’s typical Gypsy
jazz lineup. Both Conway and Wainwright quote freely from modern takes on
these songs, but they then venture off to add their own spice and flavor
to the music.
Conway’s licks are sure and strong and impressive with swinging phrasing
and hot licks. And the sound of his Dell’Arte Dark Eyes guitar could
make you a convert to this California-based luthier. Wainwright’s
jazz violin playing is equally hot, although his fiddling background shows
through at times and some of the highest notes border on the brink of being
out of tune.
This album might not break any new ground, but Conway, Wainwright, et. al.
prove they can play the music with the best. And that album cover and liner
booklet also receives kudos for their 1960s kitsch as well. —MD
Pigalle 44
"Our Gypsy Rhapsody"
Self-Release
Pigalle 44 is a Gypsy swing duo made up of Dutch guitarists Reinier Voet
and Jan Brouwer. A tad bit bored by playing solely Django Reinhardt tunes,
they set off to explore a new repertoire of music that they could arrange
in a Hot Club fashion. The result is this refreshing debut album chock full
of interesting songs, tight original arrangements, and swinging guitarwork.
Voet and Brouwer had good reason to get tired of aping Django’s “songbook.”
Voet plays rhythm guitar for Gypsy Jazz master Fapy Lafertin as well as
leading his own ten-year-old band Cravat and playing at Django festivals
throughout Europe. For his part, Brouwer had recorded three CDs as part
of the Robin Nolan Trio before forming Pigalle 44.
It’s the band’s innovative repertoire that truly sets this album
apart. The CD’s fourteen cuts include three originals penned by Voet,
the most stunning being his “Valse Pour Häns’che,”
an exotic valse manouche with a glorious build-up introduction and eccentric
intervals in the melody that christen this as a waltz masterpiece.
Other songs covered range from the cool to the truly bizarre: Georges Brassens’
anthem “Les Amoureux des Bancs Publics,” Joe Venuti’s
“My Gypsy Rhapsody,” French chansonnier Mouloudji’s “La
Complainte de la Butte,” and best of all, the promotional theme song
for the old “ugly duckling” Citroën 2CV automobile.
Included as well are standards such as “I Can’t Give You Anything
But Love,” Cole Porter’s “What Is This Thing Called Love,”
and Duke Ellington’s “In A Sentimental Mood.” And the
duo can’t help but cover one Django song, his late classic “Douce
Ambiance,” and true to the guitarists’ pasts, it turns into
perhaps the band’s best jam.
The production of this album is also stellar. The recorded sound of the
guitars is warm and rich—often a challenge with the percussive Selmer-style
guitars. Voet plays a 1975 Jacques Favino, while Brouwer switches between
a 1979 DiMauro, 1982 Jean-Pierre Favino, and an Ibanez Maccaferri.
The duo have some help from their friends on this album, with bassist Simon
Planting, clarinetist Barry Block, and violinist and vocalist George Washingmachine
all adding their touches.
Pigalle 44’s debut is a unique and innovative album of Gypsy jazz,
a collection of songs and playing that is truly fresh and creative—in
the best tradition of Django. —MD
Koen de Cauter and
Patrick Saussois Trio
"Un P’tit Coin d’Paradis: Des Chansons et Musiques
de Georges Brassens"
DJAZ Records
Georges Brassens was the Bob Dylan of France, a singer-songwriter who captured
the imagination of a generation with his raw, streetwise, anti-establishment
anthems set to sweet and beautiful melodies. Among that generation influenced
by Brassens’ music are two of the foremost Gypsy jazz musicians alive
today, Koen de Cauter and Patrick Saussois, and they pay homage in this
small jewel of an album.
De Cauter hails from Belgium, where he grew up with several Gypsy friends,
including guitarist Fapy Lafertin and Vivi Limberger with whom he would
later form the Hot Club-style group Waso. He has kept Waso alive into the
1990s with bandoneonist Dick Van der Harst as well as playing in spin-off
groups including the musette ensemble Les P’tits Belges and traditional
Gypsy music band Romani.
Patrick Saussois should be well known to any fan of Django. Born in France,
he cut his teeth playing guitar beside accordeonist Jo Privat before releasing
a variety of Gypsy swing and mainstream jazz CDs on his own label, DJAZ.
Most recently, his Hot Club-inspired group Alma Sinti has put out two sparkling
CDs with accordeonist Jean-Claude Laudat, guitarists Jean-Yves Dubanton
and Sammy Daussat, and a guest appearance by de Cauter.
This new CD is actually de Cauter’s third tribute album to Brassens.
He released an earlier album entitled Il suffit de passer le pont and a
live CD of other Brassens songs. Yet this new album is by far the best.
De Cauter plays acoustic Selmer-style guitar and soprano sax alongside Saussois’s
own lefty guitar. While de Cauter sings all of the lyrics in the original
French, his low-keyed style and deft delivery translates them into a universal
language.
The six instrumentals on the album are haunting, ethereal pieces that float
on Brassen’s fine-crafted melodies with glorious interplay between
the musicians. Saussois’ trademark smoothness is a perfect complement
to de Cauter’s straight-to-the-heart improvising. The sheer musicality
here is tremendous. As the album title states, this is indeed a small corner
of paradise. —MD
Pete Krebs and the Kung Pao Chickens
"Hot Ginger and Dynamite"
Cavity Search Records
Guitarist Pete Krebs wears many hats. His three current albums showcase
wildly different sides of his personality, from 1999’s Bittersweet
Valentines where he plays the modern-day singer/songwriter to 2001’s
Duet for Clarinet & Goat where he teams with avant-garde banjoist Danny
Barnes to match eclectic wits. Hot Ginger and Dynamite is a collection of
Gypsy jazz standards and hot swing covers that will go a long way to defying
putting a single label on Krebs.
The Kung Pao Chickens feature Portland, Oregon’s Krebs front and center
on guitar and vocals. He is joined by guitarists Jon Neufeld and Kason Okamoto,
clarinetist Gary Guenther, and bassists Tim Acott and Tim Renner.
Together, they swing there way through a diverse batch of Gypsy jazz tunes
that, if nothing else, show they’ve got a hot record collection: Bireli
Lagrene’s “Fiso Place,” Dorado Schmitt’s “Bossa
Dorado,” and a mix of Oscar Aléman and Django Reinhardt classics.
It’s one cool repertoire.
The band might not challenge Django in a jam, but they’re obviously
inspired and enjoying their music. Their sound is a touch crude but enchanting
for it—and closer to the feel of their idol than many of the polished
pyrotechnicians on the scene today. —MD
Biréli Lagrène
"Gypsy Project"
Dreyfus Jazz
Gypsy Project is the soundtrack for the story of the return of the prodigal
son. Alsatian Gypsy guitarist Biréli Lagrène first wowed the
world in the 1980s as a child prodigy playing the music of Django Reinhardt,
as well as his own Gypsy jazz compositions. Upon hearing Lagrène’s
stylish melody lines and innate sense of swing, the legend goes that Django’s
brother, Joseph Reinhardt, broke down in tears and declared him the true
successor to Django.
Lagrène released his first album, Routes to Django, in 1980 when
he was but fourteen years old. He followed this debut with a never-ending
cycle of tours and a handful of other LPs, including 15, Down in Town, and
Swing ’81. By the mid-1980s, he was burnt out on emulating his cultural
and musical hero, and began looking for new challenges.
Lagrène set aside his Favino-built Selmer copy and picked up an electric
guitar. Alongside bass wonder Jaco Pastorius, he crafted an electric jazz-rock
fusion sound that made Lagrène a star to a whole new galaxy of fans.
Beginning in the mid-1990s, Lagrène wearied of fusion as well. He
turned his hands to a more mainstream style of jazz and released several
records, including Acoustic Moments, My Favorite Django, Duet with Sylvain
Luc, and Blue Eyes, a Gypsy tribute to Frank Sinatra. In addition, he teamed
up with the Jimi Hendrix of the accordion, Richard Galliano, on albums such
as New York Tango.
Now, Lagrène has suddenly returned to his roots. At the urging of
his old fans and after seeing the growing commercial success of Gypsy jazz
prodigies such as Jimmy Rosenberg, Lagrène is back with an album
of glorious Django-style jazz.
Lagrène is joined here by a stellar cast. Accordionist Galliano and
Romanian jazz violin virtuoso Florin Niculescu add their touch to several
tracks. The rock-solid rhythm work of guitarists Hono Winterstein and Holzmano
Lagrene as well as bassist Diego Imbert also shines.
But it’s Lagrène who is in the spotlight, and his guitarwork
is creative, fun, energetic, and emotionally charged. Part of Lagrène’s
genius in playing Gypsy jazz was that he didn’t seek speed at the
expense of melody and swing. This holds true on this new album as well,
with many songs played at Django’s original tempo—which is a
good bit more relaxed than many pyrotechnicians play them today.
Gypsy Project is also Lagrène’s first Gypsy jazz studio recording,
as all of his early albums were live releases. It’s good to have the
opportunity to hear Lagrène loud and clear.
Part of the beauty of his sound lies in his choice of guitar. He first sought
to borrow the Selmer #504 of Django, but when that proved impossible, he
selected one of the new “legacy” guitars built by French luthier
Maurice Dupont. Using aged, forty-year-old woods and the original Selmer
tooling, Lagrène’s top-of-the-line Dupont has a sound that
is full, warm, and majestic.
With Gypsy Project, the prodigal son has returned. Welcome back! —MD
Joe Venuti and Eddie
Lang
"The Classic Columbia and OKeh Sessions"
Mosaic Records
The pioneering duo of violinist Joe Venuti and guitarist Eddie Lang long
ago ascended to the jazz hall of fame, but finding actual recordings by
them to back up this reverence is a difficult task. Miscellaneous “greatest
hits” collections surface now and then without musical rhyme or historical
reason—and usually lacking even decent sound quality.
Now, Mosaic has righted this wrong—and how!
This eight-CD collection of their earliest and best music rescues Venuti
and Lang’s legacy, and is backed by Mosaic’s trademark sonic
quality, completeness, and thorough documentation.
Giuseppe Venuti and Salvatore Massaro—soon to become Eddie Lang—were
childhood chums who grew up blocks apart in South Philadelphia. They met
in the James Campbell High School orchestra, forming a musical partnership
that lasted until Lang’s accidental death during an unnecessary tonsillectomy
at age 31 in 1933.
Scribe Mike Peters’s fine biography and sessions notes shed light
on the duo’s story, illuminating their backgrounds and musical development.
Both Venuti and Lang began their musical studies on violin; Lang didn’t
start playing guitar and mandolin until later, although he continued his
violin studies.
Venuti was loud and brash, a natural born leader. Lang, on the other hand,
was soft-spoken and humble. Together, they made a fine duo, and their earliest
solo duet recordings included here display their personalities: “Black
and Blue Bottom” and “Stringing the Blues” from 1926 feature
Lang’s driving chordal harmony behind Venuti’s melodic lines.
The songs might not be jazz and truly had little sense of swing, but they
featured an enchanting sound that foretold their future as some of the top
sessionmen around.
This boxed set includes 194 tracks from a wide variety of duets, bands,
and settings: the hot Venuti Blue Four/Five/Six sessions; all of Lang’s
solo sessions; Lang’s duets with Carl Kress; big band dates under
Venuti and/or Lang’s lead; sidemen sessions with Louis Armstrong,
Tommy Dorsey, Paul Whiteman, and others; backing sessions for Bing Crosby
and others; and all of Lang’s blues sessions with Lonnie Johnson,
Bessie Smith, and other vocalists. In addition, there are even a handful
of novelty sides featuring Venuti’s strange sense of humor.
This collection highlights the charm of Venuti and Lang’s music as
well as its limitations—especially when compared with the string jazz
of Stéphane Grappelli and Django Reinhardt that followed close on
their heels. Venuti was never a great improviser, and while his melody lines
boast a rich tone and stylish playing, his “solos” all sound
prescribed and practiced. In comparison to the wide-ranging explorations
of Grappelli, Venuti appears confined by his musical training, his violin
playing less about soul, more about hitting that commercial sweet spot.
Lang, though often playing the sideman to Venuti, was by far the more interesting
musician. Yet even for his Italian-American background, Lang lacked the
verve and dazzle of Django’s flashy playing. Still, his sense of harmony
and fluid chord choices are stunning and his single-note soloing is dynamic.
And then there are his numerous blues tunes, which display an uncanny sense
of the music, so much so that he was at times listed as Blind Willie Dunn
to mask his true, white identity on these “race records.” Several
albums have showcased Lang’s music before but never to the depth that
this collection goes.
Venuti and Lang’s music is not timeless and much of it seems quaint
today. But that does not mean to detract from it in any way. This music
is a timepiece, still fun and alive and great listening.
This Mosaic set is an essential part of any early jazz buff or guitar fan’s
collection. —MD
Hot Strings
"Delicatessen"
Downtown Records
The opening song on this new album from the venerable Swiss group Hot Strings
says a lot about this band and the sense of humor of its leader, guitarist
Fere Scheidegger: Delicatessen kicks off with a Gypsy jazz version of Peter
Green’s “Black Magic Woman” that is pure rock blues as
Django might have played it.
But from this wild beginning, the band gets back into a more traditional
groove. Swing and Gypsy jazz standards are interspersed with a wealth of
originals, adding up to another solid outing from the group.
Hot Strings has been joined here by several guest musicians, which round
out the sound. Accordion, piano, and drums on some tracks build a broader
tone that comes through especially strong on the Fleetwood Mac tune.
Hot Strings has remained one of the most consistent string jazz bands on
the scene since its first album, Douce Ambiance, was released in 1990. Happily,
that album—which may be the band’s masterpiece—was re-released
recently in the United States by Jazzology Records. —MD
Jean-Claude Laudat,
Jean-Yves Dubanton & Gilles Le Taxin
"Le Jazz et la Java"
Self-Produced
It doesn’t get much better than this. With Le Jazz et la Java, Parisian
accordionist Jean-Claude Laudat, guitarist and singer Jean-Yves Dubanton,
and string bassist Gilles Le Taxin have crafted an album of retro French
musette and swing that is almost as good as being there.
Laudat and Dubanton are alumni of guitarist Patrick Saussois’ amazing
band Alma Sinti, which has released two stunning CDs to date. The duo also
play in other ensembles as well as holding down a long-running slot on Thursday
nights at the quintessential Parisian restaurant Chez Elle (7, rue Prouvaire,
Paris 75001).
This trio arranges, plays, and records with a simplicity that creates true
beauty. With their first album, Mon Pote le Gitan, Laudat and Dubanton waxed
an instant classic. Their covers of “Nuages,” “Minor Swing,”
“Flambée Montalbanaise,” and “Quand Tu M’Embrasses”
featured charming vocals, hot solos, and a warm, clear recording style.
Now, they’re back with a new album that treads new ground. Le Jazz
et le Java explores more elements of classic French chanson, musette, and
swing, with a jazzier sound underlying the whole production. The trio have
been joined by a drummer and a string section on some cuts as well as guest
appearances by guitarists Saussois and Samy Daussat.
This new album is reminiscent of the great Manouche Partie recordings by
accordionist Jo Privat and Gypsy guitarist Jean “Matelo” Ferret,
which recreated the classic sounds of musette and swing that both cut their
teeth on. Among the best tunes on Le Jazz et le Java is “Cloviswing,”
penned by Laudat and dedicated to his father. “Johnny” features
vocals by Cécille Desimpel of Chez Elle fame.
If you are a fan of classic French music—whether it’s Edith
Piaf or Charles Trenet, Django Reinhardt or Jo Privat—you owe it to
yourself to give a listen to Laudat and Dubanton. You can purchase this
CD via the Canadian e-tailer Archambault (www.archambault.ca) or directly
from the band in France (jazzetjava@aol.com). —MD
Axé Swing
"La Belette"
Self-Released
Axé Swing is that rare thing in a Gypsy jazz band: Here is a group
that does not simply ape the music of Django Reinhardt and his Quintette
du Hot Club de France, but ventures out on its own to create original music
inspired by the Django’s legacy.
Based in Toulouse, France—about as far as you can get in France from
the Parisian hotspots—Axé Swing is lead by guitarist and composer
Thierry Di Filippo and includes two other guitarists, a string bass player,
and on this premiere album, a clarinetist, accordionist, and violinist Malik
Richeux, lately of Christophe Lartilleux’s Latcho Drom band. With
this broad instrumental frontline, the band ventures into all eras of Django’s
musicality, from musette to the string swing of Stéphane Grappelli
to the later years and the Benny Goodman-inspired combos.
To be sure, Axé Swing do cover their share of Django’s compositions—included
on this outing are “Douce Ambiance” and “Manoir de mes
Rêves”—and one tune by the French Gypsy band Terno Sinto.
But the remaining ten songs are all originals by either Di Filippo or fellow
guitarist Sébastien Quidet.
It’s these original compositions that truly glow. The band injects
its swing with a strong element of Gypsy music, both more traditional Eastern-European
elements and Spanish flamenco flavors. These other influences give depth
and character to the band member’s stylized introductions to songs
like “Le Clown” and “La Belette” and inspire their
long solo passages.
These long jams—faire du boeuf, or “make beef” in French
slang—are at the core of Axé Swing’s music. The solos
here are not the typical two- or three-chorus solos of the Hot Club’s
day when 78rpm records dictated how long Django and Grappelli could jam.
Instead, the band has the leisure of crafting extended solos and playing
with themes, and many songs stretch out to five minutes and more.
The recording here is also exemplary. The Selmer-style guitars sound warm
and woody—even with three of them pounding out la pompe, the classic
rhythm known as “the pump.” And Richeux’ violin is glorious
in tone, soaring above the rest of the band. —MD
Stephane Grappelli 2 Disc DVD
This DVD and video is currently available in PAL and NTSC formats from this site:
Having been watching and listening to Django Reinhardt and Stephane Grappelli for over 45 years, it becomes increasingly difficult to find something that is not simply a re-hash of old information and stories. The Music on Earth, Stephane Grappelli DVD is a refreshing exception. It is not just an excellent documentary about Stephane, it is one of the best musical documentaries I have ever seen regardless of the subject matter.
The first disc is a logical, very watchable review of the violinist's life with some lovely recreations of his early years, wonderfully evocative Parisian scenes, hosts of interesting interviews ranging from Stephane himself to Lord Lew Grade and Diz Disley and some great, often rare, film clips. Even my wife watched the whole 2 hours with me and found it fascinating. The film clips are magnificent and I particularly enjoyed the Eddie Lang/Joe Venuti duet and the previously unseen Art Tatum segment.
The second disc is full of individually accessible gems with headings like "Music Archive Clips", "Meeting Django", "Django Sacks the Bass Players" and "Stephane's Shoebox" which contained several photographs that I have never seen before. However, for me, the best section was "Music Archive Clips" with some great footage of the Stephane Grappelli Quintet with George Shearing, Dave Goldberg, Coleridge Goode and Ray Ellington and the holy grail of the Lobster Films superbly restored and uncut "J'Attendrai" sequence with the Hot Club Quintet. The DVD is worth buying for this sequence alone. It is almost mystical to watch Django play and the visual poetry of those magical fingers creating the introduction is an absolute joy to see. All the known footage of Django playing is included (some creatively extended) with the exception of the "Bal Tabarin" clip.
I would highly recommend this DVD if you have any interest in this type of music at all. The only slight negative for me was that there was a little too much of Grappelli's concerts with Martin Taylor towards the end of Disc 1. Unfortunately for those of you without a DVD player, only Disc 1 is available in video format.
Roger Baxter
A
collection of Gypsy Jazz standards written and compiled by Paul Meader &
Robin Nolan.
With a mix of Patrick Saussois bouncy guitar and Jean-Claude Laudat on accordion
a real Parisian sound hustles from every track. If anyone has seen Patrick play
you are in for a surprise, though he is a left handed player; he plays a guitar
strung for a right handed guitarist. Thats right, it's upside down.
(Released
by:Orleans)
If
you want an absolutely exhaustive collection of everything Django every recorded,
or even accompanied on, Freméaux & Associés’ Intégrale Django Reinhardt is the
ultimate collection, distributed in the USA by FTC (USA telephone: 213-965-9585).
The sonic quality is the equal of the Classics series and the liner booklets
are even more thorough.