1” \ ascin tin S I
THE GENIUS THAT WAS A fascinating collection of press cuttings, magazine articles, reviews, photos and eye-witness accounts on the life and times of Django Reinhardt. Compiled by TED CHERRETT
I am indebted to a few friends for their generous help with this project. Notably ion Cruickshank, who so kindly wrote the forward, Paul Tidmarsh for his layout and printing of the essential pages and cover and to John Bajo for his help with the photographs. I would also like to thank Music Sales Ltd., Jazz Journal International, Melody Maker, Mirror Group MCN Ltd, and “Yours”Magazine for permission to use their material. Ted Cherrell THE GENIUS THAT WAS DJANGO Compilation copyright Ted Cherrett All rights reserved. Photocopied and published in the U,K, by Ted Cherrett 73 Woodham Park Road, Woodham, Addlestone, Surrey KT15 3TJ July 1997 ISBN 0953103706
FOREWORD This unique and fascinating collection is a result of one man’s dedication and foresight in recognising Django’s eternal genius from the moment he heard the first recordings made by the Quintet in the rnid-30’s.For Reinhardt fans old and new,always hungry for any snippets of information that might help gain insight into the life of the greatest guitarist who ever lived,it represents a goldinine. Some of the authors of these cuttings are curiously naive in their understanding of Django’s music - not surprising when one remembers that the records were considered to be almost avant— garde at the time.Other reports,such as wartime rumours of Djan— go’s death,or outrageous assumptions as to his origins,are simply incorrect.But all of them,especially the eye witness accounts, make for intriguing reading. Ted Cherrett is an exceptionally talented man with many interests who actually saw the Quintet performing in London on three occa— sions.Thankfully for us,he has assembled this wonderful and lasting document of information which would otherwise have been lost forever.I,f or one,salute him. Ian Cruickshank (author of “TheGuitar Style Of Django Reinhardt And The Gypsies” and “Django’sGypsies”) i
Dedicated to my late wife Phyllis,who was 50 tolerant of my collecting mania. ii
INTRODUCTION My introduction to fretted instruments came in 1928 when I was 10 years old. Father played a Zither banjo and taught me to play and to read music. He died when I was 14,in 1932 and I soon lost interest in the banjo. Then a friend of my Mothers gave me a classical guitar. I became interested in the accompaniment to cowboy songs, and picked out the bass note and chords on my guitar. Eddie Lang died in 1 933 . I had never heard of Lang, but a friend who had a large collection of his records played a few to me. His accompaniments interested me and I started buying his records. This was my introduction to jazz. I had read about Django, but was put off buying his records because of the reviews of his recordings. Some said his records were speeded up in the studio and that nobody could play that fast with two fingers, so I didnt bother. Then one day I was in yr local record shop to pick up an Ed Lang record that I had on order and a guy was listening to a record with some amazing guitar playing. “Whoseplaying the guitar” I asked. “Itsthe Tpsy fellow who plays with two fingers,Django Reinhardt” he replied. The record knocked me for six. It was “Stompingat Decca”. I left the Lang item for another week and bought my first Django record. After a few playings, followed by a few more records, I realised that this guitarist was a genius and a perfectionist. His timing was spot on. I knew then that I would have to collect every record that Django made and to keep everything written about him. I saved all this material in a large folder with the idea of sticking them all in a scrapbook when I retire. When I started to assemble the book it was for my own use only, so I had no objections to the fact that I had used many of the small pictures several times. This was done to fill in the blank spaces and so create a balance on eath page. It wasn’t until I had assembled about 50 pages that I realised that other Django collectors would like to have this material. I trust the reader will not have any objections to this duplicating of the photographs. I hope that this compilation will give the reader much pleasure and insight into the life and times of the greatest guitarist the world has known, and one of the great characters of jazz, Django Reinhardt, Ted Cherrett, Woodham, Surrey, Eng. July 1997 iii
REI NHARDT: ?‘ :.. wing and flow of ideas
DJANGO REINHARDT
3 I
4 Swing Guitars stand for a close-up ofthis Paganini of • . _____________ By LAUnIE F1ENszIAv Macaferri. An earnest vocalist, in the mickt of avowing his intention to Swiflg G uitars THE room was heavy with smoke “hop an ocean • • liner to China “,By LAUJuE lIENSLIAW. fumes. . Al)OVC the babble and pressed his white nose even closer to the murrnui of the cosmopohi tan lTliCrOj)hOflC in an heroic attempt to (Conlinucdfrwn lhc August issue.) crowd, hunched in gesticulating, taika— make his pleas heard above the din. CLUSTERED at the gaLes of Paris The liner and lyric stopped in mid countless little caiavaiis, tive bunches over vine-staincd tables, ocean. Grappelly indulgently waved 1Ohi)CS of the, con tciitccl Nomad or shuffling around the diinc-sicd aside the clainouring masses, saying he tribes ‘1io,though itirsibling through— dancing space, throbbed the insistent knev’ even less than they about the new. out the length and bicadtli of 1iance, beat of guitars. Suddenly a cadence recruit but promised that Rcinhardt inevitably came to rest at the same should bC givcii more choruses in the P0 at the same time of year. One ensuing numbers. Dhango solcnmly such caravan housed none other than fleshly—spilt champagne tinglcd the the small intimate Gallic night-spot. agreed to play again. Stayed until the te1nPe1a1nei1t French —born gipy A pale slim violinist had steppcd to the end. Django Rcinhardt who, with brother microphon’e and was pouring forth a It as getting late and near the C’roix Joscp1, wandered as fancy dictated. caressing rhapsody of mellow notcs dU Sztd’s closing time. Still the crowd Although, since that memorable whispering a melodious and rhythmical shoscci little inclination to leave and night at the Croix du Sud, offers had been invitation to dance. A momentary liticldlcd expectantlyaround Grappelly’s for Rcinhardt to join a hush, then swift words of appreciation discovery, demanding more and more resideNt small-piece band in Paris, swept from mouth to mouth. “C’est Reiiihidt’s intricate musical pet- Django preferred his independence; Grappelly “,excitedly e.’claimed a texfls. Waiters began to fidget, fumbled roved the cquntryside playing hi French lad to his companions. Eyes ‘jthicliaiis, impatiently collected batteied guitar as he pleased, but freswitched admiringly to the newly- glasses. At lastStcphane had to stave ofT qucntly rcturnc\d to play with friend liscovered “swing “fiddle genius whose the crowd. The musicians packed their rapjelly at one ofthe myriad Parisian cflbrtlcss fingers conjured such c>- instruments and drifted into the dark night spots where he knew he would qiiisite phrases from his instrument. 1nts streets. Crappclly and Rein— find the best “swing “players. Particularly enthralled ‘asswarthy 1ut’dt l)SlCl their way to the exit bUt A permanent a fixture ofthc caravan little-known ‘guitarist Django Rcin- flot before the former had pledged as the small oil cooking stove was a lmrdt. who, sB ppii ig u Liol)lrusivcl v into l)jango’s early re-appearance. Together portal)le gramophone. Almost con— the Croix du Sud for a glass of wine, they walked into the str1it night. Thus tinflally the turntable revolved, fed by would listen appreciativcl • to the began a musical friendship that cii- stacks of Louis Armstrong recordings torrid improvisations of Stcplian duied until the outbreak of war. and other leading American artists. Grappelly, .i1dI)r acclaimed by Hot The tatyt strings offame were vibra- Oft Django’s own private waxings, Club flkCIfll)CrS as the rival par (‘.vcc’lknce •ting• a synipathetic melody for the pale solo or accomPanied by other guitarists, of famed American 1)IO)1CCI “swing “• mohjst and his swarthy companion. would spin around. Asked how to violinist, Joe Venuti. French Jazz, in its infancy and arrive at sUch mastery ofhis instrument, Intrigued ‘asfiddlist Grappelly 1) skipping hastily along in the footsteps lie rC1)liCd, “listen to the great hot the sight of thà scrious stranger wlic of the giant American—born “swing “,nusicians, then play like them “.sometimes guitar case in hand, would ‘assj)oilsored mainly for its limited 1tt for an accident at the early age nightly edge his way to the same taN admirers by the Hot Club of France, of eighteen, Rcinhardt might have C by the small-piece band, sip his glass of founded in 932. Resident band, •top1ed even Venuti. or Grappelly’s Crappclly thought he voukL mak the oldest and latest tunes under the “commenced a self-taught musical benedictine, dreamily ‘atchand listen dubbed the “Harlemites ““swung “mastery of “swing “fiddle playing. himself kmvn. One night, during a able baton ofcolourcd Freddyjohuson. career Ofl the violin but a serious burn C brief interval, he strolled over to the oichcstia was good, as several r9bbcd him of the use of two fingers of table’s solitary occupant ; lolitely Oriole “records issued in this coun- his vital left hand. Undismayed was introduced himself ; sat down ; beck- try will testify. genius Reinhardt. Discarding hi violin Famous visiting musicians would hie he acqufrcd a second-hand guitar, oned to a passing garçou for more vinc to tlc Hot Club’s Paris headquarters learned to play this difficult instrument and entered into an clociucnt clkciission with his confessed admirer on the merits tO sit iii for a “jun session “.Came a instead. Wht was a mere two-finger of the band. Time was short. Ti tlIflC, however, i i August, 1934, when handicap to such strength of purpose. IC dancer werc cager, ready f01 1flOIC pianist Johnson had to leave France. It ‘aS111 the caravan setting, that music. Grappeliv’s eves roved to the Hot Club’s chiefofTicial, Pierre Nourry Hot Club’s Nourry burst in upon Rein- guitar lying l)CSide RinliarcLt’s chair. left without a I)and to carry on. the haadt and Grappelly enjoying, with a “Sit in and take a chorus “,he invited. stave of swing . Determined to kick few other “swing “musicians, the ‘Djangoaccepted, dragged a chair to the infant French Jazz into long pant 5t1ideflt improvisations of trumpeter thc rostrum, ran his fingeis over the and inatihooci, he sped around to find a Armstrong via the medium ofthe small strings of his well-worn Macaftiri as 01thY successor. No easy task was portable giamophone. The machine the l)and kickccl into the stinins of this. The “Harlemites’ “standard had as switched oil’. Amidst clouds of “evergreen “CVCI-1)Ol)Uhhl “l)inah “.been way above the commercialised ‘‘i1gtobacco smoke Nourry cx- Grappdly l)oWCcL a COLIl)IC of choruses, pie-thirties style of the average Parisian PotlOcted his scheme for an all-string cocked a finger in Reinliaidi’s direction oIclICstla. Nourry stopped rushing ‘s’ig “outfit that would even eclipse to pick it up from there. Sat down. Began to thiik : the lauiC of Plcdcccssol Johnson’s To say that the leading “swing “flrm an ciii iiely (liflercilt “Harlcmites “.The two string virtuosi type 01 COIHI)inatiOn liom the usual listened attentively, were impressed by violinist s’as aiizecl at tlii’ i1cconlcr brass-bound assembly. SometlLint guitarist’s playing ‘mildbe a sad 11 Nourry’s eloquence. Plans under-statement. Crappelly atict every were speedily drawn up. A qUintet was other iflSt2’LlIU(fl(HIiS( in (lic l)ahld thought to be an adequate media to gasped, looked flg11fl, decidccl it could dis•l)lay thc chial talents of fidcUist and not be a dream. The gipsy-like gut guitarist. Suggested to colflj)lCtC the plucker %‘ith thc Iu)Ilchalat)t nil was Pelsolinel W’ClC rhythmical guitar solo guitar they had heard in years but ch)al)ttt, 1)105 iorcnsost “swing bassist not only playing the most astonishing playcrs JoSCj)hI Rciiiiiaidt and Roger Louis “oa. Retiring 1)jango, pressed to Nourry SflA ‘kcdJs hands together. ‘%‘asactually hammering the frets with jumped upand rushed from the room.. two lingers. aCcCi)t lCLCLC1Sl1iP, agreed. ‘1he poitablc was started up. An i1ul)1O1l)LU toast By iiow, “swing “vlciiiciit among vas drunk. 1’o the niusical blessing the restauranteurs ‘ason its’ toes. ])anccrs ‘crcLI I(CI(I1)I)iOhISI y (l I )ove(L aside L5 CLgeL’ )OLIIIg IIICH SWCl)t (0 the ofripling notes C1i5l) as the sparkle of ears of the plcasic seekers thronging unique that would emphasise the rightS ful l)lacC Gahhic Jazz had with its. American counterpart. Reinhardt and Grappclly’s fame had spread. Whyno4 an all-string outfit lcd by one of th& l)rilliant musicians ? That was it ( To be continued) .
5 AND HIS STEPHANE GRAPPELLY H.M.V. of Louis’ golden trumpet in the The quintette was, above all, original. (B.8479) picturesque caravan setting at the Gratifying indeed the complete absence QUINTETTE OF THE HOT CLUB OF Gates of Paris was born The Quintette of any silver-tinselled gallery appeal. FRANCE du Hot Club de France. Rehearsals No vacuous baton wielder grinned “OrientalShuffle.” were soon under way. To an enrap- tootlily, waved his arms orjiggled self- “AfterYou’ve Gone.” tured audience thronging the Salle de consciously. Almost exotic were the In the first title (composed by l’Ecole Normale de Musique the Quin- contrasted lighting effects. Swarthily Rheinhardt and Grappelly) Django tette made its debut. Beaming sponsor hancisome leader Reinhardt gleamed in gets right into the obvious atmosphere Nourry had achieved his ambition. the centre of an unwavering spotlight. from the commencement of the Not only was the outfit a success, it was a riot. Perspiring gendarmes heaved Fiom the stage wings came a warm glow. record . . . truly Oriental . . . and together in a vain attempt to stern the • Soft caressing fingers of light revealed gives us some of the best chord play- surging flood ofautograph seekers, hero the Nordic loveliness ofCarola Merrild. g he has put on record. In “Afterworshippers, who mobbed Reinhardt To the strains ofReinhardt’s graceful technique is as good as ever and You’ve Gone” his fast single-string and Grappelly after the show. Quick composition, “Djangology “,the cur- sufficiently different to be interesting. to hurl a recärd contract before dazed . tains slowly descended. And may I put in a word for the but happy leader Reinhardt was French Eventually, Django became a little rhythm accompaniment? I have often “Ultraphone “Gramophone Company. bored with the insistent demands of wondered how much of the success Wax discs were poured on the market, routine engagements. Longed for his of both Grappelly and Rheinhardt is . absorbed by. the insatiable “swing “Homeland and the intimate atmosphere due to the sympathetic and under- public. . A repeat concert had to be Of back street night spots where he standing “background”provided by arranged. could play as he wished. the other three members of the Early in 1935 the quintette gave a Grappelly was content. Accepted an ‘quintette”. . . I am afraid they’ are recital at the Gala du Disque et de la offer from Arthur Young and his ‘too often taken for granted by the Radio at the Champs-Elysees Theatre. Hatchett’s Swiiigtcttc. His dark corn- listener. In Marchof the same year it achieved panion said farewell, returned with a veritable triumph before an audience bassist Vola, guitarists Joseph and DEGGA of two thousand at the great Salle Pleyel. Pierre to France. The pulsating rhythm ofthe amazing A year passed. The vicissitudes of (F.60’77) French combination swept across the war swept Europe. Paris fell. Many “Avalon.”Channel. Reached British Jazz adhe- were the speculations as to Reinhardt’s “Djangology.”rents at the No. I Rhythm Club tlwough fate. Some said he had escaped to the medium of a few exclusive Oriole America. Others fearfully whispered good things from the guitarist’s point recordings pressed by enterprising that his anti-Nazi opinions had led him of view, but I venture to predict that Levy’s, introducers to this country of to the dreaded Concentration Camp. “Djangology”will be the side of this many leading American and Conti- Eventually the truth became known. disc that the enthusiast will play nental artists. Performers no would The soft strains of Django’s maic guitar otherwise have received little acknow- drifting through the night musically .ledgment outside the boundaries of announced his return to his caravan Grappelly and Rheinhardt have their own homelands. home. Critical Number Oneites were stupe. fled by the brilliance of the unusual string instrumentation. Soloists Rein- hardt, and Grappelly received unani• mous rave notices. Quicklysigned up by 4i4 & . H.M.V., the quintette’s records made a Reinhardt Dead? welcome appearance on the ‘British market under the familiar plum labd. But this was not enough. Insistent were demands for the personal appear- ance, in Lonon, of the quintette. Ar. rangements were made. Before thrilled audiences thronging the Capital’s lead. ing music’ halls played leader Django and his fellow musicians. ‘To appease the inevitable commercial element among listeners, announce• ments and vocals were handled by beau. teous natural blonde Norwegian, Carob Merrild. Eyes strayed, goggled at youn exquisite Miss Merrild, whitc-gownci and ethereal. Disquietingly, the quin. tcttc’s brilliance was almost eclipsed b quite a different allure. Unnerturlxd Rcinhardt, white coated and detached, just played on. Smooth, suave, Grap Beat” report is that in the same article pelly stood smilingly before a separatt it is said that Grappelly is “now in the HOT FOUR “Avalon”is a veritable feast of again and again. It shows that both ideas that, ‘once committed to wax, will always find a place in the history of worthwhile recorded jazz; compar. able only to tlçie ‘Venuti-Langdiscs. “Djangology”mply bristles with originality and ‘is, in my humble opinion, the best performance the quintet have yet given us. DECCA • F.5831. “M o 0 fl Glow.” Stephane Grapelly and His Hot Four, with .Django Rheinhardt. This recording may or may not please you, according to whether you like novelty in yoUr jazz. The introduction makes you wonder whether you had a glass too, much last night, but a few playings brings out a strange beauty which is not at first apparent. Rheinhardt’s first chorus is almost breath-taking in its loveliness, until he starts to play chords and passages in octaves, when he deteriorates to second - rate. Oh, Django, your single-string in slow numbers is so good that south of France “.As every reader of microphone, lured bewitching melodies you need never play chords, so why spoil most of your records in this way? Stephane England for many years, and the in- Grapelly, too, is his usual stylish self, playing a chorus in faultlessly good taste. Al- together, a record the modern guitarist will not fail to buy. THE June i5th issue of the American magazine “Down Beat “, included the startling news that “definite word has arrived in New York confirming the death of Django Reinhardt “.No details were given of how, where or when he died; nor does the paper divulge from where it got its information. Stephane Grappelly states positively that the news can- not be true as he is certain he would have heard such news thrQugh neutral sources. The chief reason why we are inclined to doubt the “Down“B.M.G.”knows, Stephane has been in from his singing violin. Plump bespectacled accuracy of this statement makes us view with suspicion the report of the death of Django Reinhardt. Reinhardt and Pierre Ferret plunked VoL plucked away at his sonorous bass while expressionless Joseph out a solid rhythmic background.
January 22, 1944 THE MELODY MAKER AND RHYTHM 3 All the way from enemy-occupied France comes this interesting and authentic STORY OF DJANGO NEVER has swing enjoyed such PO1)ularity in Occupied France as it does to-day. Swing concerts are even being staged in the Paris equivalent of our Wigmore hail. And the 1(ing of Swing in France to-day is—DJANG 0 REIN1IARDT. These astonishing revelations have reached this office in the form of a cutting from the November 11 issue of the French magazine, “Sept Jours,” forwarded to us by Mr. H. Smith from Gibraltar. Anci here is a translation of their valuable appreciation of this gypsy wizarci of the guitar. The headlines react:— . entrance thiarnination which he could COMPOSER—HE KNOWS NO never pass. And to collect his royal- THEORY. GUITARIST —III ties, before the war, Django had to PLAYS WIT!! TWo 1”INGEIiS. Join the Engish Performing Rights 1-lOT MIJSICIAN—iiE IS (OMPOSING Society, • which is, apparently, less A MASS.. IT’S I)JAN(O curious regarding the musical qualifications REINHARDT—KING OF SWING. of its members than the establishment in the Rue Chaptal. TEVER have swing music and hot It is on his guitai that Django put.s his dreams into reality and indicat& bands enjoyed so much success details of orchestration. Whilst lie Django Reinhardt (right) and his buddy, Stephane Qrappslly. A hitherto as now, at the end of the year Is composing, nineteen-year-old Gerald unpublished picture, loaned to us by Rex Harris, and taketi just before 1943. And never a week goes by Leveque stands by, noting down all the melodic and harmonic finds of the illiterate composer. “Ah! “murmur the sexagenarians Django’s inspirations are not at all and a well-dressed gentleman stepped his left hand was a blackened, useless affected by this lack of technical out of it. The camp gathered round, mess. bitterly, “how far removed we are knowledge, and, apart from swing curious and very much impressed. For a year and a half he lay us numbers, he has just finished a symphony Django, who, with his brother and of his guitar, lying idle and Un- entitled, “Castle Of My one or two other gypsy friends, were playable now. But with a will of __________ Dreams.” But the Quiiitette dO Hot listening to a record of Louis Arm- iron, six nsonths after the accident, Club de France will not be able to strong being played on an old, broken- he began trying to teach his left hand But, incredibly enough, the king of play this symphony. For it calls for down gramophone. to play correctly. this same ‘hot “music, the gtar of 250 musicians! stars, the ace composer, leader and Jean Cocteau,. the famous French guitar while I record some songs? “managed to create a new lingering surrealist l)OOt, is anxious to adapt asked the gentleman. My name is with the index and middle lingers, virtuoso of swing, is none other than a poem to this symphony, and has Jean Säblon.” which were the only two left in use. an authentic tzigane, a Romany, a gypsy of ancient lineage. already sent in th rough draft of road to fame. Other musicians, Jean hired a hall and gathered together an opera about Romany life, of which Trenchant, Michel Warlop, asked him all their friends and relations. In he will write the book and Django the to record for them. But he would front of an audience of a hundred, music. As a virtuoso Django is probably RELIGIOUS ROMANY Romany foik are very religious: come and pull him out of bed and put he found himself playing better than But they have no Mass of their own. le.Toit, to be sure of getting him, had and his success. He travelled to Engto Tow Django plans to give them one. As a composer (and his numbers He is at the moment composing one, are a sensation £hroughout the world) and will thus earn more than ever he has an ,even stranger peculiarity. the admiration of these wandering Soon Django was •to be heard play- fame because assured. tribes, amongst whom he is already tug at the best Parisian night clubs. On fifteen occasions he attended regarded as one of the immortals Swiftly his reputation grew. And he _____________ night school. And he can neither among musicians. If one should meet anywhere In overtook him. a gypsy like himself, a distant relation. Prance a gypsy playing the guitar, And this successful composer could ten to one he’ll tell you: I’m one of riot be admitted to the Socitté des Djaiigo’s cousins.” More often than Auteurs. There is, in fact, an not it is quite true. Eugene Vees, who is a member of the present quintette, is first cousin to Django. he paused to admire a huge bouquet Rumour has it, too, that Django is of artificial flowers that he intended nimseif a Prince among the gypsies, carrying to the cemetery next day, but he emphatically denies it. “My tribe,” he explains, “hasn’t the day of All Souls. They looked had a King for over one hundred and beautiful in the candle-lit caravan. i fifty years. So how on earth could candle was upset. It fell upon the it have a Prince? “He doesn’t know exactly where he bouquet. The celluloid flowers flared was born. He came into this world up. He tried desperately to put out in a caravan, on one of the highways the flames with his bare hands, hut of Belgium. His mother was an the fire gained on him and the caravan acrobat, from a family of acrobats, asphyxiated by the fumes, surrounded and his father a nsusician in a family by flame, miraculously he managed to 1 where everyone played a stringed get out of the blazing room. But the ln’trunsent. tie was just four when the last war bi oke out, and his parents were obliged to immobilise their caravan iust outside Paris. And so lie became a Parisian. He was nine wiseis his mother bought hini his first guitar, and he had soon taught himself to play it. One day, Guerino, the famous , accordionist, l)aSSed through the gypsy encampilient, and noticed this Child, sitting on the caravan steps, ‘iying his guitar. He took him away \.iLii I-urn to teach him to play pro- , perly, and for the fir.st time in his keinhardt . ‘life Django knew what it was to sleep in a bed, wear good clothes, and lead a regular antI conventional life. I But his gypsy blood could not stand the strain. For six months . Guerino tried vainly to instil the right instincts into Django’s head. Then the boy ran away back to the camp, to run wild with his old playmates. But when he was twelve, Guerino, who had not lost interest in him, got iim a job at Bouscatel’s, a dance-hall in the Rue de Lappe. And then, shortly after this, a beautiful car drove up to the Reinhardt’s caravan, the war. The elegant gentleman al)I)rOached hospital, at first thinking despairingly “Would you accompany me on your By the time he left hosoital he had It was the first step on Django’s To celebrate his return, his parents only play when he felt like it, and Django took up his guitar and began often enough Jean Sablon had to to play. And, astonishingly enough. his shoes on for him. ever he had before the accident. Andre Ekeyan, from the Bnuf-sur- He soon regained his engagements come and collect him from the land and appeared at the Moncaravan every night. seigneur in London, and then his was still only seventeen. At the age of twenty he chose a And then, all of a sudden, disaster mate: a girl by the name of Naguine. He carried her off in the gypsy tradition, and when they returned a fortnight later faced his parents with her, and the lovers were considered One night, causing back from work, man and wife. (Three months ago he carried her off again. But this time to take her to a village in Loir-et-Chel’, where the mayor married them properly. When in 1934 the Hot Club decided to form a band of entirely novel composition And ‘then—a false move, and the with which to do credit to French jazz, they sent for Django and his friend, Stephane Grappelly. Joseph Reinhardt, Django’s brother, Roger Chaput, and Louis Vol’a made soon caught alight. Half up the complement of this band, entirely composed of strings. Soon the Qtiintette ‘teasrecording., (Please turn to page7 without the Salle Pleyel itself I Paris equivalent of London’s Wigmore Hall I announcing recitals of swing music. from the days of the lilting caresses of the tzigane music we used to love! ‘ILLITERATE He is catted Django Reinharçlt, and radio and records have popularised his rather difilcult name. the best guitarist in the world) he has a sjrange peculiarity. As a result of an accident, only the index and middle finger of his left hand function normally. He knows no theory whatsoever. read nor write. . DISASTER! whole of his left side was burned and
7 “TheMelody Maker,” Week ending August 22, 1942. R i N HARDT DEAT H MYSTERY New York Report Unconfirmed PR’?JIN “DOWN BEAT,” TIlE ChICAGO MUSICIANS’ FOIITNIGIITLY JOURNAL, IS THE BALD STATEMENT ThAT DJANGO REIN- IIARDT, TIlE GREAT GUiTARIST, hAS DiED iN YRANCE. No details are givesi of how, where and when lie (lied ; nor does the paper say where it got its iis(oriuatiOii from, afl(l the Melody 1Iaker “has heesi i’iinnhiig round in circles to check Uj) on this (Ireadtui news. The sum total of our investigations s that news is incorrect. Django’s side-kick, Steph ______________________________________________ Grappelly states posItively that it Is not true, —.- —-- he Is certain that he would have heard such news EVERY THURSDAY Vol. XVIII No. 474 through neutral sources, and one of our readers has written in to say that he has heard Django . - playing guitar with a little corn- THE MELODY MAKER ANL RFLHM According to this rder Django : d. • bination from Poste Parisien . (312 rn). . “SONNYJIM” REINHARDT - ——-------.-- —- -—-— plays regularly with this small. —--- bunch every Friday 110.40 to 11 p.m.), but we have listened for two Fridays and heard a swing quintet led by clarinet. There was no &olo guitar work. and the rhythmic section play- ing of the guitar was far removed w AS BO RN 1 N BRO 0 KLY” ‘artistry of the great Django. from anything approaching the II m INACCURACY , But the chief reason why we do not —Amazingu.S. Allegations believe the report of Django’s death is that, in the same article, Down Beat “mentioned that Stephane rHE AMERICAN MUSICIANS’ PAPER, DOWN BEAT,” HAS ONCE Grappelly is now in the South of . I AGAIN MADE SENSATIONAL HEADLINES OF FAMOUS FRENCH France.” As Stephane has been in GUITARIST, DJANGO REINHARDT! A COUPLE OF YEARS AGO IT England for many years, . the inac WILL BE RECALLED, THAT PAPER ANNOUNCED THAT DJANGO WAS curacy of this statement leads us to DEAD, THE “MELODY MAKER “PROMPTLY DENIED IT AND, OF view with suspicion the statement re COURSE, WE WERE RIGHT. —. garding his partner. Now an evezi more extraordinary that Django’s real name was “Sonn But If an readers have heard y Django playing over the radio, or have tale has reached the “Down Beat “Jim “was answered by Stephane any clues that might help us in solvfront page. with equal Iorcefulness. This alleges that Django is in “How absurd,” he said, “Now I’ll ing this mystery, would they please let us know? reality Brooklynborn, and that his tell you exactly what his name was. —---- ---——— . real name is “Sonny Jim “IOn his papers It was written ‘Jean These odd allegations were Reinhardt.’ ‘Jean ‘is his correct PIRIS. FORM apparently made by Captain Pierre de name anti ‘Django ‘is just a familiar Caillaux, whom “Dpwn Beat “de- gypsy expression for the same name,” scribes as “one of France’s leading About the date of birth, Stephane pre-war Impresarios.” was equally definite. It was 1910, NEARLY KILLED De Cahllaux—who will be well-rcnwmbered in the West End of London as a II’ lissisLid. And, further to the leader before the war—claims to have other points in the story, Slephane been worktng on a plan, back in 1937, said he remembered where he was DJANGO REINHARDT to take ace-drummer Gene Krupa playing in 1937 and could recall nothover to Paris to front a band built ing of Krupa’s projected visit. “I around Relnhardt and the Hot Club think Gene Krupa will be the most Quintet. surprised man to read that,” he suggested. Latest News Of Great Stephane Grappelly and his violin _______________________________ are at present an extremely successful feature of Jack Hylton’s new revue, French Guitarist ,, Laugh, Town, Laugh,” which Is In the course of certain legal pro- playing at the Stoll Theatre, London, ceedings, De Caillaux alleges, birth and he, of course, leads his own band THERE is great news this week nightly at the exclusive Bates’ Club, celebrated French guitarist Django for all British friends of the Park Lane, W. Reinhardt, and for his hundreds of Django’s revealed that he had been tans in this country. _c5:) january22,1944 jward in the “Stars In Battledress” I gives 1903 as the year the great Bob Brown, vocalist with Syd Mill. ___________________________________ Company, has been to Paris and has certificate, but “Down Beat’s “editor met Reinlsardt, spent many hours with him, and séard him play. Accompanying Bob Brown on this epic reunion were Reg Arnold (trumpet) and Tommy Welsh (tenor). Django who is in good health and Is now the father of a three-months- old baby, spoke fondly of his friends here —including George Chisholm, Tommy McQuater, the “MM.” staff, etc., and sent special regards to his old buddy Stephane Grappelly. Confirming the recent exclusive story in the MELoDY MAKER, Django said he would be coining to London In about a month’s time to play to the Allied troops here. LONDON VISIT SOON It appears that, despite all reports to the contrary, Django has been in Paris throughout the we war years. He tried to escape to Switzerland, but was refused admission. Nor was that all, for he was caught by the Germans and searched. On his person they found his certificate of FNTHUSIASTS who visit the the British Performing Right Society, and were about to shoot him as an English spy, when he managetl, . with great difficulty, to explain who lie was and how such an appai’ently incriminating document came to be in his possession. Throughout the war Django has consisteistly i’efused to play for the Gernsans. despite their ‘temptingoffers of as much as £350 in francs per day I All of which seems to cast the’ his name famous throughout the I gravest doubts on the authenticity of > > for his services. Taking the English musicians on a tour round some of the Paris clubs, Django astonished them by taking some marvellous choruses at One l)lace —onfiddle! Montmartre’s King of Jazz, Rein- hardt had his own club, ‘Chcz D)ango.” for a time there, and has lust opened UI) again at the famous Bal Tabarin with an outfit containing five brass, four rhythm, clarinet, an tenor (doubling baritoite) supporting his own good-as-ever solos. _____ h/I- NEN FACES GRAPPELLY-R[INARDT HOT CLUB ACT Wood Green Empire this week to savoui’ the fantastic guital’ technique of Djaisgo Rein- hardt and the pleasing fiddle- playing of Stephane Grappelly will find completely new faces making UI) the rest of the “Hot Club de Fiance “Quintet. Guitarists Joseph R e I ii Ii a r d iDjango’s brother) and Aiiguste Fir- ret ( Ojaisgos cousin , wills Fri’ncli l)aSSiSt Emanuel Souditux have isow rcti rlSv(I to l”ra iti’. ‘rue“w(’lconic “which they cc- (‘(lV(d sri hair arrival litre when as exclusively reported in the ‘MM.”! litieves stole all their clothes and personal helongliigs, wss more than tiny could stand, antI they have de— cidccl to go back to Paris. Supporting Di ango a 1111 Stepha ic instead are two giiltailsts and a bassist who arc cxtrcisicly well knowis in the West End. ‘rheyarc Alan Mmdc!, Malcolm Mit- dccii aisd ‘lcddyWaclmoz’e.;1] Maker ii INCORPORATIN6 . “RHYTHIII’;0]D J A N C 0 REINHARDT: I’ DjangO In Rome 1949-50W’ Parophone PCS fl46). Parlophone’s new collecLion of Reinhardt rarities ;houl.d delight every uita,ist and fan of Django’s unique style. They were recorded with Grappelli and three Italian musicIans in ‘49, end with (his own quintet the folowing year, and few of them have appeared any- where before. Maybe they don’t match his classic performances from the ihirties, but from first to last Django was a brilliant virtuoso whose playing continues to astonish. Django Reinhardt has just sent (is this new picture 01 himself, through Bob Brown, of the ,, Stars in Battledress.” Translation of the writing on it is: “Greetings to Ray Sonin. Looking forward to seeing all my friends when I come to London soon to entertain the troops 01 the Allies.” CRAPPELLY’S STATEMENT certificates were produced, and born in Brooklyn, New York. The Impresario regretted that he couldn’t remember the date on the I guitarist was born. To conclude the I revealed that plans were under way . REINHARDT I story, the U.S. dance band iragazine to feature Reinhardt in the States, where his affairs would be in the (from page 3) hands of the William Morris Agency. For lsis first records Django got three Upon reading this amazing re-port, hundred francs. He ruslsed out to a the MELODY MAKEs lost sio time in hat shop and changed his cap for a contacting Stephane Grapselly—Reln- . sesutifu1 white, soft hat, and had hardt’s ex-pariner—who could be re- just about enough left over to buy lied upon to know more about the liniseif a ineall matter than anyone else in this Guittr in lsand, he toured Europe country. with the Quintette, never bothering We asked Stephane where Django hinsself with luggage, throwing away was born, and without more than a his shirt when it was soiled and buy- second’s hesitation he replie(l :—— ing himself another (this was in pee- ,, Django was born at Lambrachie, war days, of course!) But nowadays on the borders of France and lie tours otily in France, though for Belgium. It was January, 10101 “over a year he has not left Paris, After we had shown him the rarely venturing beyond the neigh- ,‘ Down Beat “story, Stephane was bourhood of his hotel, which Is just more than willing to enlarge on his next door to the Hot Club. remark. I And he ia-awaiting the end of the ‘,I can remember the particulars war so as to take up the threads of well,” he said, “because I lookvJ . his old life of six months’ work and after business affairs when the Quin- six months’ wandering with Naguine tet travelled—as it did—all over in his inotoicarilvan. Europe, almost, at one time and That is the life for Djangowho another, I often saw Django’s psss- loves music, hunting, . fishing, big port and other papers. I recall h!s light-coloured hats and hectic scarves: I birthplace well. Besidts, I met lxiv the lazy, care-free life essential to family,” Stephane added, with him if he is to be able properly to I assurance. compose the works that have made world. I Mr. de Caills.ux’s story. As for tie question of names: tlxe latter’s claim ,j VERY useful follow-up to this —11 article is U? excellesilly prolucid bpoklet, ‘Dja000 .f(e’zuhtardt Diseogral)li!I,” which has jusf been pz!)lisILed by Clifford Essex. Ltd. Cosliuq 2s. Ott., anti well :lluStrciled, ii gives all the details OU ccitt veer walit to knew about Dju000’S recorded svork, iucludifl9 persOflflelS. matrix and label 7iU?fl- bees, factual details, etc. We cordially recos,iiIieiid it. -
gus1 24 1940 1,HE MELODY MAKER AND RHYTHM I’ DARK ANGEL OF THE APPRECIATION OF EDDIE SOUTH :• by James Holloway. IONCE got sevërey pulled up for saying that Eddie South was about the • only outstanding ‘a))arlfrom a superb. technique, were coloured violinist. As a result I .lis iich and very characteristic tone learned of many other Negro and the beautiful melodic nature of fiddlers who, If less well known, were, so It appeared, ‘equallyskilful. a definite tzigane quality and this is But my coirespondent was the undoubtedly an influence of hi days first to agree ‘thatnone of them— of study’ in Budapest. A conscic .s Juice Wilson, “Shrimp”Jones, acknowledgment s his composition Darnell Howard nd the rest—ha1 Black. Gipsy, recorded in Holland for ever achieved the note of thè Brunswick in 1938. “DarkAngel of the Violin” and that he even now, despite his reputation melodic “andpolished ‘natureof hi. In the States, Is probably still playing :j,’j sharp contrast to the ranked below Venuti in popular coatser tylç of, say, Stuff Smith. estimation. - . LONDON VISIT . I was reminded of Eddie the other ,,‘jwhen I came across the “MM.”Be Good, I Can’t Believe That You ‘R ‘uly,1930. Ten years ago. The 171 Love With Me and Somebody Loves• ay of American jazzmen in Me—all French SWING issues. •...ondon. “MeinKampf” and swing Oth(I tWO of which are Stephane music still unheard of. . . “Colouredoutfit at the Anglais” ran G1-ai)pe1ly and Michel Warlop. Three the caption and below were details of more contrasted styles would be difilcult the coming to Leicester Square of of a disc. ‘ldleSouth and his Alabamians. The ,viter, like most of us in those days, style of Wailop-—dfinitcly the weakest was still under th spell of Venuti and Lan, which is why. doubtless, we icad of thth1ee:.hcn tl€.cas3’. self-confid that ‘“someof Eddies best choruses it tones of Grappclly .tnd lastly the (ollow the real VeñuU tradition.” for all the pleasure I got plying around the theme lCIe.I?Ut a hoe’ Blue Four records in the., serenity vhich somehow also has fl caily thirties, I must ccnfcn that rowful, to misquote another lovely nothing ever waxed by the bur)y 3cc composition.’ then or since has ever cjua’llcd ihc jazz recorded by South when he ic- South has no superior to-day In the turned to Einrope two or three years realm of out-and-out hot improvisation. ago. Paris must have an atmcsphcrc con- genial to “lehot,” for otherwise how SWING; at Sweet Georçjia Brown and explain that the tncst d\scs to tht ot such as Dicky Wells, Bill Coh’ma and Ecdie°South have been made thcrc and not In America? Eddie was . no strangc’x ‘bet-c. Prior to his London sojourn in 1930 he and one of the most grandly exciting and his quartet had wandered all over fast tempo blues you could wish for. Europe playing in Vienna, Barcelona, If evet musicians were in the g-oove, Venice, Budapest and Paris during a these fiddlers t.wo ate here. I forget three-year tour which culminated at how many tinies’th’ey ring the changes the Café Anglais.Back in the States he took up once slightest hint of repetition. again the threads of a professional career which. had’ stat-ted in Chicago 1-.M.M. to issue; ‘itsstring swing at its as far back as 1920. He made several records for Victor—none of them par- bniHitti’it best.. ‘ticulanly good—and commenced to ai•e really just as outstanding, and the build up a re.putat:on for himself. ‘PARIS SIARDOM Rudy Vallee and Paul Whiteman feat’red him as guest sar over the radio. Hi playing is said to have gained ‘the • admiration of Rubino, but as far as the fans were concerned. Eddie South remained a name only. , It was a contract to play at the “Club des Oiseaux “In the Pat-is Ex- position which brought hm back to Europe in 1937, ‘and it was there I heard him for the first time. I came away from the snooty resort in the Pavilion d’Elegance wondering how many of the elegant idlers trailing across the t’oor bad apprectated fully the brilliance ot an accomplished musician. The things that struck me most, _ ‘There ate times when his tone has South is first and foremost a mitsician anci - that is why , perhaps ti . This melodic inspiration and the warmth and feeling in’ his music are very notable Iii SUCh iccords as Lady The first title Is by a violin trio, the to imagine, especially on one side First, the iather wild and quavering nostalgic charm of South No hectic air of the blues about It—sweetly sor. Pure musicianship apart, Eddie If you doubt my word try and hear Fiddle Blues or DinaJ Qfl Eddie’s Blues which H.M.V. have released. , STRING SWING Fiddle Blues is a duet with Grappdlly on the eternal theme, but never once does inspiration flag, never is there the Here is a side I do enincstly request But all the other numbers mentioned only reason I can conceive why they’ve flot been l)ut out here Is that in the inodein jitteibugs swing world the violin has no 1)10cc. Which is a pity. Its time a little music and character returned to enrich the arid scores of to-day’s jazz. The Dark Angel of the Violin” suplies both. VIOLIN” SOUTH, LI)I)IE : C., violinist; b. ‘Louisiana, 1904. Started on violin at ten; first pro. job at Sunset Café; Chicago. . With Charlie Elgar’ at Dreamland Ballroom, 1921 ; continued studying with classical teaciters, but spent six years with Jimmy Wade’s 3 and. then n pit band with Erskinie rate;.formed his own small group at ‘Club Alabam, Chicago, took It to Europe 1927-31, playing at London’s Cafe Anglais and noted • Continental spots, also studying in Paris and Budapest. sack in Statcs, guest starred with Rudy Vallee, toured in concertS and ‘club work; back to Europe In 1937 play- lag Club des Oiseaux at Parin-’ Exposit’ion, and recording a few solos with Djarigo Reinhardt and . duets with Stphanc Grappell on French Swing )abcl. - Worked in Holland 1938, returned to States; recorded album of classical and light. standard solos for Columbia, 1940. Opened at Café Society Uptown, N.Y., Octol*r, 1940. . An outstanding niucton techatcally. . unequal]ecl in his combination cf both classical •tind jazz a1’nt oct th(- colin. . . ‘.‘, EDDIE SOUTH
- . . -“ tt : PT r rV -, .--,. . :i: .:6:’ - , .J,’4 . p’ ‘h.’‘. .7W, .‘t . ,n , : , 9 ,0
AND RHYTHM rebruary 9, 1946 Reinhardt records in London. (See full caption at loot of col. The biggest event of 1946 for at English enthusiasts so far is the Iong.awaited visit ti thi country of the great French guitarist, Django ‘cinhardt.Before he had been here many clays, Djac. witt his old Hot Club do France colleague Steinane’ Grappelly, was whisked off to the recording studios. These “MM” photographs show (top) Djaigo and StephanA making some special recordings for Farlophone (unfortunately, for distribution in France; not, apparentlj. over here). In the combo of jivesters assembled for this session were, besides the two principals, famous bass stylist Coleridge Goode; with leading London plectrists Alan Hodgkiss and Jack Llewellyn, the last, unfortunately, hidden behind Stephane in this action picture of the actual recording taking place. And now, as you’ve all wondered how the great man looks, what sort of guitar he plays, how he holds it, and all the rest, here is the answer to all such questions—in this snapshot (lower picture) of Django, hurriedly posed in the studios when the recording session ended. LES PAUL MEETS MRS. REINHARDT .___z___ *t i’7’h ‘VeIscar that Django Rcinhardt is safe in Paris and is playing at. Maxim’s. This is the first news we have received of the French guitar wizard since the capitulatiun of France. BURGLARS GREET DJANGO ON L ONDON ARRI VA! etc—and thoo’cf d IT was not- only fans who headache trying to borrow dress greeted Djaisgo Reinhardt clothes to appear on the itlonday and Stephari e Grappellv when tlsey arrived in London over the at Hackney. week-end for their Variety tour ‘iThemattes is, of course, in the hands of the l)ollce, and mean- while, we can hardly feel proud which started at Hacicisey Empire of this unpleasant welcome afforded to our distin . uished ‘l’hey V(i’P a I s i giec ((‘(1—i ii a French colleagues on their arrival over here. lHui’glii’s, liii’ (411 SIL1)(ltL3 light till DAZZLING TECHNIQUE a ii l Ii is l)tisjs( , u cii’ sl (ii e fl fi’oiii And • now for the show. If all the guitarists La England are not flock- These eases contained all their to Hackney Empire after Monday night’s sisow. it is surprisilig, for the great Django certainv Outs over a dazzling display of instrumental teclini uc. With his fldctle-stvlist partner Stephane Grappelly. he appears—says the bi11in—wtth The Hot Club dv France Quintet.’’ Actually, however. this dLscrI;)tlon calculated to cad onc nunsericallv astra v . since t1 COnLl)lete otitfit comprises Steph or and Django—in toe S1)OtiiCht all thy time—-with the ci-krou1scl Support of two guitars and string bass. Musicians who flock to hear the In- imitable D.janeo perforniing miracles of single—strine imrovisaton and producing chords of the most satisfy ins talties ‘jotli really niracii Ions when one considers the treinend005 limitations of hjs crippled left hand ) may star not only to applaud. but to narvtl at the markcdl incom— nerciai aspect of the whole affair. Ottcrinz a technical —asquIte epara te and distinct frcss an ultra— nodrn or in as’.’ sac reboppish---— treat to stSicians. tie act con- c.cles virtually nothing to tie la pubIc either in tie nsatter of J)O) flLIlubers. )V the iitroclctioii of the conventions i coca I Ic rn, tract i t onal ii a stage show. or by any of the enersllv recoanheci pieces of slown anship and stagecaft The act tands ot falls, in fact, on Diango’. incredibly guitarislics, and Steph a ne’s pl’asa n t )erson a I i t c a nfl 1fflblC V olin—placing. Those who see it will be longing for tie ‘cryfirst O)POI’ttLflitv of nea ring the French stylists in ti-c sort’ in tinsate atmosphere of London’s jazz circles. on Monday (15th). (‘L’3’ (1 i Ieee ii t seii s(—l)y soi ii 4 1 lie t ‘iiiiks anil ‘asislnl()iigiiig to [)Ja ligo. 14 i gti I I a i’i%t C()Ii i ii. tlieji’ hotel. personal belongings-—suits, shirts, ..EINHA..DT: influence /“f f-/ ‘)‘- /VC ‘‘C A Ifei tlcarcft ad nicer ie’ ts ti e ‘idoiv t ‘idSOil uJ Lice qnaf Django. Sayinq (cello to Mudue Rtnliarclt ( 1.) aizct son Babul arg Lea Paul (liii Mar-u 101(1 The Aizeriean duo were ut Paris dii rotc, a liolidciij toil r (set’ ,etc)rj OiL bacic Va(Je).
•1cf4_i jti1 meets Django ‘ansreport from HENRY KAHN “1HEN Django came to New York he had to look all over town for me. Now I am In Paris, I’m looking all over town for Mm.” And the arnazing thing was that Lea Paul, who came to Paris br little more than 24 hours. actually bound Django. When Les and Mary asked me where they could locate him, shook a doubtful head. Django is one of those personalities who roam. Django might be anywhere, time. Since neither Les nor Mary speaks a word of French, the problem was a big one. Since Django might have been anywhere between France and Southern Italy, the problem grew bigger. They started doing the night ClUbS. Every musician who could speal English was buttonholed. They were given a hundred directions—most of which were wrong. Finally, they caught up with someone who said he knew Ujango’s cousin. The other Reinhardt was also a guitar player: he was tracked down at The Romance. He sure played guitar,” said Les, “and took a turn myself. But most mnort nt of all he had IJjangos ‘phonenumber.” I knew It could not be as simple as that. Django has many things —butI was certain that a telephone was not one of them. I was right. The number belonged to a café near where Django lives at Fonta1nebletu, some 40 miles out of Paris. But they got him. The great man tore himself away from his fishing and came to Paris two hours before Les left. They hugged each other at the air terminal. Great French uitar• 1st Django Reinhardt —seenhere sitting be. tween bassist Len Harrison (lelt) and tenorist Harry . Rob. bins—was revisiting an old friend when he went to see Len at the “Down Beat” C3ub last Sunday.. Django played with Len in Benny Carter’s Band in Holland in 1937. N’m .1 5, 1 947 . THE GRAPPELLY-REINHARDT FRENCH HOT CLUB LiNK-UP j’OR TIlE FIRST T1llE IN EIGhT YEARS I)J.NGO RElNII.RD1 .L AN1) STII’IlANE (fiRAPPELLY ARE TO I’IAY TO(ETIIER I TIII Ilof (.‘LliH 1W PARIS’S ORiGINAl. QU1N’IE’I’. TIlil QIENTEr (()i1l’Itlq ‘I’IIHEF.:6IJLTARS, INCLUl)lN 1LEIN1liICJ)1’ SOI), Bs, AND A ViOLIN. —--——_______ Charles Delaunay fixed up the Concert during a recent visit to Paris by Grappelly. The concert, which will be given on November 16, will include many preWar lavourites which the quintet used to play, such as Dinah,’ “Swing ‘39,”and Minor Swing.” The second half of the programme Will include a series of new corn- Positions by Reinhardt (writes Henry Kahn, our Paris correspondent)• The Hot Club has organised two thf r (OflC( rts. Thc second will featore .k,]fl)C Bareflj. This concert will b, filled with azz. classics including The St. Louis Blues ‘and Some of These Da’s.” The uinal concert will be for amateur bands. This is gene- tally a great occasion for bandleaders looking out icr new talent. 11 REINHARDI-GRAPPELL Y AND FRENCH 1101 -ELUB GROUP . FOR - ENGLISH TOUR (RE.%TXEIVS I’OIt SWING FANS IN CENEgAI ANt) Tiii iiosr 01” ( lt.l’1’LLLy_itg1N1I,1ti)I FANS iN PAirI’Ic(I,i Is ‘lIIArSI’I’li’IGANI .%Xfl I)JAN(0, ILUS TIIl OlfE(1N.ii. 1101’ •(‘LuB I)l FRAN(I QUIXTLT, ARE SilOIflLy TO HE lEATUItEI) iN VAHIETY . iN iMAL%XJ). Due to the enterprise of West End agents Lew and Leslie Grade, the Quintet is scheduled to visit London next March, and, as present arrangemen stand, will open at Wood Green Empire on Maceli 29, with a long Variety tour over here to follow. This opening by the Hot lub enthusiasts the Hot Club Quintet’s principals, will Indeed be a red-. those who look forward to their highly Quintet, with Its two celebrated apl)earance will be greeted both by etter night In London since they original style of presentation, and also by those who are eager to see what have not been heard all together effect the rapidly changing current over here since the concert pro- trends in rhythmic music will have moted by the MELODY MAKER In had on the style of an outnt whieh 1933, although Stephane has, of was once considered one of the world’s . Course, worked in London (in leading exponents in Its particular restaurants, and on films, stage, class. . and radio) for several years: The Hot Club Quintet. with GrapWhilst the great Diango Reinharcj pelly and Reinhardt, are opening on ‘alda fleeting visit to London Jaisiary 23 at the A.B.C. Theatre in Paris. If their colurnltnseists on the shortly after the end of the war. Continent allow, they may make their Always leaders in style. and come- English visit even sooner than antici. thing of a liO1is@hold worcj among pated. ft We rea1lg,i must go back—j. look! Here are tile tickets ‘says Les Django (left) at the aLrpor LI f .. : • :• I
The arrival i,i England of Diango Reinhart and Stephane Grappelly this week-end to open on Monday in Variety here ends particular nterest to this group taken at Nice. H shows (I. to r.): Ojango Jack Teagarcien Stephane and Earl Hines. / On the night of his arrival from France, Django Reinharcft (right) drank a toast with his old Hoi Club tie France “crony, Stephane Grappelly, pledging success to Django’s English visit. The great French plectrist, however, had a serious setback when a sudden operation became necessary—but, happily, the latest news from the hospital is that Django is mending fast- /‘i1 - ANY time the United States . imports foreign jazz talent t is news indeed. When such an )rchestra as Duke Ellington’s toes to the lengths of securing a featured guitarist from Europe, the occurrence must be looked upon as a milestone in jazz his- tory ! And, more than that, it must he seen as a fitting tribute to the greatness of . the musician n question—France’s guitar virbuoso, Django Reinhardt. CHILD PRODIGY Django has long been admired Cv musicians and enthusiasts alike, both for his solid rhythmic work and isis inspired solos. He is the on Euro- pean jazzman whose name ranks as high in the States as it does in his home country: the only oise to isave given America a new instrunsental style as influential as anything cle all cincis of dance music in the csfds well known. Accounts of his actiyi— veloped in the fatherland of jazz. Django Reinhardt, it will readily and1 night clubs of Paris. It is an old ties dtiring all d after the war have be conceded, is a unique figure. A story that ise used to listen to records appeared in this uaper, culminating gypsy of ancient lineage, possessing by Louis Arnsstrong and others of in the recent reports of his totur of none of the advantages of conventional the great ilaisil’s of .1i1’/’Z. Iii that way Switzerland oil eresent visit to the education, either in nsusical he got his liking for tlse music; by theory or the three ‘‘Rs.’ it a studying i hose records lie gained his amazing that he should have come to knoavledge of .ti5ZZ l)lsrasing. master the art of jazz playing and aviti iccoinpil lying J(’s Ii Sablois. superb cx— additional fame as composer and l)OliCnt of tlse st reaznlined love—song. 1:1st of this series 01 one—nighaters arranger. Handicapped by loss of on SOulS of his records. Soon, otter wisicha ha is Ii 11 ill 1 cad l)een l)l:lyini the use of two fingers of his left flluSiCiilns were enspisying hins . Tie isli over Sal teerland avithi con— hand, it is little short of fantastic that he should now be acknoavledged as the supreme guitar virtuoso, as tion when the accident hapj)efled far as jazz is concerned. Django was born in a caravan some- only the middle and index fingers of strained for s while, but warmed uo avhere on the F’ranco-Belgisn border, his sefI hand. tnt his family nade Paris their house while he was still a child. Raised among people of musical tempera- ment, his musical interests were awakened at an early age. Presented a new techniqtie, with results which it withsout straining. Some of isis with a guitar by his mother when he was nine. Django took to the insti’iiment “like a duck takes to water.” hilsps because of his unconventional still the linest guit:srist in jazz. When he left home his guitar went fingering he plays runs that excite Vilhiers sax and cli . ) , Eddy Bernard with him, and Django learned to nlav the most accomplished guitarists. Be- It is saul his real sti rt cause froni was b(’giiinlng to (‘sLal)lisls a retiut a sl)lcuous success, and spoke to isiuss which Put hun in bed for a year cud after tile show. 5 iii If siad left bins wills the use of NEW TECHNIQUE After that, Django started to mould subtleties wei’e lost as a result, but are known to every jazz-lover. Per- he showed convincingly that tie is cause of this unusual technique and (p150. ) , Alix Bret (b:lsst , Pierre Brun because his niusical background (drunss) and l-).iango-played well, cutTers so profoundly from those of but I could not hsell) feeling that they tlse nsajsr American guitar players, were not quite lIT) tO the standard of his style is tar removed Irons any thse original quintet. And, personally, that preceded it. He is one of the great personalities to blend so well with Django’s guitar. of Jil?.C. respected by guitarists he was very diSlsld)oiflteth it list being the ‘vorldIser, lauded by the nsany . coloured •jazZnien who played with allowed to Play to his isuisny fans in alias in Paris. Violinist Eddie Booths England when he visited tlsis country gave expression to this esteem in which recently. He also had naticha to say hteiishardt is held when he said: about his l)lltflS n the States. ,, Django is one of those mtusicians time to hear Di:cngo Reinhardt to avlsoin ave find cushy once in a cen— person. It is safe to l)redict that tury ‘‘1’I fl I t)34, when tlse Reinlsardt— they will n()t he cliS:tph)Oin til willis I Gr:c :lssO(’i:ltlon began at. tlue Hot Dii ke ElI ii gh,on PtC55Ii ts Euroec’’a Club of l’rlsnc’c’, Django’s history is greatest jazzunan. STILL THE FINEST I bra rd Dj:crco it the .htasle concert, ‘theaudience at Basle was re— more and more with each number PlaCed. Dl ango used an electric guitar the whole tune, feeling thst it was easier for the audience to appreciate his performance when they could hear The quintet—comprising Michel de I missed the swing violin which used Django told rue afterwards that The Americans Isaac scat Led a 1 EAI:tT..,Y 1111 ,a’///. 1 )‘(l S. & certalhlle I lIt’ ‘lh” ( dluSt have been .S:t(d(’lhi’t by he (teatit of Dangu. Evell 1lOS( \1Co cared jjttli’ I el Ihe :lCvthhn sections ifl which he )lavecI have a soft spot br hls ;dlO passages: anti in lac, lespite’ hiS thhhOhtl)(1(lX fll(tllUdS, le could swing V(l’ Ccli— ;ldes’ably. Without doubt, Reinhardt was ne of the nio.st original ja’iz ).ayels Etui’ope his 1)011 tl((’d . his lehiOWli tOOlS spu’ead to America vith thie rnusic:aiis ictsu:itng LiOns Europe, and we lellielflt)er l I kinds of P’1’ 1 ii I ulilijhl— heIsts that were paid him by Barney Bigard, Hex Stewart, Bihi Coleman and other travehe a. Mah’y Lou \Vilhiam5 tells us che worked with Djaiìgo in Cale c Society Uptown, “laclithe Cafe’s I Behl’ney Josephsoii biough I she : great guitarist to tIe St a 1(5. .. L thotight he was I crhc.’’ -rs S Mary, “and eVerN’l)ocIy loved bins. then suddenly lie dIsappeared. i: gh(’Ss he went ho:ue.’ 115 Paris the other week. Mary Lou heard some Blue Star record- togs of Django wihh a unodvrn group. “It Wits good music,” Ivlai’y says “Django was in l)etween his old style end the modern stuff, and it came out great in certain spots.” Readers may be interested to know that Clifford Essex, of 8, New Compton Street, Lou don. W.C.2, still have 40 or 50 copues of the fine Neihl-Gates Disco- graphy of Django and the Hot Chub Qvsiuitet which they pub— lishied in 1944 ( Price ‘2s.6d. I. Now we thiink it would be a 1)01)0151’ move if Decca and Os’ HMV were to release a Cirst-rate selection of Reinhardt’s music— periselpa oIl h.P. THE MELODY MAKER AND RHYTHM Oiw of the iiiost colourful fi,qurm’s in European jáz has lust 1U(If&’ history by Iwing asli€’d to joi,, the yrtit Duke ElIiiiyton. here is ihe story of 3 DJA1TGO as told by Ellis Gruber I “MM.” Plots.] States.
November ____ TFU GRAPPELLY-REINHARDT FRENCH HOT CLUB LINK-UP TJOft TilE FIRST TIME IN EIGIII’ YE’I1S 1)JN(O REIXIT AUDi’ L AND s’1’Ir1IAN1 (It,PPELLV ‘II’‘10PIJiV T4)UE1IJLR 1 F1IE IIIJ’f CLUB 1)E PLtISS OR1(1NJ QL’IN’I’ET. ‘I’III’QINTE’I’ (‘()II’ItI4E ThREE (JU1’1’,RS, 1X(’LU1)1N( REIXII\HL)T -OLO, BA. AX[) A \IOLIN. ‘—Charles Delaunay fixed up the Concert during a recent visit to Paris by Grappefly. The concert, wh1ch will be given on November 16, will irclude many prewar favourites which the quintet ised to play, such as “Dinah,” . Swing ‘39,”and Minor Swing,” The second h3lf of the programme Will include a series of new corn- positions by Reinhardt (writes I l-Ieni’y Kahn our Paris correspondeiit(. The Hot Club has organised two othrr conceits, The second will tea- t ure Aini. Barelli. This concert ‘‘iilbe hlic(1 with jazz classics includifl , The St. Louis Blues “and “Some 01 These Da s.’ The final concert will b for ainat(ur bands, ‘l’Iihis Zefl(’rally a great occasion for handleader looking out for new talent. UNEMPLOYMENT The band position in Paris has become desperate (luring the past few weeks, and 70 ner cent. of France’s musicians are unemployed, This is due to extra taxes on night clubs, ) as a result of which proprietors are engaging srnaI second-class cornbina _____________________________ hons in order to economise, In order to helij French nusicisns live. the Hot Club has organised a i’( ru-s of l)rovincial concerts, but these 11(113 00 more than a handful of I Fiance’s instriimentljsts, ‘flieHot Club itself is also going through a serious crisis. Personal dfferences have arisen between the secretary, Charles Delaunav, and the club’s President, Hugues PanassiO. At a dramatic meeting the two parted company. Delsunay. remains director of the Hot Club cie Paris, and has started his own Federation of Hot Clubs de France; Panassld remains president of the original Hot Club de France, ‘iTheFederatiojs controls the greatesL number of individual members, hut Panassie’s Hot Club has most clubs. The crisis Whi shortly work itself out, however, and Hot Club circles expect the Federation to rise in rnportance as the original Hot Club diminishes. The reason for this is . that Panassid lives in the South, while the musical hub muSt remain in Paris. Both the original Hot Club and the Federation stIll OCCUPY the same office. DJ4NCO’S NEW YORK DEBUT BIGGEST event of the jazz concert season was Duke Ellington’s appearance at Carnegie HaN for his fifth annual concert. This year, for the first tame, Duke took over the hall for two consecutive nights instead of one, and both eiights were sold out well In advance (writes Leonard Feather from New york). Opinions after the concert were very waxed, most of the daily and trade pipers declaring that it had been disappointment, However, thers wer(, many new Ellington works. Th most talked about tern in the concert was, of course, the appearance of Django Fteinhardt. To me, Django was a pleasant surprise because I had expected little, but to others he was a big disappointment because they had eapected too much. Django seemed to play with much more of a beat than in the old quintet days: needless to say, the oresence of the Ellington rhythm section, instead of the French Hot Club’s, -mphasised t.hia difference. Django also benefited from the use of an electric guitar. However, as the disap)ointed over- (‘Xl)CCI.afll.S )uirlted out, lie caniiut hold his own as an all-round rnuaician, )r SS a jazzman, with such great American artists as Oscar Moore, Barnes Kes.sel, Church Wayne, Mary Osborne, Joheiny Collins and the other toll eop1e in iazz on this instrument, He played orly one solo item, “Improvisation No. 1,” the other three numbers being Tiger Rag,” “Honeysuckle Rose “and some blues. The Ellington band evidently hadn’t had any special arrangements made to back him, and for the most part he had only Duke, Pettiford and Greer until the last chorus of each number. On the second night at Carnegie Hall, Django had still not arrived when the time came for Duke to arinoun(’e him. While Duke was apologising to the audience. Diango rushed in, dishevelled, and explained that he had overslept. (This was at 101) p.m.!) Django is having a good tune over here, 7. piEe_It:;(i M,-_ER2 OF LABOUR MINISTRY GRAPPELLY FROM BALLROOM DATE S‘ll’IllN( -SW’IN( EXFlITTST.STS WILL REGI1IT TO lEARN’ rii’r ‘i’iii:‘tll\IS’UItV01’ L.lltOl’li. (‘l.MPl:fl 1)OVt’N ON ‘1’Ill’i, wl:1l(’’i s(ill:l)t 1,1:1) AI’1’1:A1t.N(L .i,I’ lhll’l.IN’S of a painful illness, and in hoping BALLItI)1)M OF ‘1’IllRI:SOlt’JN,” EA11I,ii (‘Ot’ll’I, OF ‘inspiration from the playing of the great Frehch plectrist—whose visit )tl’:j Nll. 111)1’ .N I) S’t.lPIL.Nl ( lAl’I’l:l.l.Y’i l’.\MEI) Qt1N’1’l’[’ (fl here has been eagerly awaited for lull II)),)’ (‘1(11 01’ l’Ii;N(’l’, months—in the shortest possible Readers will recall ‘thatthe MELOC) V MA ICES lii’st announced the l)’OJet’ted Butlin booking of -) ç’ . ‘‘‘i- ‘the Hot Club in its issu.e dated 2 “d “I / t’ C, , Jatsuary 31. _____-_-:z__--- Now, owing to a last-minute edict )V ti@ M. of L., hundreds of ‘Geldets Ballroom “patrons ate, this week, being denied the thrill of dancing to the music of this renowned French group. STAGE—NOT DANCES A Ministry spokesman states that, aithaugh a toregn band may give a Concert or Stage show, their permit ta ierIr,ii in this country will not allow them to ijias in a ballroom. Butlin liliorol Liii’ MELODY M.inee that tlu-’ ha cc made’ ceery effort to and play a mouìth with the l)iikiEllingtoii overcoats thi5 objection, but without av.ul. With the exceplion of this set-back, however, the original “Golden Ball- to a Basic correspondent, wiac room “billiti renoalna unaltered. Pairono, tli’reiore, stIll have thc Ill’s i’Ire of cla:ieIu and listening to has just concluded a sensational the tiiii ol SIin’li top-lilght bands as tour of the I)riflc’ipal cities. Eric Winston”, Bills’ Ternent, Nat Alien, \tt Lewis, Horn’ Dayidson and from Django himself last week-end. St,snlev Ba rnett ‘Sorchestra . G uest conductors ‘sillbe Sid Miliwarci and ‘Wally.1e’a’art I of Nitwits fanie ) Geor,e “Herr “Crow, of radio’s returned to Paris and enjoyed a few “Msrrs’-Go-Roiincl “prograirn’ries. The current Variety tour of thìe Hot Club I),)’’S ‘otititilies,as 1’l’l)Oi’te(! is ‘ak’, IsSU(’. Thus, tans s’ ill aid,- to see end hear tl’ie group at the received many attractive offers I or Emotre, Wood Green week corn- his services, including one front mencln 29th,, and at the Empire. M.-G.-M. Reinhardt says he has so Clii,wiclc (we-k commencing April settled plans after his stay with 5) . Tft.s Quintet folows up last Mon. intends to make film tests, which, if day’s t’l’vision date with a simIlar successful, may keep him in the 0roerrnnie on Saturday next (27th, U.S.A. for a considerable time to - 8.1) am. i . “I ‘VEgot a contract in my . pocket to go to America Orchestra ! So says l),jli 1150) Reinhiirdt, world—fatuous guitarist, accos’(liil!’ flashed the news across from Switzes’land, where Reinhard) Our correspondent heard the new. Dj.ngo stated that he would be sail- ing for America next month, or November at latest, after he had W(CkS of complete rest. Django has long cherished an 01) Lion to vi.si t liii’ SiLica, and it i. knuwn tutu before the war to’ Ellington is completed, but that he come. For the past few weeks, Django (who now plays an electric instrument) has been leading his new quintet on a Swiss tour. At the Stadtcasino, Basle, they made their final appearance of the series on Saturday, September 21, and were given a tumultuous reception,. Line-up of the Quintet is: Reinhardt (guitar) ; Michel de Vilier (sax and cIt.) ; Eddy Bernard (10.1 ; AIls Bret (bass); and Pierre Brun (drums. 13 Continuing our Django Reinhardt Serial,” here is a octure of the great man in bed at the French Hospital in London, followinS his re cent operation. Lady with the lovely hair do,” is glamour-vocalist Bervi Davis; whilst. on the right, Stenhane Crappelly watches intently as Diango plucks the strings. ‘-j_.M,1P—’?4-DJANGO REINHARDI ILL: URGENT OPERA lION SENSATIONAL public appear- -‘,.. (5 ances being planned for ‘“‘.,famous guitar ace Django Rein- lliLl’(lt have had to be 1)ostponed on account o: the sudden and unfortunate illnes5 of the French virtuoso. BARS REINIIARDT ‘AND Last Monday (February 11), Django entered a London nursing home, suf. tering from a recurrence of an old malady, which necessitated an immecliate operation. Latest news is that he is comfortable. ENGAGEMENTS CANCELLED This has meant the cancellation of all engagements for at least three weeks, and .Django’s greatest hope now is that he will be well enough to fulfil his first air date here on March 8, at which lie will be strain- ing every nerve to appear. In the meanwhile we join his innumerable friends in expressing our sympathy to Django at the onset that British fans will be getting time. DJANCO JOINING ELLINCTON IN STATES , I’-1.ri’ GRAPPE1Y AND . REINHARDT FOR SWEDEN MAXING their first visit to Scandinavia since befoi’e the war, Stephanie Grappelly and Django Reinhardt, with their recolistituted quintet, containing th ree well-known British musiclans, open for a month at the China Thea tIe, Stockholm, on Saturday (May 1). Wills Stepliane and Django, go guitarists Alan Mindel and Malcolm Mitchell, and bassist Teddy Wadmore, who have been al)Pearing with the Frenchmen for the past few weeks on the nsusic-hall stage in England, due to the other French musicians in the act having to return home following the theft of their clothes. Ending their engagement in Siockholrn ni May 30. the quintet have other appearances to make abroad, . their next Port-Of-call being Copenliagen,
Django Music Django Reinhardt was sure everyone must have heard of him. Hadn’t jazz La Roulotte, Django’s cabaret in Paris’ critics like France’s Hugues Panassié Rue Pigalle. Last month the Duke paid called him Europe’s leading jazz artist Django’s airplane passage to the U.S. for and the world’s greatest jazz guitarist? a six-month visit (Django’s 250-lb. gypsy Django was so certain that he was famous wife stayed behind). in the U.S. that he left. his guitar in France: U.S. guitar manufacturers would their Cleveland performance. They talked give him guitars and pay him for playing in sign language and monosyllables, since them. Last week, before he could go on Django understands hardly any English. stage in Cleveland’s Public Music Hall, “TigerRag—number un,’ the Duke said, he had to go out and borrow a guitar. The concert manager, for one, had never around . . . just a few tiffs” (the Duke heard of Django Reinhardt, so Django’s made guitar-strumming motions). “Thenname didn’t even appear on the pro- we give you a chord—wham, you go into gram (a Duke Ellington jazz concert). Tiger by yourself and we start giving you But when the Duke introduced “theleg- endary Django” from the stage, there were surprised murmurs and loud applause from the audience—and even greater applause when Django finished with Tiger Rag and Honeysuckle Rose. Swarthy Django Reinhardt. now 36, iS an almost illiterate gypsy who was born in a roulotte (trailer) and only recently has succumbed to houses. As a boy he played gypsy music on the guitar and violin. When he was 19. he heard a record of Louis Armstrong’s Dallas Blues. Said he : “Therest of the orchestra—c’est mauvais, but Louis—il est formidable!” After listening to records by Armstrong, the Duke and Tommy Dorsey, he got together in 1935 with a hot fiddler n’imed Stéphane Grapelly. organized the Quintet of the Hot Club of France (three guitars, a violin and bass). Their records of U.S. jazz classics (Dinah; Lady, Be Good; My Melancholy Baby) are collectors’ items. Most guitars are strummed, but Django developed a one-finger picking style because his left hand was badly burned in a fire and became useless for chords. . Ellington first heard Django in 1939 in They rehearsed only 20 minutes before holding up one finger. “Firstyou play the beat.” (The Duke demonstrated on the piano. ) “Understand?“ Django grinned enthusiastically. They jammed for five minutes, until one by one the band boys left their cards, gossip and naps to gathet around, shout encouragement: “Goto it, master. Yah, yah, yah.” Says Duke : “Djangois all artist. Jazz isn’t exactly the word fdr it. Jazz was that raggedy music they used to play about 1920. Nowadays, jazz must be classified accotding to who’s playing it. I call Rein- hardt’s playing Django music. He’s one of those musicians who is unable to play a note that’s not pretty or not in good taste. Sure he’s a great virtuoso.” OJANGO REINHARDT7 BJANGO REINIIARUT, world- famous gu itarist, arrived here froii Paris with his wife all(l I 8 —Iflolitils —old son last Saturday illglit. Acconipaiing them ‘asFrench jazz luminary Charles Delaiinay, who was re— (eflt.13’ in London arranging for I)jango’s visit. Really big news for enthusiasts is that Reinhardt and his old musical partner Stephane Grappelly are again teaming up to lead a quintet here. Already a number of broadcasts and recording sessions have been fixed, and the quintet is making a batch of records this week. Over the air they will he heard on Mardi 8 in the final programme an the ‘‘Kings of Jazz “series. when. as the MELODY MAKER foreshadowed last December, producer Pat Dixon hopes to see Django and Stephane (representing France) loin forces with American and British musicians in an ambitious international jam session! To follow that date, Django and Stephane will feature in a succession of twenty-minute radio spots built around the quintet. Details of these programmes were not to hand at press time. but dates already decided upon are as follows: March 12, 22 and 26, and April 2, 9 and 16. The line.up for these sessions will be: Django (gtr.); Stephane (vlnj; Alan Hodgkiss (gtrj; Jack Llewellyn (gtr.); and a famous bassist not yet confirmed. The MELODY MAKER loins with fans in hoping that Django’s stay in this country will be a long one: and the great guitarist asks us to say what a really big thrill it is for him to be back in England after nearly seven years. In his charming little flat overlooking Green Park last week, famous French violin virtuoso Stephan Grappelly told me about some of his big plans for the future. He was about to set out for his native France for the first time for five years, and while there intends to settle many outstanding business affairs as well as have a good holiday. Stephan said that Charles Delauney had arranged some big concerts in Paris for him and his old partner Django Reinhardt, and that when these had been fulfilled, he and Django hoped to make a concert tour in America— many agencies are bidding for their services. * * * But that does not mean that we in Britain shall lose the enchanting music of Stephan Grappelly to which we have become attached since 1940. When all of his contracts have been fulfilled, he will be returning here to take up the threads from where he left off. He has a lovely farm in Devon and intends to stay here between his various journeys to the Continent and America, which will surely be frequent now that world travel is improving. Don’t stay away too long Stephan! T(1jiE 1 j J MUSIC Leonard Holpern REINHARDT & THE DUKE “Yah, yak, yah.” Stepisan Grappelly, fansous French ‘‘“‘‘‘violinist, hopes to tour America ‘“‘1I ‘liii
, GRAPPELL Y ENGLISH TOUR FIXED THE exciting news piih1iiie4 f(v weeks l)1(•k of a jected visit 1)3 Steplhine ( L)elIY. Django Heinhlar(lt an(1 tIi original 1neIn1)er’ of the lint ( 1 ii de Irance Quintet, eryti I1i Into solid la(t thiS W(e1( vi U t lie Ifll()I1II1( ion tlnit Stel)l1I Ii( 1 III ii is Iienciinieii aiiive iii l iglanil 011 Slar(lI I 2 and 4I)(I1 I heir act at the Ilaekiuy Iiupiie iii London the foHovi ii g 31o ii day (13th). As arrangernents stand at present, the outfit will he seen the next week (March 22) at the Earls Court Exhibition, following this with appearances at Wood Green Empire (29th) and Cliiswick Empire (April 5). It is understood that broad- casting arrangements for the ciuintet are a1o being made. and details will follow as soon a3 possible. Meanwhile, fans will be waiting to greet Stephane, Django and the boys of this grand outtit, whose forthcoming visit hUid give a distinct fillip to tiw bu.i ness over here. DJANGO REINHARDT With hr Quintet of the Hot Club 01 France Songe D’Automne Duke and Dukie (Decca C16092) IT’S good to find French the people around us, the fun faiz. - guitarist Django Reinhardt and all the thousand and one things back in the lists, but his return which have held our attention singe raises a problem that requires we have been in Sweden disappear, some unravelling. I would be the last person to tense and exciting atmosphere. accuse Django of plagiarism, but ‘Theyare playing a unison rebop I would like to know just why number and the tenor, trumpet and he apparently claims credit for vibes are phrasing so perfectly as to being the composer of Songe be practically indistinguishable from D’Automne.” I say “apparently” one another. The rhythm section has because the label of this record a terrific “beat “which makes our delinitely implies that Django is best we have heard for a long time the coniposer. In actual fact, of (somebody standing by tells us that course, this lovely number is he is an American) : the pianist is perhaps the most famous of the playing some out-of-this-world chords, bell rings and a sep,plchral voice many waltzes written by Archibald and the bass player plays beautiful booms through a loudspeaker. Joyce, who penned it in long notes with a tone that has to be 19(18. I like Hubert Rostaing’s clannet playing. He has a line tone, nd improvises around the melody wi th delightful discretion. The oddly titled backing suffers by coiI1pnison with the first side. It is merely a rift piece that serves as an inadequate pe for the two soloists. 2’bJ.t4’1°I Malcolm Mátchell Thore directs us to another part C! the Tivoli where. he says. there is We proceed to explain who we are another open-air dance floor and a niich bigger band• Promising to return He replies, rather coldly we Imagine, later, we bid him adieu and wend our way to hear the other band. On the other bandstand another surorise waits us i the form of Seymour Osterwall and his Orchestra, large brick. we hasten to right our- If we could not see the band we would say. by the sound. that it has are looking forward to hearing him a full complement of eight brass and five saxes. Actually it has only three play. By now the rest of the band trumpets, one trombone, four saxes Introduces us to them individually. and three rhythm, A striking thing ,‘ This is my pianist. Hasse Eriksson.” about this band is the sax section. Hasse grins at us and says some- Both of the alto players double on baritone and most of the time they use the combination of alto. two tenors do? “This seenss to satisfy hins and and baritone. They have a rich tone “This is my drummer Jack Noren, and a precision of phrasing which Bjarne Nerem tenor. Bertram Beck would make any British sax section vibraphone and Nisse Skoog trumpet.” sit up and take notice. The brass We shake hands with each and recognise section is good, particularly the trombone the trumpet player as our guide. player Bob Henders, who was. I believe, voted the best trombon.it in HERE is a system here whereby last year’s Swedish polls. _L pay to eo on the dance The band plays very moderniatic arrangements specially written by floor for each set of dances. . so we Ounnar Svensson (their (1iafllst) , and steP back behind the barrier and survey Curt Blomquist (second alto), and I the band expectantly. They all think their attack and supreme attention look very young. three of them are irs their shirt-sleeves and some are wear- to dynamics can have been achieved only through mans’ hours of They start to play and Immediately diligent rehearsing. They are a much more commercial band than Thore Jederby and their vocalist, Herbert Welander, sings Bongo Bongo “in perfect English!!! and we find ourselves transfixed in a Over the bandstand there is a big clock which tells us it is time to return to the China Theatre for our evening performance, and as we go we tell ourselves that we must pull our socks up If we are going to coin- pete with such bands as we have tigard this afternoon! bodies rock. . The drummer is the E. MELODY MAKER AND RHYTHM MALCOLM MITCHELL gives the . . DJANGD HERE: OFF ‘SWEDEN LOW-DOWN WITH ELLINGTON.. July 24, 1948 The noted guitarist, currently appearing with Duke Ellington, recalls the highlights of his recent visit to Sweden with the Grappelly-Reinhardt Quintet -. 0 thIs is Stockholm. or. as L I call It, “Little America,” where the shops are lull of American drape suits and ties which scream at you as you pass. And what is this we see? Surely a familiar figure. A “bop “haircut, dark glasses, drape suit, yellow socks and san- dais. No need to see the trumpet case to know that this is one of the younger generation of must- cians. Where is he going? Shall we follow? He boards a tram to the outskirts and what we are doing here, then we I of the city and here we see a large ask: ‘In whose band do you play? amusemeilt park. Above the entrance, “My name is Thore Jederby; I am in letters ten feet high. is the name the bandleader here.” ‘,Tivoli.” We enter and around us are rifle ranges, roulette wheels, cocoanut-shies and all the fun of the selves by saying that we have heard fair, but most striking of all Is a a lot about his band in the town and large dance floor set out in the open air. On the stand there is a bass player is on the stand and Thore Jederby tuning his instrument. We approach him with the same words we have used over and over again since we have been in Sweden: Excuse me. thing we don’t understand, so we grin do you speak English? ““Yes, a little.” he replies. eQ. TO U.S. TO PLAY HABITUES of London’s Canib. bean Club had the treat of their lives when, on Thursday last (24th), there appeared on the stand no less a personality than the great Gallic guitarist 1)jango Reinhardt. Only two hours previously, Dianco had arrived in this country from his native France. en route for America. where, as announced extiusively in the MELODY MAKER (September 28). he Is to join the famous Duke Ellineton Orchestra for a tour of the major ‘...merlcancities. Django huimself. interviewed by a MELODY MAKER reporter, said that he lnteMs staying in the U.S.A. for three years, and also hopes to clinch movie contracts with two well-known film companies. At the Caribbean Club, where we were fortunate enough to hear him playing on Frank Deniz’ electric plectrum guitar, and accompanied isv pianist Dick Katz and bassist Coler. idge Goode, he jammed some out-of- this-world choruses in his usual phenomenal manner. Django left London by Yankee Clipper on Monday (28th(, and will appear with the Duke’ in New York. San Francisco, Philadelphia and Los Angeles, while included in tis itinerary are two Carnegie Hall Concerts. I I I AND ELIINGTON PLAYS WITH UJANGO EX - HARRY ROY drummer- vocal celebrity Ray Ellington thought all his lucky breaks were coming at once last Saturday (26th) when, leading his band at the “Bag 0’ Nails” niterie, Kingly Street, W. , and reflecting what an extremely “jivey “line-up he has down there, he suddenly found his outfit temporarily hotted up still more by no less celebrated a duo than French guitarist Ujango Iteinhardt plus his old Hot Club de France crony Stephasse Oi’appelly. As goes without saying, a memorable session went on well into the small hours of Sunday morning. Reinhardt was particularly loud in his praise of Ray Ellington’s guitarist, Pete Chilver. Altogether, it is a terrific line-up, in a jive sense, which Ray is leading at the redecorated “Bag,” including tenor stylist Reg Dare; ex-Harry Parry piano star Tommy Pollard; Pete Chilver (guitars) ; and Len Harrison (bass). Realising we have dropped a very back at him and say, “How do you he turns back to his piano. Ing hats. heard to be believed. They.finish the first chorus and the please! “Django has u a e d “Songe tenor player is blowing his top, he Is D’Automne “as a basis for free really sending himself, and goes on Grappelly, Teddy Wadmore, Alan improvisation, and he has also to play three iazz choruses and finally chngocI the original waltz tempo sinks back in his chair with an cx- to 4 ‘4rhythm. This in no way pression of contentment on his face. lese;ss the quality of the work: Now we hear the trumpet player. It curtains. indeod, the musical outcome is is quite obvious that he Is a keen enchanting. But I would have student of DO, he has the tone and too of the bill (usually a musical beosi happier if credit had been the ideas. but unfortunately not giveis shore it was due. enough technlciue. Still, he is very young and it won’t be long before he time to settle down while the orchestra I suspect that the line-up of j a great trumpet player. Django’s quintet is the same as The vibraphone player, Bertram is the manager of the theatre as well that heard in Blues Pnisnitif “Beck, is superb. He has a complete as being the MD for the Swedish Film and “Topsy “(Esquire 10-015). understanding of the rebop idiom and Industryand presIdent of the Swedish In this case the personnel would a fantastic techniuue to go with It. be Dango (electric guitar); flHE first number Is finished and H ‘ab e r t Rostatng (claninet),j I after the rest of the set of pit orchestra is of a very high J 0 3 0 p Is Reinhardt ( guitar ) ; I dances. Thore Jederby tomes over to standard and we are intrigued every Emmanuel Soudieux (bass); andl speak to us. He asks us if we have night by the interesting (though André Jourdan (drums). . heard any other bands in Stockholm. and we tell him we have. The dance playing the introduction to our stage Django’s guitar playing is, as halls are all closed for the summer show, so that when the curtain goes always, free and flowing. The season and most of the big bands are switch to the electric instrument away playing at seaside towns, but we may uPend some of his admirers, have heard some very good small corn- ence’s ovation is for Eckert Lundin or but his inexhaustible fund of binations in restaurants. All the bands for us. We are reassured, however, ideas finds suitable expression are slick and modernistic, though not at the end of our performance by the through the amplified medium. as exciting as the Thore Jederby sex- overwhelming applause given to It is no doubt due to the use of tette. the electric guitar that his play- jug j a good deal more restrained than that evident on the many Hot Club sides issued before the war, when Django used an acoustic guitar. AT the theatre, we change into our stage clothes and soon a “Hot Club de France! On stage, So Django Reinhardt, Stephane Mmdcl and I troop down, take up our positions on the stage, and quietly tune our Instruments behind the closed In Sweden it is the custom for the act) to open the show, so we have plays the overture. The orchestra leader, Eckert Lundin, Musicians’ Union. Consequently, the rather over-orchestrated) overture, As this overture finishes, Django Is up we are not sure whether the audi- Django and Stephane. It is quite obvious that the audience likes Stephane’s unici ue stage personality and Django’s exhilarating playing. A large percentage of the Swedish public is jazz-minded, and even though we played only one commercial number, they laoed up our show, and the critics in the daily papers raved about Django and Stephane. As you will probably have gathered, Sweden Is full of interest for the modern musician, and I would venture to suggest that. for those who are able to go abroad for their lsolids:s this year, the excellent food, the healthy climate and the good music that they will find are will worth their con— sideration.
: , • ,, L Iv( gV)I I>IeJI() •1I)(I I )J) I) (iI)I)r(1t——II((L to travI all i IE.LII( II .1 dII\1fl, ‘IIiII(Itltii h Ia iiig IIIIs( ill tII(’ iIIIU s’IlhL t••,) II tii t\•, iiitiis. lit tII( l)Irk I 1 1(C v;1s 1 St1 1 II ‘•(t•II(‘‘ 1(1—. l)\ ‘I1i’ILflg 1II(1 I.()tII’. . 1l1Stl()I). III( l)!)t)I’S ii.I t, 1 IH • )\t iii’I 1HIIt to tI(I\’ t11 t(( 1 II I( II( L II .1 I _ ) t II. \%‘ I I II’ I I( I( I t1)I)II ,III Ik(l ( )IL\ ‘itIitIi Iiiiiii1t Iii_ Ii ;i Ii I I ( ii I ‘, I ii . I liii t(I(I I(II(I(I ( V(lI .. (iiinttL ‘‘.i,nir( (‘II th ;i’il has sii n ii ()t 1l( iii.E I •iiI Itt%lIII(III, (() III)IIIItI()IIS I SVIII_ (‘iisii-i,i’ tIiit hi I(I ii his Jiaiii ii ),iit IIII,IIfI% IIII.II jI.iiii i, Ii()tIIilI;_ sIiit ,l iiii;t hug. iii’, 1I( iit 111(1 lull I !)11’III, VitI1 1 %‘i%tItiIII(, l)()IIt tII(’JI (11.11 I’. ;ttlii .i1 .tI Li ii . ‘.,tIII I II\ it! \tI Iii tn! IItII I t ii I I .. . - . I : ,i 4 WIL: _ .. . Django himself is heard in a new recording issued by Capitol in its Dimensions in Jazz series. This one is called DJANGO REINHARDT AND THE QUJNTET OF THE HOT CLUB OF FRANCE (Capitol T 2045 $3.98) and is interesting not only as history but as music. As these repressings of the old original French recordings attest, Django was without peer in his own tiMe as a jazz guitarist, and is unique even today. The genuine gypsy strain comes through, again and again; a haunting, evocative sort of thing that is not quite jazz, not quite gypsy, and something that belongs to a world of its own. The Hot Club Quintet, as any sensitive musicians would be, were greatly influenced, at least when they cut these tracks, by the very individual Reinhardt technique. Certainly there will never be another combination like this. European hot jazz of the nineteen-forties was in a class by itself, but it still finds echoes, here and there, in today’s experimental moods. And, regardless of the influences of an era, Django’s guitar was that of a master. Importing jazz from Europe would seem to be send- ing traffic the wrong way, if it Weren’t for the fact that some musicians on the other side of the Atlantic have made some valuable contributions to this very American commodity. Like the bossa nova which came in a couple of years ago from Brazil, some of the ideas from other shores provide a welcome enrichment to the still- growing body of jazz. One of the first Europeans to evolve his own jazz style, and certainly the first to influence his contemporaries in America, was the Belgian gypsy Django Rein- hardt. There has been a lot of debate as to just what place he has taken in the history of jazz, but there is no doubt whatever that he was a genuine influence. Certainly he has been a lasting one. Even though he died in 1953, his innovations, experiments and techniques go steadily on. If anything, there has been something of an increase lately in the Django influence. For instance, he took up the art of transposing classical music, exactly as written, into jazz rhythms, long before it became popular. The liner notes of PLAY BACH JAZZ, VOL. 1 (London PS 287, $3.98) pay graceful tribute to Django’s originality in this field. The record itself is an even better tribute. The Jacques Loussier Trio have uncovered what unfortunately too many musicians have missed : a genuine humor in the works of Johann Sebastian Bach. That is, they play the notes exactly as the master wrote them ; the rhythm, of course, is transposed. But the music itself has always been very human, despite its classic perfection ; there is great warmth and feeling even in the most solemn compositions, and it is this the trio are adept at con- veying. In Volume 1 (there are three) they have taken a series of preludes, toccatas and fugues, and given them light, delicate swathings of jazz rhythms. Nothing more is needed. The music is so perfect that it falls easily into place in the reading the three young Pan- sians give it. Besides Loussier on piano, there are Pierre Michelot on bass and Christian Garnos on drums. 4+GENT I C I
Swing Guitars i’ By LAuJuE HENsIJAw I1 ‘i-3Crappellyswapped instruments or introduced green “that should not be missed, is TURNING the pages ofa. photo album kept by the piahist of a would, in all probability, have been a the Qjiintette’s version of “When Day . famous dance orchestra, I was riot from a commercial viewpoint. it would be more accurate to omit surprised (and at the same time, delighted) Possibly one of the reasons so-called specific reference to Django’s colleagues to see the familiar swarthy “jazz “is anathema to classical musicians features ofthe world’s greatest “swingshowmanship often encouraged by guitarist. There he was, crouched over his leaders and displayed by players. The only flaw apparent in an other- battered Macaferri, in the customary sordid exhibitionalism in order to pack wise perfect record is the doubling of manner, but iis garb was not the immaculate the floor of the Queen’s Hall white coat, dress trousers, and It is doubtful, however, that even the tempo for the last chorus. The slow black tie of stage dress in which were the “longhairs “to concede the beat with which the number was thousands of admirers saw him in his difference between “swing “music, introduced was ideal. appearances at music halls throughout as featured by popular English bands Duke Ellington’s “Solitude “,on the country. Neither was he seated in and the real type of jazz generally the reverse side, is pleasantly played the limited band space of a small back- played by coloured groups and small and the guitar intro, is further endorse- stage night spot. No ! Django Reinhardt was squat- less emphatic in their expressions of of Reinhardt’s playing in my previous ting on a Thames-side bank, wearing a condemnation. mis-shapen trilby to protect his head In fact, some of you may have read The solo chorus by Reinhardt is not from the burning sun, and, as if in a the interesting articles by “Mike “of one ofhis best however, but he redeems final endeavour to make his unmistakable the Melodj Maker recently, in which he himself—almost—by his accompaniment features entirely unrecognisable, has scathingly dissected the vitriolic Did I, by any chance, hear a wrong had a pair of enormous white-rimmed outbursts of a certain gentleman who, tinted spectacles perched upon his among other things, declared that elegant nomadic nose. Beside him “It is a mistake to refer to jazz as BEST SIDES MADE knelt another guitarist, strumming out a music, for there is no more .affinity Perhaps two of the best sides ever chordal accompaniment to Dj ango’s between music and jazz than there is made to illustrate Reinhardt’s genius rambling improvisations, and, completing between the moon and green cheese. are • “Parfum ““Improvisation a trio of rhythmical bliss, a Music is the most sublime of all the (H.M.V. B.8587). These are both bronzed trombonist, eyes squihting at arts, and jazz the vile corruption of it unaccompanied guitar solos and it is the sparkle of the sun on his instrument, by depraved and vulgar minds “.Just absolutely impossible to do them justice spewed out hot choruses to the think of it, this intolerant statement by description here. I could not end smiling approval of the remaining could, in the opinion of the man who this article with a review of a better members of the happy party. These, penned it, apply to the Quintette of the in a musical sense, were non-players, Hot Club du France. ]3ut then, I offers a good insight into Reinhardt’s but the two girls (or was it three ?) digress. Presumably you want to icad certainly harmonised with the surroundings. I could claim personal friendship LISTEN ENTHRALLED with only the trombonist, for he was none other than the man sitting at my relaxed environment that Reinhardt, would take his guitar out into the elbow—yes ! all this and piano too. JOVIAL DJANGO Django,for a change, appeared quite world “.The occupants ofthe Parisian crowded night club “.jovial and seemed to smile even more cafés ; of the Soho night clubs ; and broadly from his picture-album setting intimate friends who were privileged to as his piano-trombonist friend related visit Django in his caravan at home varied and happy incidents of the whilst he was in France, prior to his electric guitar’ these • days. Details musical week-ends spent at the Thames touring this country, know what beauty come from American banjoist Freddy, Ditton bungalow. As a relief from the he could conjure from his guitar. We, Morgan, who . was compére for a. boredom of the shallow atmosphere of the least I&tunate, can only listen Reinhardt show given under USO stage playing, Rcinhardt (ever the enthralled at the many recordings of auspices recently at Nice, France. escapist) would, after the final Saturday the H. C. Q. available here and try to evening performance, change hurriedly imagine sitting beside our idol and and, slipping through the knowing the thrill of the emotional narrow stage door with his response to his playing. guitar clutched tightly in his wax of’ Djarigo in wistful mood is hand, hic away to a secluded “Tears “(H.M.V. B.8718). This is night spot to mix in with British an unusually beautiful record and swing-men and play the sort of features finger-style guitar throughout. music he felt in his heart, . UNSUCCESSFUL TOUR Strange as it may seem, the melody that man Reinhardt has ! It is Quintettc’s tour thi’ough this a pity more records of this type have Picture on this page was taken on the country in 1938 was not, from not been made by him. The backing, stage • and ghows (left to right) Lt. a box-office point of view, an “Rose Room “,is the usal treatment D’Arcy Freddy Morgan and Rein- outstanding success. Admit- ofa fastish number. Spot the triplets at hardt. ‘‘, , . ‘. tedly the swing-hungry sections the commencement ofthe fourth chorus of the audience went wild, but by Django. the general public, to whom artistry must be subjugated, were not par- ticularly enthralled. . Had Reinhardt and a conjuring act on the side, they is because of the debased type of of the record features his solo rendering Imagine Solomon having to resort to white outfits, whether they would be ment ofthe point I made on this subject about Reinhardt. Itwas at such moments and in such a in the words of the picture-album and sometimes tears would come into owner, )layed music “out of this his eyes, even when he was playing in a Perhaps one of the best examples on The composition is by the two IIot Club soloists, and the title is pai’ticularly applicable. What a gift for Another treatment of an ‘‘ever- is Done “(H.M.V. B.8669). Perhaps in this instance as quite a third of the verse of this delightful melody. article. . to Grappelly’s violin in the Coda. note in this ? record . . . but words fail me. The second side is indescribably sad, and emotional character. I can now under- stand what Roger Kay, a friend of Reinhardt’s, meant when he said “He was the kind of character who moonlight and play softly to himself, * iijango einhardt deflntely uses arr . ‘:‘ •* * • *• ...
Swing Guitars ‘ii.By LAURIE HENSHAW I146 IT is ten years since the Quintet of the Hot Club of France appeared in a Variety tour in this country. I first saw it at the Wood Green . Empire in 1938. Last month I saw it aga,in—also at the Wood Green What do ,you thinkof them?” . Enijire. As I expected, the music was chromatic runs are much , harder to basically the same. The only change S play on, the ‘p1ectrurn guitar. You in the act involved the two-guitar, can fake on the electric guitar.” one-bass substitution of British musicians and the omission of Carola Merrild. In place of the latter’s sex- never heard anyone who can play fast appeal we had the halting charm of S runs with the “cleanness “of Rein- Stephane Grappelly; this time he S hardt. . S handled the announcements. I would Reinhardts visit to America. (Readers take Carola any day ! Prior to the appearance of the Hot• may recall ‘thathe was featured as Club, I suffered atleast one excruciating soloist with Duke Ellington.) act. At long last, from behind can guitarists?” drawn curtains, the audience was in- formed that it was about to see and technique. Oscar Moore (formerly ________________ hear the “greatest swing band in the with the King Cole Trio—L.H.) is one world.” Only a few, could have con- such player. Les Piul is the exception tested this statement anyway : the theatre was half empty. . The fan element responded with a few brave cheers. The Hot Club’s programme was a guitarist Les Paul has modelled his smooth cocktail of sweet and swing— style on Reinhardt’s. equally mixed. Even so, many present looked blank at the interpretations of “The Coffee Song” and “To Each His Own.” Several members of the audience, in fact, displayed open disapproval—and bad manners. During right statement. From Grappelly’ rj—i HERE are SO ntn’ records this iie, the show, six .people marched out of translation emerged these opinions: •(liscrirfliflate l)etw’eefl t1ien froi the J)Oiflt of the front rows and. in the gallery, a S If. one is not “born “with the ability viev of eliminating those for which there baby kept up a scualling commentary to improvise, there is no hope of mastering isn’t rOOlfl in this Review. Mark ‘ou,this is to Reinhardt’s brilliant solo in Greig’s “Norwegi3n Dance.” The baby could hardly have been study a musician might learn to inost dehnitcly iiøt a coniplaint : the inore shot (anyway, I had no gun with me) improvise, but only to a limited ex. the ierrier, SO fii as 1 ai concerned, for it but I felt like speeding the exit of the tent. In any case—as Grappell points to the (‘OfltiiUie(l IOCICaSC in the other members of the Borough’s S essential, would be lacking. S lower orders. S . A highlight of the performance was S OTHER QUESTIONS H . M .V. B.8778 . ‘‘Eddie’s Blues. ‘‘the Quintet’s fine version of Rein- hardt’s own lovely “Bluest Kind of Ellington?” Blues “—anumber that paved the way for British singer Denny Dennis’s you like?” : . . debut in America. S S Reinhardt’s technical execution and ton.” S ideas are still superb, and I. smiled benevolently on at least one man who S Eddie Lang?” demonstrated that he was not impervious to musical genius: But this accompanist.” exception conclusively proves the eS S grettable rule that the Quintet’s delicate blend of music isnot for the tone of electric guitars. If I use ora’ Here and there, lu)vever, there creeps in an Variety halls. . S • S I advise you to see the act before it is only for. dances where I need to 1(’)t Ecklie, W’lI() is with us. ‘fakePIrticIIlar the booking agency finds out this fact . get a big noise.” for itself. . S PERTINENT QUESTIONS S : Reinhardt what he thought of strd)ng a)peal, but then I ‘asalways a S Back • stage, I visited the leader’s “rebop.” He replied : “I love it.” dressing rOom. Grappelly was sipping damaged left :hd. The true story of a drink; Reinhardt was strumming the burning is that it occurred when’ his guitar. I had prepared a questionnaire. making artificial flowers from cellu’. Decca F6639. Honeysuckle Rose and Souvenirs—Django Between sips, Grappelly translated bid in Reinhardt Seniors caravan. S Django’s monosyllabic answersv Here are my questions. and the seriously burnt all down his left side. me hear this record, and the only impression answers : ‘CHow long have jjou had your His body is terribly scarred. A sur it left was that is was very pleasant to listen present guitar?” S “Ten years.” . ‘S the art. By years of intensive S pitch, the prime l)ol)Iilarity of the giiitu as a solo instrument. ‘CDid you like playing with Duke \‘ Very much.” “Which other American bands do pehly Ofl tins disc, though I still deem Eddie “Dizzy Gillespie and Lionel Hamp Stuff Smith (not forgetting Venuti, who is “What do you think of the late, Lang has gone) . 1)jango plays a lovely “Very limited. But he was a good chords, which irresistil)ly reminds ne of the “Charlie Christian?” “A nice player, but I don’t like the Ending on a topical note, I askod ‘‘Sze’ecf (;e(;;i(, B;’me’;i,’ ‘hasn’t the same I out these facts about his, COllCCtiOm Reinhardt was 17. The gipsies were Someone dropped a match, the cellubid flared up, :and Django was geon wanted to amputate Reinhardt’ to, and that I’d like to hear it again. This left ‘hand.Fortunately,’ Django re jectd the operation. He . still ‘sufferstwinges in • his left, hand, which is most affected by damp weather. S : . Born on January . 23, 1910, ‘Lambrachie, Belgium, Reinhardt w “You’ve played on electric guitars. christened Jean. “Django “i.s t Romany version of his name. : “They make playing too easy. Fast He started learning guitar at tbe age of 12 , He had seen the gipsies ad pesuered his mother int# buying ‘him an instrument. , Hs Grappelly interjected that he has father, who played piano, helped hit: with lessons; but mostly Django was: self-taught. S I scrutinised Reinhardt’s guitar. is the same battered “Macaferri.” Tht. The next ‘questionhad a bearing on fingerboard is flat and wide. Guitarii! Sam Adams once told me that t bridge was wedged with matchlx ‘Ch’ do you think of the Amen- covers. That was about two years agtj I looked at the bridge. The matc “All have good taste but no boxes were still there. REVIEWED () UShER ; asked Django to qualify this forth- TEI,g,ut,1 that I l1,,VC l’la(l the (leuce of a jol) to I SUJ)J)OSC \VC must start our list ‘ithi:—— Eddie South (Violin) accompanied by Django Reinhardt. Eddie s1iovs 11ii’flS(if the master of Grap— inferior to the king of all rhythmic violinists, not the inspire(l l)hiiYer he was, now that Il eigl’it—in—a—bar aCCOi’fll)aniiTlent iii bass and one and onhy 1ldie Lang. Even his tone and c1101(l changes, though not cribbed note for i)te, li.e of the authentic Lang idiom• alien chord Shal)e to remind us it is 1)jango, ilOte d)f the grand guitar coda ! ‘fliereverse, ‘blues ‘‘fan ! ‘h’hiisis a record for the Reinhardt and the Hot Club. It’s several days since a friend kindly let should be sufficient recommendation . . HEAR DJANGO REINHARDT WITH THE QUINTET ofthe HOT CLUB OF FRANCE MANCHESTER HIPPODROME, WEEK, MAY 24 At SHEPHERD’S BUSH EMPIRE, WEEK, MAY 31 “How many guitars have you?” “One. This. One.” He is very enthusiastic. He S ::; toseerny show with Elling’ton J j ], jJ As most readersi know, electric- “Cars the art of improvisation be learned?” S
I Meet Reinhi /4 . .- . BySM Aois DJANGO REINHARDT is in .. England ! January 31 and . February 1 will live long in my memory, for on those two days I attended in London two recording sessions of the Quintet of the Hot Club . reçnained. ‘Thestrings were of ex- ‘tourEngland were cancelled follow- of France and spent about nine hours tremely light gauge and when I played ing his’ illhess whilst in this country, in the company of one of the greatest creative artists the jazz world has ever known. For these sessions, the instrumentation was the same as the original ‘size, extremely thick and with a heavy ager) . says-v that : negotiations are quintet : in addition to Django Rein- bevel. . , , .‘ ‘going along smoothly. . : hardt and Stephane Grappelly, there ws Jack Llewellyn and Allan Hodgkiss on guitars and Coleridge Goodt. bass. The first session (which I attended by kind permission of Walter Moody, coyring tle case formerly possessed ‘touches : tci his’ ‘‘first , ‘symphony,-Le recording manager of the E.M.I. group has long’.disappeared. Django De Ms’ Reves. of companies) was for the FrencI looking at the case. “Cest la guerre,” “Swing “label and the titles waxed he said. “. were “EmbraceableYou,” “Coquette,”“Tiger Rag “and the “Marseillaise.” any spare strings with him and when The second session was for th one snapped during the iun through, Decca label and the sides waxed will Jack Liewellyn came to the rescue. be issued in this country. The titles ‘FUTURE PLANS were : “Love’s Melody,” “Belville,”, “Nuages “and “Liza,” the first three nothing. Delauney explained ‘that ____________________ being Di angq own compositions. Famous jazz . authority, Charles Django’s movements were unpredict- the middle eightof his chorus, where he, Delauney, was responsible ‘for bring- able, for if his fancy dictated he might scintillates ! Note the nifty chord passage! ing Reinhardt to this country and suddenly decide • to return to France The disc ends on a high level with an unusual kindly acted as interpreter whilst I and forget all about the proposed tour and most effective coda. The reverse, When held a series of conversatiofls with the of England. ‘Day is Done, is a rambling improvisation by maestro. Django, I thought, looked a little hardt suddenly produced a fine studio Every moment one imagines ‘jc’sabout to tired and the years under German portrait of himself and laboriously break off intq the solo, only to find he’s some- rule had undoubtedly left their impression wrote my name on it and autographed thing more to say before dinner starts. This on his swarthy face. “Could ybu get’ strings, etc., during ture and shook my hand, my feelings be said for some of the Quintette’s efforts. the occupation ? “I asked. Reinhardt ‘But I ‘was to experience more Decca F6531. Lily Bell May june—Rein- shrugged and,’ giving an enirnatical ecstatic ‘moments later when the re- hardt-Grappelly. smile,’ replied, “Y”s,I could get cording session was well under way. This is a vocal disc, not an orchestral one! strings ! “Apparently other guitarists the thrill of hearing Reinhardt play- by Django. Not so hot ! The reverse, Smoke were not so fortunate. “How did the German treat u ? “‘ing’ “in the ‘flesh.” Under ‘ideal Rings, features ,a brass section, badly out of was my next question. Through the studio conditions, with just two or tune, and loud enougn to reduce Django to ever-present Delauney, Django explained three ‘peoplepresent, apart from the a tiflny tinkle. Nothing of note in this disc. how the Germans had asked accompanying musicians, Reinhardt him to play in Berlin, but he ‘had was , completely relaxed and I was 1)ECCA F6776. Lainbeth 14’alk . Flat j’iio/ quoted an impossible fee, which they able to observe him in many moods. F’oogee. Hot Club and refused to pay. ‘‘. ‘‘JUST DISAPPEARED number was consigned to wax. The time had come for me to bid a it : those who don’t, won’t. Need I say reluctant au revoir to Django Rein- more ? hardt, leaving me with a memory of a wonderful experience. H.M.V. B8669. Sólitude—Reinhardt-Grappelly Incidentally, ‘he had not brought and Orchestra. This is a good disc. The intro. is a trifle timeworn, but the body of the record is ‘excellent, including, for once, , our bête noire Mr. Grappelly, who is quite good here. About his future plans he would say Django is in good form once more, especially 19 I tnen flanctect flim a copy 0± the ‘CReinhardt Discography “,and, ‘she turned the pages, memories were obviously evoked, for he smiled sadly as he remembered the happy times in ________________ the recording studios before the war. • , jtit. 1’i I then examined his battered guitar Django Reinhar t Going Django told me he had had it eight . . To ‘America?‘years. It certainly showed signs .ofTT reorted from Paris that wear arid little of its original polish j Django Reinhardt ‘hoseplans to a few ,ch&cds I was amazed at the is making plans for an extensive tour lowneSs of the action. “of tie U.S. ‘this summer. Although no The plectrum Django uses is the final arrangements ‘havebeen made, usual pear-shaped ‘pick, o\ medium Charles Delaunay (Reinhardt’s man-,, The case in which Reinhardt car- ‘At the present’ tim’eReinhardt is ries his guitar issadly knocked about. leading a small” band at ‘theCamarThe original handle is missing and is gue ‘Club In Montmartre and ‘is replaced by a pidce of wire. What , busily engaged ‘,‘puttiri finishing ged expressively when he -, saw me c,,’: , , , _- ‘‘- Without any request from me, Rein- Django on the lines of his “Improvisation it for me. As he handed me the pie- bears repetition, which is more than can were indescribable. It is impnssible to put into words The only item of note is a series of fill-ins Between numbers he would rhapso- ‘Reinhardt. dise on his guitar, or whistle softly to , So the Hot Club have come down to playing his own accompaniment to illustrate “cli ? How an ‘themighty fallen When they grew more insistent and a point to the band. ‘hinted at compulsion, he disappeared ‘Well, they mae the best of a bad job, and I and wandered the French countryside PLAYING FROM THE SOUL’ ‘was for the first time not wholly bored by the carrying only his guitar. He returned Completely lost to his surroundings, l’l’((/k. to Paris, months later. , Django puts his very soul into his The Flat Foot opus, of course, always I then asked him for his views on playing. Again and again he goes swings of its own volition, l)Ut the 1-lot Club the electrically-amplified guitar. Yes ! through ‘a number until the final make it rock iflt() the bargain ! I loe the he had played the electric guitar for master has’ been committed to wax to first eight bars by 1)jango. In these bar he a few weeks, but did not like it as everyone’s satisfaction. ‘recaptures his ñrst freshness of ideas. F,r it would not ‘reproduce what he He then relaxes in his chair—beads tlesc bars alone, the record is worth rdescribed as the “human tone.” - ‘of perspiration on his brow—and chasing. I ‘couldlisten to them ad infi;ziliiin. Yes, he did listen to other guitarists strums thick harmonies’ to himself, a and liked Bunn and Christian. His smile spreading across his face as he I)ECCA F6769. J)aft1iitc, Mv Szc-eel. l’{Ot own favourite musicians were Duke notices the awestruck look on the Club, with Reinharclt. Ellington and Lodis Armstrong.- His , faces of the rest of the band. ‘I’heseare two excellent numbers by this main interest nowadays was in classi- Well, all good things must come to outfit, in their usual style ; there is nothing cal music, especially.’thç modern com- ‘an end, and, too soon for me, the final , to criticize, yet there is nothing particularly posers. , ‘to praise. Those who like 1)jango will lile
5 INTERMISSION— HARRY FRYER and his ORCHESTRA PROGRAMME CONTINUED 6 DEE & MAISIE And their Electric Hawaiian Guitars We’d be satisfied if we could play like these two virtuDsos, Dee & Maisie insist on singing and dancing as well!! 8 RUSTY & SHINE “It’s Figures That • Count “A comical contrast in black and white whose absurd arguments and mirthful misunderstandings will soon put everyone in good spirits’ 9 First Time Here QUINTETTE DU HOT CLUB DE FRANCE The Greatest Swing Combination in the World featuring DJANGO REINHARDT and STEPHANE GRAPPELLY• The latest sensation in the rhythmic world these French boys bring something new in .“ swing.” An unusual combination, their music sends “fans “into rapture and surprises and completely satisfies everybody else 10 HARRY JEROME Scientific Spoof Clever conjuring interspersed with laught-’r FREE CAR PARK FOR 200 CARS “‘Tisnot in mortals to command success, But we’ll do more—deserve it.”—Addison.;1] F CHISWiCK EMPIRE TIIEATREI;0] I, PROGRA MME ij [IISWICK EMPIRE ThEATRE];0] Week commencing Monday, September 12th, 1938;1] M 0 7 HARRY WELCHMAN Famous Musical Comedy, Screen and Radio Star Singing Old and New Successes Popular hero of innumerable romantic musical plays, Harry’s golden voice will arouse your enthusiasm to the full OVERTURE ... ... ... ... Selected HARRY FRYER and his ORCHESTRA I Vaudeville’s Brightest Coloured Entertainer— FRED BRAND The Chocolate Drop from Dixie In new songs and clever dances 2 ALLEN & TAYLOR Two Boys Who Differ To Agree This pair are never happy unless they’re arguing. And as it makes you happy too, everybody’s satisfied 3 HARRY HEMSLEY In Juvenile Humour Maybe when you’ve heard him on the air, realistically imitating children’s voices you found it hard to believe that he hasn’t a troupe of kids doubling for him. Now is your opportunity to convince yourself that there is no deception 4 BILLY BENNETT . “Almost a Gentleman” His newest creations in comic doggerel show that happy in- genuity of invention that has set him in a class apart as a parodist and ribald rhymester PROGRAMME CONTINUED OVERLEAF FULLY LICENSED SALOON BARS ON EACH FLOOR Open for your Refreshment till 10.30 p.m. Photographing in the Theatre is Forbidden Productions and Variety Acts being copyright Unauthorised photographing is illegal In accordance with the regulations of the Middlesex Co ty Council— 3. Alt doors available as exits for the audience and artistes shall be available for egress during all performances 13. Where a fire resisting screen is fitted in a proscenium, the apparatus must be worked d.iring every pe tormarsce in the presence of the audience, so as to ensure that the arrangements are in perfect working order, and the words “Fireproof Curtain, “or ‘Safety Curtain,” or other words as may be approved by the Licensing Committee, must be printed on every such screen, Whenever the safety curtain is lowered all lights in the auditorium mustbe Immediately lighted, 8. A copy of the Regulations 3 and 13 must be printed on all Programmes of Stage play entertain. meets held on licensed premises.
I CHISWICK EMPIRE I Managing Director P?I)NCE LITTLER District Manager . JOHN CHRISTiE t’iager ...... _ —————-.. F. J. CREASEY Ox OFFICE OPEN 10 a.m.to 8.15 p.m. ‘Phone: CHIswick 0505 (5 lin TWICE NIGHTLY 7 DESMOND & MARKS 8 RONALD FRANKAU 9 IRIS SADLER I OVERTURE 2 THE TWO VALORS America’s New Star Equilibrisits The Queen of Burlesque 10 The World’s Greatest Swing Combination— DJANGO REINHARDT & STEPHANE GRAPPELLY 3 JOHNSON CLARK The Squire of Ventriloquists with “Hodge with THE QUINTET OF THE HOT CLUB OFFRANCE 4 HELGA STONE 5 TED RAY 6 INTERMISSON— Nevr the Same Girl Twice - Fiddling and Fooling DERMOT McDERMOTT nd his ORCHESTRA 6.20 MONDAY, APRIL 5th, 1948 8.30 Rising Falling Stars The Twenty-first Century Comedian with Monte Crick at the Piano COLISEUM CHARIIAG CROSS STOLL ThEATRE KING$WAY EVENINGS AT 7.0 EVENINGS AT 7.0 MATS. : MON., WED. & SAT. AT 2.30 MATINEE. DOLORES GRAY WED. TI-IURS. SAT: AT 2.30 TOM ARNOLD’S IN SMILE LITTLER’S ANNIE GET STARS ON ICE YOUR GUN wm WFTH THE 3 ROOKIES ADELE INGE BILL JOHNSON DAPHNE WALKER r)
22 TOMMY LADNIER’S OPINION Panassie continues : “Django uses the guitar like the complete so1oanstrjjrnent, and is not - tied down to the ñormall t This month I had intended to write guitar-style chorus. Hi p1ayin has SINCE this month’s swing guitar out- of some of the recently-issued records very few point • ‘incommo featuring guitar choruses, but, as ‘‘Iother jazz guitarists and his arn.unable to get within reach of a ideas and phraseology are so diffi-• radLogram, I propose instead t . de... “Liza “I”lelleville.” The Quintet of vote this column to news of Django cult to remember. And one mustnot that has long proved a finger-tangling Reinhardt. forget the beautiful tone ; rich, warm vehicle for those wh aspire to hot-style Some copies of the special joUrnal . vibrato ; and intense expressive improvisation. The tricky chord changes published by the famous French Hot emotion. Club—’which soon resumed its former Coloured trumpeter Tommy Lad- have always been a stumbling-block to activities after the ‘eviction df the .on heaning a recording in New the guitarist whose ability as a soloist is Nazis—have justfiltráted into this York of Django Reinhardt, exclaimed confined to a knowledge of standard country, and it is :interesthg to • have - to Panassie : “Man ! that’s the Louisithe “licks.” : Such men are usually unhappy latest information on theguitarist ana style •ot guitar playing “;and with this type of number, which, more who, to my mind at ieast reigns Dicky Wells (trombone) and Barney than many others, calls for . a display of supreme. : • Bigard (clarinet) both agree that the indefinable talent that is the prerogative . . . 1 • OPINIONS Reinhardt is an inspiration to ‘jazzpermits them to extemporise around any Perhaps the term , latest intorma- and jazzmen. tion “is misleading : my news is not None would dispute that these three type of chord sequence. so much about Django’s activities ‘asmen are among the jazz “greats.” bend a profitable ear to the fluent way in about the current comments that are Wells, of course, has played with which Django Reinhatdt phrases on the being made about him. It is always Django many times ; Bigard, too, only• melody line of “Liza.” Here he intriguiing to hear opinions expressed to a lesser extent. Ladnier has not, demonstrates once again that he is. truly by those who coma from the home of to my knowledge, recorded with Rein- .“ the master “when it comes to imaginative jazz ; and American musicians bi:l- hardt, and his tribute as therefore leted in Paris have been among the most gratiying. first to acclaim the artistry, of. friend Panassie writes : “Django is the tempo, but never once does he “blot “a Renhardt. Many consider him not complete spontaneous musician and onily the equal but the master of.most has no knowledge of written music. American gi’itpiists, . and. have ex- He has a positive genius for making a loss for ideas. . S 1auned, upon hearing him, that his lastrninute orchestral arrangements, vork is “born of the inspiration of a and indicates on his guitar the phrases genius.” ; S • • , : . . that should be played by the various wealth of guitar on this side, too; and in ‘One U.S. guitrist, formerly on the rnstrirnents for which the orchestra- no way does the standard of. playing fall staff of the Columbia Broadcasting tion IS intended. He will say: short of that on the coupling. system, said that “such musical bril- ‘Clarinet, play this ; trumpet, play moved musically with the times since Liance as shown by Django Reinhardt thiS ; guitars, this ‘; and so on. The their first recordings, but their talent can only comes once in a century.” Well, result i amazing harmonic effects.” still justifiably be describedas unique. • Djan,go first came to the notice of the Other French jazz musicians have British jazz public ten years ago ; all added their comments to Panasthere are still 90 years to go if thi sie’s own, and among them are the ‘statementis to be borne out by facts. following : • We will have to wait and see what On the occasion of the twelfth an- posterity brings forth. . . ‘niversary of the Hot Club àf France. French criti Panassie, who knows , Django said : “The Hot Club of more about music generally, and jazz France is not for me to speak in, but m, particular, than most of. the self- on this occasion I would like to have styled, counterparts masquerading as seen present the original quintet, jazz critics “• i•n this eountiy and. with my friend in arms, Stephane America, writes ; • “D5ango attracts Grappelly.” S .111 classes of musicians becauàe his Stephane knows that it i his crig nal musical style and tempera friend s wish to be ieunited with him ment are so unique. • His musical and he may eventually decide to reexpression and genius came into be- turn o France and Stake uri the part- ing through the language of jazz nership that has proved so beneficial which he first heard via his beloved to jazz. There is little likelihood of recordings of Louis Armstrong. Jazz Remhardt settling in London ; he does now in the U.S.A. for a. series of .critjjcs With little intelligence believe not share the violinist’s affection for concerts with the Duke Ellington that Reinhardtis not a true exponent the sophisticated setting of West-End of jazz. • This is ‘an absurdity Let vriety stage life. these same critics imagine a ‘Dango ‘Chaput, bass player with the informal “jam session.” Judging chorus played on alto or trumpet— original quintet, is quoted as saying: together in Volpe’s studios for an superb ! “: Who is better equpped to give the by their expressions, they both Many people would disagree with people of France the true feeling of that lasit.remark, but, since it would srncee French jazz than Django be vaatually impossible to play one Reinhardt? oi Django’s choruses on either of these Anl that will have to do for the moment. I must now don my black two instruments, we might give Pan hood and toll the handbell until this assie the bnefitof the doubt. attsck of the plague has passed. August, 1945 Swing Gutaxs By LAURIE HENSHAW Swing Guitars By LAURIE HENSHAW put is virtually confined to two records, I will deal with the “pick of the lists “by referring you to: the Hot Club of France (Decca F.8876). “Liza “is the Gershwin “evergreen” of those whose innate musical gift However, gifted or otherwise could phrasing on a given theme. Django takes two choruses at torrid note or give any indication that he is at “Belleville “is one of Django’s own melodious compositions. There is a Django and Stephane may not have DJANGO REINHARDT (who is Band) and HARRY VOLPE (famous American guitarist) get enjoyed the occasion.
SWING MUSIC CONCERT FOR MUSICIANS DJANGO REINHARDT, STEPHANE GRAPPELLY and THE QUINTET OF THE HOT CLUB OF FRANCE MAKER THE MELODY THE MILLS BROTHERS (Four Boys and a Guitar) ERIC SIDAY, REGINALD LEOPOLD and FRENCHIE SARTELL CLAUDE BAMPTON AND HIS BLIND ORCHESTRA CAMBRIDGE THEATRE, LONDON,W.I (I_ 1: t1 I. I (.1 t, .1 I 11 1to’k. , r t, (. ,, I r. lg’ Ti (fl.. L,I. Organised and Presented by for and on behalf of M . P . M . E ntertain ments Corporation, Ltd. 99, PICCADILLY LONDON, W.I },rJ Firi1,ii.iiiq: Stephane Grappellv (/u I (‘1111(1 ()J” F,a!ICC. Django Reinhardrj -O1IC Of i/IL’ )1Q,/I.V IH( ?%! h,j//j(j,,I UiIQ!iVL
Staged and Organised bj “The Melody Maker” for and on behalf of M.P.M. Entertainments Corporation Ltd. PART ONE (I) DJANGO REINHARDT, STEPHANE GRAPPELLY & THE QUINTET OF THE HOT CLUB OF FRANCE SELECTIONS FROM: *“ Daphne,” “Bricktop,” “Mabel,” “Minor Swing,” “Bolero” (de Django), “Mystery Pacific,” “Cavalerie,” “Djangology,” *“ Swing Guitars,” “Spevy,” “Ultrafox.” *Qwn Compositions. PERSONNEL: Django Reinhardt, guitar ; Stephane Grappelly, violin ; Roger Chaput, guitar ; Eugene Vées, guitar ; Louis Vola, bass. (2) THE MILLS BROTHERS (Four Boys and a Giitar) SELECTIONS FRO.’I THEIR REPERTOIRE (3) ERIC SIDAY & REG. LEOPOLD With a Rhythm Sec/iou Accompanini€nt “TWOVIOLINS” “Jed and Elmer “(Siday), “Honeysuckle Rose,” “Tiger Rag,” ,, I Got Rhythm “(solo by Sidav with guitar accompaniment), “A Maurice Ravel “(A dedication. Unaccompanied solo by Siday). PERSO.\’IVEL OF RHYTHM SECTION: Sam Geisley, guitar ; Max Abrams, drums ; Don Stutcicy, bass. INTERVAL OF TEN MINUTES (Arrangements by Eric Siday) “Chicago Muggins “(Siday), “Basin Street “(Vocal by “Frenchie” Sartell), “Blues “(Siday), “Beale Street “(Vocal by “Frenchie Sartell), “Chicago Honky Ton “(Siday). (5) DJANGO REINHARDT, STEPHANE GRAPPELLY & THE QJJINTET OF THE HOT CLUB OF FRANCE . SELECTIONS FROM. “Dinah,” “Chinaboy,” “Exactly Like You,” “Paramount,” ‘‘Charleston,” . “Some of These Days, ““Honeysuckle Rose,” “Limehouse Blues,” “Blue Drag,” “Tiger Rag,” “Lady Be Good,” ,‘ St. Louis Blues, ‘‘“Sweet Georgia Brown.” CLAUDE BAMPTON & HIS BLIND : and Staff for generous co-opera- i • (6) ORCHESTRA SELECTIONS FROM: ‘,Chasing the Blues Away,” “01’ Man River,” “Showboat Shuffle,” “St. Louis Blues,” “Bugle Call Rag,” “Gotta Go,” ‘,Can’t Help Lovin’ Dat Man,” “Stratosphere, ““Marie,” These Foolish Things,” “Tiger Rag,” “Nightfall,” “Scandal In A Flat,” ,‘ Autumn “(Bampton), “Lullaby “(Bampton). FOR PERSONNEL SEE PAGE 13. FRENCH 7 BRITISH NA TIONAL ANTHEMS MELODY MAKER SWING CONCERT FOR MUSICIANS Cambridge Theatre, London, W. i. M Sunday, January 30, 1938 OUR Ct MPERE I PART TWO ERI C SI DAY, ‘‘FRENCHI E’ ‘SARTELL & JACK PENN, with rhythm section “GOINGTO TOWN” CHAPPIE D’AMATO r o : Cambridge Theatre Management t tion. ; All the Artists forgiving their best. i : Messrs. Truvoic4” for the careful amplification. ) Chappie D’Ama ‘for his polished compèring. Members of t SW. London Rhythm Club br their energetic I programme sehng. Pierre Nourry ftr organising the I visiting party from the Hot —I Club of Franc:. It, accordance with the req’iirrie,ts of the I.Otl(b)I Cou,,ty Ou,,ciI: The public n,y eae at the ol the perfor,nance or exhibition by all exit dors a,oi fr,’,,t d,’ors must be at that time open. 2. All gangss-avs, cornstors, staircases a,,d external passageways i,te,,de’d for exits ssall kept et,tirelv free from obstruction, whether prr,natent or tentporary. 3- Persons shall ,ot be penoatt,,t to stattd or sit in any of the gangwavs intersecti’g the seatg or to stt I,, any of the other gangscays. If sta,dittg to’ permitted the gango’ays 0” tt,e sat,’ atsf rear of tt,e seating it shall be united to the I umb,rs tt,,ticated in the t’oticrs exhit,ite,t i,, tt,ee positions. 4. The Safety Curtai ‘rn1st ,, I s’s cost ao,t raie,t in the presence of each a,,d,enc,.
INpresenting for the first tiiiie ii this couiitry the famous 1e1nh1ar(1t-(;rap1)cI1v Quintet. the Ic’1uli Maker introduces a comLnnattor which is flOflC the less unique because, vhiIc it has become renowned (( r being one of the c1cerct awl iiiost original bit groups of the (Ia. not one of its members bis an COhiHeCtiOn vitli. or has eveti •isite(1. the home of lint nilisic—.trnerjca. -\ II five members of the band arc French. Although (;raL)I)cI1 and Reinhardt had met pre‘ ioiisf their ()uintet ehich you Will be heariiig this a fternoon came iflt() existence through the activities of t lie I.t Club (he Iraice. (rein hiichi in COiisC(1 LiCiLC(’ It t(X)k its name. [lie Hot Club (If France may be coflsidered as the (olitinental m)ullterpart of the 1-:sghishs Rhythm Club) movement. but it appears to have been C•(i) nor) 1) terprising than nanv of our similar nisti t ii tion( )ne of the first tiongs it d id after its formation in i03.! svas to set about forming an orchestra of its ovfl ‘shiicht‘%OUl(lnot only be svorthv of its ideals iii the music it seas cletertnzne(j to foster. bit VO)il(l l)CCOme 1 beacon for all French jazz enthusiasts and I)imiC(rs. The first of these orchestras was formed by the coloured panmst. Freddy Johnson. and became known as Freddy Johnson’s Harlemites. After achieving considerable success Johnson left France and time task of succeeding him was entrusted to ‘I)jango Rein- hardt. Remnhardt promptly brought in his therm mieol- found friend, Stépimanc Grappehly, and, with l)jango’s brother, Joseph, and Roger Chaput, on guitars, and the bassist Louis Voha, time Quintet of time Hot Club was formed. Of its achievements little need be said, They are to)) vehI known from the many Oriole Decca and H.M.V. recor,ls available in this country. After sofl)C rehearsal time Quintet in Nosenslwr. 1934, made its debut in the Salle de lEcole Normale de \luslq))c. and svas such a sUCCeSS that a second concert had to l)C )rra;ige(I. Earl in )t played at the Gala do Disque et de la Radio at the Champs - Elysrcs Theatre, and in March of time same ear achieved a veritable triumph whemi apj)earmng before I .000 people in the great Salle Ph-eel. Ftecenthv one cimamige 1)05 takemi place in tiw hcrsomsncl. (;tiitarst Fiigene ‘%‘(;eshas replace)l J °5tPiiRcmmihardt , and almpears seith the corn- bsnatmon this afternmomm. J mist as this pngrane g))C5 to press we learn ‘s-mthmpk-asm re thmi t thu’ (him mitet has mi))W Si))(’)i a mess exclum se comm t ricm vithm the I)ecca l)ieCorl (‘omnlsmml. als)) that i)’))t)Itt))))’ ire ) .)fl)j)l)’t(’ f ‘ra tilt)) contract at record money which will shortly be taking time hoes to ll))llyWood. Good luck to them. ‘Django ‘Reinhardt J can ‘I)jamigo ‘Rcinhardt has to-day bcconsc ncogmused almost througimout the civihiscd world as one of the roost phenonmenal technicians time guitar has ever known. This is surprising for at least two reasons. First of all he ha never beers taught music. At heart he is a pure gypsy, amid circumstances and enviromrmmment have all helped to cuhtivatc this side of his nature. Frons early childhood he lived with his brother, Joseph. in omse of the coumitless little caravans clustered at the gates of Paris, time life of a true los-er of the winding road amid open spaces. Originally he played tIme violin, which he taught Irnoschf througts his own natural musical talent. Then, vhen he st-as eighteen ----and this is the second reason why his prowess is so amnazing—an accidemst robbed him of the use of two fingers of his left hand, Finding it, in consequcmsce, inspossible to play the violin, he turned to the guitar, amid it is no exaggeration to say that to-day he can do nsore with three digits than the majority can do with five or could do with double the number. Django got his taste for jazz and the ability to play it fromn listening to gramophone records, Ask him where he learnt it all, and he will play you one of his beloved Louis Armstrong recordings. Before long, of course, he felt the urge of all jazz enthusiasts to play with a band, and with his guitar slung over his shoulder he sought out the small clubs of Paris where the bands were hottest, and sat in with them, In this way he soon became well knowis and many offers of regular employment were made to him, But the gypsy in him was too strong. The roving nature rebelled at anything that kept him tied to one sl)ot. In fact, nobody could ever find him when he was svanted - He woimbi bC playing in one little club one night two nights later he svould turn up at sonse other in another part of the city miles away, Nevertheless they man- aged on occasions to get hins into time recording studios, as moore than one Frencis H.?ml.’. lmy Micimel ‘arlop’sOrchestra bears witness. Stephane Grappelly It is an interestimig coin- cidence that svhile Rein- hardt originally played violin, (;ralsl)ell-, wimo is nose a star on that instrimntent, comparable to time illustrious Vemsuti, was ormgmisaiiv a tmiamsmst. He learmst the first rudimmments of music on the P°’° fr))mmm mis father )lurimsg the svar before taking up classical -ioiin studs’, it only I))’ chmamici’ t tm.mt lit’ t))))k )il) mmmmmsc as a hr ft’ssmm mm . \ lit-mi lit’ smas bomm itt-tim ii)- is-as smm)i)lelmlv called mm IMhli I (1(111) mitism’ for a secomm(l Vi))himmlst mm a nm ,rclitstrm . ‘limisrroft’ssmmmimai (it’h)lit )‘.l5 5)) SIICC(’ssflil that ml’ rr.’mmlammi(-(i ill I mm’ ira ui to hS’C))mlle Ill (imi(’ (‘I Ill rs(’ Its leach s-iohimm , a WISh 1)111 Ire held for tV() stars. One evening he map. lcnrnl to rca r omme Stejsimemm lfougimm . a vell-knovmi piamsist . I mttrmgmmeth vmtis the performmsamrce Ire there- upon decided he wolml)h bccommse a jazz I)ianist. and it was as such that before long he was found in the hands 11(1 i’ such Irominent French mumm-i clans as Phihip1x’ Brumm ( you will rensemlx.-r he was trunspet with Jack Hylton’s band for many years), Michel Emer, Plamendomm , Fie- bach, (;regor and others. For three years he was pianist with Grégor, then someone tOl(i Grégor that Stéphane couid also play violin, More by way of a joke than anything else Grégor asked him to try a chorus. Very concerned, because he had not touched the instrunsent for months, Grappelly complied. and Grégor was so delighted that he promptly took on another pianist so that Grappell immighit rm’mmrammm rim time strmmmg sectitimi ‘sa mu etter ) 1 (act , 111(1 it not been for omre (If these accidents ViiiCi) immake lift’ stranger thmamm fiction, ammd miter time ss’inlh CoIl S(’ of our cart’r’rs, ( ;ril)l)Cil-s sojotirmi vit im (;regr rnmgimt has’e Vcimte(i time (.)ummmtet from ‘‘ercommumsg mrtto exst(‘ 11CC. At the timime (;rgtr 1001 ((liC of time fint--t L)amnt lIt contamned Slid) arttst as Philmppt’ itrun. Ian ‘aucisamtt,tile tr)(nt almOst. Pacquinet and others) then plating 011 the Con. tmnent, amsd ha)l lk’Cl) booked to go t)) A)ner)ca. Btmt a short tmnit’ before the’,- were (itie tO leasa c;rgor became mIlvols-e)l ill a serious nsot))r Sn) ash svhicIs put hint in hospital for st-eeks and the bamot had to break up. In con- sequence Grappellv joined the band at a Paris resort known as the ‘‘Croix du Stmd “and hadn’t been there more tisan a few weeks when who shotmld coimie svamiderimig along, looking for a band to sit in with for the night, but Django and his guitar. The tvo struck up an immediate ‘friendsisipand thereafter became inseparable. The French Quintet The French Quintet (coniiiiued) l.eslic Macdonneli, principal of M.P.M. ENTERTAINMEN1’S CORP.. LTD., promoter of this concert. 6
26 THE MELODY MAKER, DJANGO REINHARDT and HOT CLUB de FRANCE CC Reported by TEIII V UShER r[WQ hundred miles away, in a peaceful It would be useless to attempt to describe chromatic runs, if played in first position, Manchester suburb, as the truth slowly his complete mastery of the instrument. I are fingered : if played up the fingerhoard, penetrated my brain, comatose from the will content myself by saying that he is with- they are glissed with one finger. He plays unwonted earliness of the hour, I leapt out out a doubt the greatest soloist ever known. unusual chord shapes simply by reason of his of bed muttering horrible oaths at the perish- Were it not for his handicap of two partly handicap of paralysed fingers—I presume this ing coldness of the air, washed my neck, paralysed fingers I have every belief that he because he never uses the normal shapes. His leapt into my long, lean racer(?) and tore would he also a great accompanist, as Lang guitar is legitimately tuned, and he plays it off in clouds of stones and burnt oil for was. Comparisons are not in good taste, legitimately. He is definitely not a “freak J ack Duarte, who was to accompany me, however, so let us hold Eddie and Django, player, but a sound technician. The seciet and we set off on our pilgrimage at the each in their respective sphere, as our of his amazing technique in single notes is unearthly hour of 9.0 am. Nothing but favourite plectrum guitarists. Reinhardt would have dragged me out at To detail the programme, and to describe hand, she has given with the other : although that hour on Sunday morning ! the polished ease and marvellous playil of two of his left-hand fingers are paralysed, Hurtling along at a steady twenty-five or the Quintette would serve no good purpose, the remaining two are worth any four of so, all went well until we reached St. and merely make you wish you could have the normal man’s. They are extraordinarily Albans, where a new and more horrible been there : so I am simply going to describe long and powerful, and the tough sinews smell assailed my nostrils. Hastily pulling Django, his appearance and personality, a.1d are apparent even from a seat in the stalls. up in a couple of hundred yards or so (it his methods of playing, and to solve once Django has no problems of fingering—he has has marvellous brakes) we found a wheel and for all those problems of his technique only two alternatives ! He uses his first hearing had seized. Curses rent the air. We which have worried us for so long. raved and tore our hair, having only ninety Django is a French gypsy of about thirty play on the same string, he uses the first minutes to get to Town : a local garage was years of age, I should say, (full particulars finger for the lowest, slides it up to the next requistioned to do the repair, and off we about Django were supplied in the pro- fret, and then uses the second finger for the dashed to the station, to find the next train gramme of the concert, but to crib these third note. If he is doing an arpeggio on arrived at St. Pancras ten minutes before the would be a breach of good faith) of medium several strings, he uses alternate first and start of the concert. Hurtling out of the build, very dark, with a countenance which second fingers to a great extent. These two station, we threatened the taximan with rarely unbends from its normal tranquillity. fingers are amazingly agile, and considerably a horrible death if he did&t get us to Only when a particularly brilliant solo wrung more flexible in every way than the normal Cambridge Circus in ten minutes, and he did front the audience wild applause, did he smile Player’s. I saw at one point that the 1st and it ! As the Quintette played their first notes, slightly. Yet there was no trace in his man- 2nd fingers were actually fingering two notes J ack and I dashed down the aisle and sank ncr of that unjustified conceit from which so at such a position that the two fingers were exhausted into our seats. Ten seconds later many of the lesser lights suffer. we had forgotten all about our misfortunes, He plays with a plectrum, and not with His right hand, too, is phenomenal. He in a display of guitar genius such as we had fingerpicks : he uses the first and second doesn’t rest any part of his right hand on never heard before. fingers only, in single note playing : in chord the guitar top : it pivots from the elbow a The great man is the very antithesis of work, he can use the third and fourth fingers little, but principally swings from the wrist. our English guitar aces. He has no flourishes, to a limited extent on the first two strings. He uses downstrokes for the most part, no showmanship. He sits quietly and confid- He plays his famous octave passages on any except for extremely rapid passages, or tremobed ently, playing the most amazing passages two strings, with a damped string between, without the slightest breach in his armour of i.e. on first and third, second and fourth, often rattle the strings, so fiercely does he natural poise. There is no Gallic flourish in third and fifth, etc., avoiding that freied strike them. This, however, was to make his ,behaviour, yet the gypsy in him speaks rushing up and down the fingerboard which sure the sound carried to the back of the big in his every note. would otherwise have been necessary. His theatre in which the concert was held. that what Nature has taken away with one finger principally : if he has three notes to absolutely at right angles to each other notes. The tone he produces is absolutely grand, but when hitting chords he Comparison with other guitar artists on the same programme, as regards tone, was most enlightening! We returned home chastened, hut happy! 1 79. 1)jango’s (;uitir 10r JOhfl Marshall of Dewsbury here ar. details of Vogue EPVIO2S by the great French guitarist Django Reinhardt. N11(l,LL’.S 1fl(.I l’Vfi,l()I (jflç? were recorded by f\’Iatiricc Mcunicr, cit ; Eddie Bernard, p: I)jango Rcinhardt, g; Emmanuel Soudicux, hs: Jacques Martinon, d; in August 1 947. Stockliolni was r.cordeJ in the following month by Hubert Rostaing. cli: Django Reinhardt, Eugene Vees. g; Emmanuel Soudicux, bs; Andre Jourddn. (I. 1)oi,ce A iiibiance was recorded in NOVCmt)Cr I 947 with the sanr. personnel except 1 hat Gerard Leveque. cli, replaced Rostaing. All four titles were recordings made of broadcasts from Radioditlusion Francaise.
May 23, 1953 THE MELODY MAKER 3 27 GENIUS TIAT WAS JT was in a tatty Rhythm Club at Willesden that I lirst heard the magic of shai)eS were of necessity limited, Django Reinharclt. Like most Rhythm Clubs, the place power with his plectrum hand. looked like a barrack-room. A radiogram, drive of his rhytlini that made before I met Reinhard’, A;aui ancient even by 1935 standards, mutely Djano so PO1)tilOi’ as a sessioneer the setting was the Wood Green stood in one corner. Then someone put on withì accepted jazz greats. And a record of Reinhardt, and the instrument they ce’.aii1y gave of their best came vividly to life. The disc was Tiger Rag “—oneof the first. the sides he made with Dickle few titles issued here on the old Oriole label. Not one of • Reinhardts best, . but. sufficiently startling to transfix everyone on the spot., He had been a legend Unt 1 then . Reinhardt had been a mere the g 0th) and the presence of casual attitude so marry .teit legend to a handful of musicians; a Bixian Carols ‘Merrild—quite the most artists adopt towards the t.els figure that had never come to life. It had been beau ti foE blonde vocalist that of their trade. The high-voltge rumoured that there was a French guitarist—a has adorned a British stage—the Chticl: Waynes and Barney gipsy of sonic SOit——\Vho could ‘play rings around any of the top-liners then known. And it was ‘veIisaid that at least two fingers public ? Such artistry passed of his left huid were paralysed. But. of course. theni by. Yawning perceptibly. rio one believed tlzat If Tiger Rsg “was a technical to7lr de force, It they waited l’or the clowns. was another Oriole—” Blue I)rag “—thatpt_it Reinhardi anlong the GorEs. The l)reatht,Akiflg beauty of l’ils Inpro— visation Oil this l)ieCe—SUI’eiV ilot built on the stronrest of harmonic structures —traflsfOrii1edthat dusty barrack.-i’OOIii. into a magical cave. Grappeily, 1,00, caine in for his share of adulation. Venuti, the reigning king of jazz fiddlers, was dethroned with con- temptuous snills. “Stephane is inore modern,” chanted the newly—Won tclherents as they fol— lowed the cultist lIne. Of course Stephane ‘.‘‘as“more modern “—butthat did not detract trom Veriuti’s greatness. -——,— .. With Reinhardt It was different. ‘There ‘,v1ssno yardstick to measure him by. Eddie Lang’? B then dead tWO N’e.ir, E(idie ‘,‘.‘ti:already aniong the ranks of the musical immortals. Few felt inclined to desecrate snatches of melody as I piled his imine. No. comparison was futile. Reinhardt was a l)h(flO1Y1eilOfl. His contrast between tlie,a comrades :t: niu.u’e . Grappell 1 .—— SUti. ‘Ifl,i)liY LiiS.’ i.nrished asi cie .ophlstieatad, cictirsed, Rein- any preconceived no— !iardt —swarthy, it’iurospeet.ive, tiOflS abotit guitar technique. The man was entirely I, was evv to see Why Grappeily Dfaii.co IC/i) qeverateci lauqitter (IS well (IS’ beat. ‘I’liis photo unorthodox, hart )ec,tti.e the dat’iiit f His physical llmltations—-ves I he t.wo—hngei’ rumour turned out. Society. Otu anew he wutid be to be true, after all—had caused ‘-i.hin’i to develop a “Guitar . ake, br example, the t1ng’iin Mi t lied ‘difici iU. fi om I ii L1)tIiiP 01 Cha iig Sh’rdow He had a beat aC(Ci)LCd tut.ois on the subject as ‘. • ... . Ilc’iit liii, SOti stLtrotivCit felt tiut, If uttvtteci t.) it was startlii’. renix and Iniprovisalion a Mayfair soirée, he wDukt But technique Is only one ,i;t.ii )OrC solo Pe’forrnance adopted the easy course and ‘1pect 01 mtihic il pi oiicleiu W l( B I ci e c ui sin el be i polltely but flitrily be tequesteri fortr-Lar lead Into ‘I Saw Stars Musical greatness l an expres- 91 .i,llei. to use the tradesrnet’i’s entrance. .ion of the soul rat her thou the .° 1J d t . t.oweriii gift.s t’ii’i_,ci , I 1001: tO it Reinn ud eqii i fOIlOCI C \P1 ‘,Ion In b towers ab)i’a stich socisi tULVISILtie’s. was mole than a iiere technician foux :baI ititi 0. ‘—ligure too ()itel Reinhsrcit now ts.kes hts Is enshrined in a score of his iioflchalahitl\ dtsmissed by th plate aniori the nut’.sieL jiLt- recordinas ian an A.s time pssse.s on he will be HBut au introduction ls a e a no parallel musical aPeritif; It should serve for hisrhythni playing. Here, Like many great artists. he was to whet the listener’s appetite for l)i’Ofle at times to let the ur”ent °‘e. , \\ hat could , be mote advance, there will never be enthusiasm of a fat—paced estintr and aI)I)roE)rate——than \Vliat Ai’nsire.tttg i. to ha chorus momentarily dominate i,tti oduction to ‘I S.s’a’ trumpet, Hawkins itt the ten’w his nnate sense of good taste. ‘as ,3LC 3011 Taruol tt the pSi). Bitt, in nero reflective mood, he crea ted Phrases of . stich i)eaut’r tlni t many a oerson fla.s been ii fl’(’(.l I) teSt’S. An appreciation by LAURIE IIENSHA W his injtiry proved a severe handicap. Yet, though his chord he could generate a beat of teal It was, indeed, the urgency and with Reinhiai’dt behind them. As backstage in the dresstng-rooin. evidence, cite has only to spin Grappeily was standing wth a Wells, Bill Coleman and Eddie was bowed over his gtiitar. [1 South. I fist saw Reinhardt in 1937 at the Wood Green Empire. The wedged beneath the brtd;e, Quintette dii 1-lot Club do France He was so casual wa.s making its l’irst British tour. Despi te the exqu isi te resentation and sul)erb musicianship of another manifests tion t tour could hardly be called a Kessels would recoil in horrnr ii suieces. S’Iusicians were enthralled. The asked to take a chorus on Reia Close—up of a /raizd’icai ocr’— conic—tire Reiiz/tardf left. Ten years and a ‘,varpsssad .ErnI)ii’e. Butt this time it we.s drnk in his hand; Reitthardt was that same battered Msocuferri—--witli a ma tcnbo.’c e ver I reflected that here wes hardt’s guitar. Yet he fingered InspIred (Continuer! on p. 3 ccl, 3) : ‘. (Cottitiueci froro p. 31 hire, with q’.testioits via a ccurteOtis Grappelly. i: cottid iioi; hail) IiOttti the entgrnat tO.. accepted as au “equal.” . . Btt Retnlnrdt’? One In- But such a musical colossus :nrtals. forgotten by ‘allbait a tew. But, though techniques and style titay another Dlstuao Retniarcit. Dango vi’as t;o the gutuu’, .ili cit’s h i rn vi f/i. ( f, to r.) : Joe/c Teaparcten , Stephen e C cii ppeflg ctiicl Earl Iliiies, during tire All Stctrs’ first liszt (0 Purl So Laity niuslcian.s would hive played a snatch of the main throw. Not Reinhardt. His Is quite distinct from the melody. Yet ore tea uses that no other tuite could follow such an intoduetion. This is the epitome ot logical, 7nnsical construction. Reimthardt has been criticised L Tit e oiv—deTCted nan’ iereioiz.
28 B.M.G. DECEMBER, 1967 Discoveiag Djaago By JOHN A. WALKER Ihk RE you one of those lucky people who have just to wear off a little. discovered Django Reinhardt? If you are T envy you, for all the magic of manaed to collect some 290-odd and it is on this basis I wish to found melodic genius is yours. it was not so long ago I was in reputedly been recorded by Django. called. Jazz offers a wide scope for any your happy position. Some ten years My collection is the product of musician and indeed it is this fact ago I heard a terrific sound coming sea rches th rough second-hand shops, which makes it necessary for from a bathroom in H.M.S. “Vernon”and the inevitable “RecordToken” instrumentalists to be familiar and and, on entering, I saw a fellow sitting usually asked for in reply to the capable with their chosen instrument. there, completely “gone”and giving luestion of Birthday and Christmas It also demands their powers of a great display of Django-type jazz. presents etc. This pile of recorded imagination be such that too much All this from a left-handed guitarist material has supplied me with a wide repetitio1. is avoided. too. I often wonder, incidentally, selection of Reinhardt’s performances whether he still reads “B.M.G.”T did not realise it immediately but between 1936 and 1953. Owing to I was hooked; both to the guitar and as a whole my ear has become attuned to Django’s type of music. At first, of to the originality of Reinhardt’s music course, this was marvellous and I and I find that even his fantastic could get hardly enough of his playing, powers of musical invention can be rushing to turn up the radio when I taken to task. heard his name mentioned and buying, when possible, his records. All this was very proper until the novelty began like to point out I have never been Over the last ten years I have from my experience of hs recordings records of the 527 which have my criticisms, if such they can be this and an increasing interest in jazz the difference in quality between Before I do this, however, I would lucky enough to hear Django in person. Therefore, 1 can only speak This last fact, probably accounts for recorded and live jazz, in most cases. Any musician cutting a disc is bound to realise it will be for keeps and as such nmst be played in a manner which will not be derogatory to his name. Who then can blame him if he does not become adventuresome and refuses to “getoff the ground”? Most people who know will agree that Django suffered little from this malady and could usually be counted upon to give an “impromptu”performance, even for a recording session. OFF DAYS Like all of us though, he must have had his “offdays”, when he fell back upon familiar phrases and runs, as indeed he does on occasions. To the new fan this hardly matters, especially if he does not possess particular knowledge of jazz. For suddenly, upon fresh ears, there falls a cascade of notes, each one in its place; each one a necessary as the one before it. Taken as a whole this fusilade makes a solo of rare beauty and one which always reaches a logical conclusion. It blends with the melody so well this can usually be heard if one listens with care. Eventually though, the ear becomes accustomed to the separate forms and individual runs used by Reinhardt. Indeed it is through these, plus the impeccable tone of his acoustic guitar, he is instantly recognised. Naturally the initiate does not worry
29 DECEMBER, 1967 about whether or not Django is being one could assume he had his tongue in original. He is enjoying a performance cheek when he did it. Except he does and this is as it should be. But comes exactly the saihe in the version of this the day when he buys a new L.P. of number on Period SPL 1202 (mistitled Reinhardt and a couple of tracks “Fantasie”,by the way). sound familiar. Realisation is beginning to dawn on him that here from “Louise”when playing “Swing-and there Django is “cheating”a de-Paris” on French H.M.V. FELP little, in spite of what the sleeve notes 203. say. Having made such a statement I this, it only supports the fact that must, of course, qualify it with a few Django’s mind was alive to all examples. I feel ‘thebasis of jazz is the chord used these possibilities to the ‘bestsequence and, therefore, this is where advantage. I will start. Django was obviously very much at home with the straight Blues my efforts will not be recorded as sequence, e.g. in the key of C: —C, Am, F, G7, C, C7, F, Fm, C, G7, C, slating a great musician, because this and, of course, its variants. Indeed he the novice listen to the records in the wrote many tunes based on this way I have described. sequence. “Belleville”,“Daphne”and “SwingGuitars” to name but three. then I am sure you will fini more Also, he recorded many songs using fulfilment than by letting the solos go this sequence. Old favourites like over the head in a welter of harmonious “Nagasaki”and “AfterYou’ve Gone” phrases. My enjoyment has been lend themselves very well to the increased a hundredfold by critical Reinhardt treatment. For instance, ‘listeningand I am sure it can do the listen to his recording of “Nagasaki”same for you. on H.M.V. L.P. CLP 1491, and then to “ISaw Stars” on R.C.A. find this so. I do not icnow but I am RD.27236. They are indeed very much sure if you listen you may find out. alike as far as solo work is concerned, naturally, as the sequence of chords is very similar. IDENTICAL ‘Anotherexample of this repetitive- ness can be found on H.M.V. L.P. CLP 1249 for “Swingingwith Django” can be compared with “Stompin’at Decca” on ACL 1158. While we are still with this latter L.P. the accompaniment to “Love’sMelody” is identical to that of “Manoir-des-mes-reves”.Amongst the records I have are a fair sprinkling of such examples, but then again, not too many. Enough, shall we say, to make such investigation as this enjoyable and worthwhile. When talking about repetitive phrasing and “cheating”,we can touch on the practice of using snatches of melody from one tune when improvising on another or similar foundation. Again, this is something Django did frequently as various tracks on L.P.’s will point out. A few examples are “Bluesen Mineur” on Polydor 4651, in which Django uses a snatch from the “DeadMarch” of all pieces! Though on listening to the piano of Ivan De Bie, BM.G. He also uses a snatch of melody of course, there is nothing wrong in possibilities when improvising and he Now, with all these criticisms, I hope was not my intention. I would rather Dissect and examine his work, for Perhaps not only the novice would I A
p— Django ISHOULD flke to say how nuch 1 enjoyed your recent Stephane Grappelly series on Django Relnhardt. In fact. I admire the biographer more than the vlo]inlst! What a change froih the turgid rubbish that so c1ien results when musicians start to make marks on plain . paper! My first reaction to Ivor Mairants’s analysis or Djanos “Ain’t Misbehavin’ “solo was Who is he to say what Django rnght have considered harmonlcally correct ‘?A closer inspection of bars 10 and 11, however, showed that vor was only too right. The two bars do make sense H we assume that Reinhardt had gct to know the number in the key of C—and had reverted to that key accidentally for two bars. What Ivor sees as “a straightforward run jn F major then appears as a rather more daring run on Dm17 and G7. The next bar is bizarre—but possible for the key of Ci—D. Windsor. Liverpool 15. DJAN GO 30 TYPICAL A LIFE story of Django _______________ Reinhardt would not be complete without an example of his personal style of extemporisation. His original style was his genius. Not only the style but the technique of both the right and left hancLs were completely unorthodox. Proof of the brilliant individual style is that there was and still is only one Django —evçnthough Les Paul was one of his greatest admirers and tried to copy him. “Ain’t Misbehavin’,” which I have transcribed here, is perhaps not one of his most brilliant solos —butis characteristic, especially the second chorus and particularly the seventh and eighth bars onwards. This solo also shows that Django, like all of us. was only human—I am sure he did not intend to play what he did in the ‘-tenthand eleventh bar. (9) With the harmony F minor 4 411 seventh and B fiat seventh, he plays C, D, F, 0, A, C, D, F—or a straightforward run in F major. Had there been an A fiat instead of an A natural it might have passed. Having strayed on to F major, he continues the effect by land- ing on a higl A natural, although the chord is E fiat, . To heighten the harmonic In- correctitude he goes from A natural to F sharp, which could be part of a chord of D. hut not E fiat. It only goes to show that anybody can slip up, but that only the best can recover so w&l. (Incidentally, a wiggly line means that the string is pulled sharp and allowed to return to Its true note. Where a slanting line appears after a note. that denotes an upward slur after the note has been struck. A slanting line before a note means slurring into the note and holding the note.) Listen to the 24th bar and you will hear the interval of a flat- tened fifth, going from F down to B natural—and this was quite a few years ago, don’t forget! But it seems that this type of harmony and Django were no strangers. Although In the 25th and 26th bars there are ju.st two crochet.s and a ininhn. the etlect is quite exciting because of the intensity put into each note. and, for want of a better word, I will call each effect a ‘dinge.” . •0 —I‘e Ui F V—J1rI Ti I I1 I1 U iji Li 1-si4 31L I 13( 4 4’ 4 4 1 $1, -r’1rr rit r Lr1 U! ____) 5P 3 • • •I I k:.L U Wi0L ‘W 2. Fr’ B’r r i I :r;nftt p ‘E1it#PttLF1LriTI!I1 3 —1.q, I lj, I i3i1 ‘a31I SFr , :. , :,: -4— 1Ji : : : 3 I P P ‘—VP • • lLt:• I f +t —p p Li I Li U 1 Li 1 1 1 ! 3 2 71 i.4 ,P /% L’LLtp 1 11.ttç1 r ‘m-.%3-3 I i 4 4 I > I I 1 4 fb v . - I r 7r r up b 3 J I 4 • , I _t_ t—r i —3 p I A I r SI kW: 3 tif LI I ! ti L iv. i- II..._I 31 I + LI 41j431 pp I , -1s 4ali t ‘•IU j ! ti! Iii : , ‘44ii I1iI3 Much of Django’s playing do- pended on his intensity of feeling and tone, which more or less go together. In the 3rd bar of the second chorus, the phrase starts on the third beat of the bar. and builds up to the fourth bar with a slur from 0 to Gb. Perhaps when you play this it may not sound the same as the record but, as I have already said, “It ain’t what you do It’s the way that you do it “that counts. I have put In the fingering which will help you with phraaing and ease of playing—but. of course, it will not he the original fingering used by Django. nor is this the only lingering that can be used. But it will enable you to “have a go.”—Ivor Mairant.s. The Django Reinhardt solo above is from his Decca record. ing of “Ain’t Misbehavin’,” reproduced by courtesy of the publishers, the Lawrence Wright Music Co. The author (r.) wItfl Diango Reinhardi and Stephane Grappelly. cI4aLe:s ?i.uv- I,, M M “photo.)
JAZZ EXPRESS, FRIDAY, DECEMBER 5, 1947. 31 HOW WE RECORDED FOR THE “SWING “LABEL UNLESS I am very much mistaken, the first record company ever to record ja,zz not mainly for commercial purposes but in order to obtain the highest possible level of 1-x U S C a 1 performance was French “SwingS” This label was run jointly by Charles Delaunay and myself. The title, “Swing,0 was. Delaunay’s idea, and it was he who started negotiations with the is this: although Combelle and violinist Eddie South was the section, or at least two good big French gramophone con- Ekyan re not as outstanding as most enthusiastic of all about coloured players, the session was cern, Pathé - Marconi .— who Hawkins and Carter, it was this Django’s ability. Only once or unsuccessful. There is no doubt control Columbia, H.M.V. and particular record which made twice in a century do you find about it, the main difference be- the Pathé label in France. I theirnames in ‘theUnited States. a musician of such genius,” said tween white and coloured per- selected the musicians • and Any number of American musicians he. As most of my readers will supervised the recording dates —atleast, some of the most important which chorus —most of them know, we brought not only section work. It is very seldom which we undertook. The “agreement “we had (the third) was played by Hawkins—so violinist, Stéphane Grappelly, coloured section: you can tell w.ith Pathé-Marconi was a very favourable one: we had corn- the truth they didn’t easily for- South, and several violin duets which the soloists play. plete freedom . in the choice of get the names of these French were recorded. When I suggested That was our biggest difficulty bands and musicians and in the supervision of the music we wanted them to record. They, the sale of this disc was tremendous, that they should play choruses we had only second-class play- iii turn, handled the actual recording, pressing and distributi I’ Swing “record ever sold ro Answers “(each taking two or on. Our avowed aim was to record good, unadulterated jazz, and.we were convincedfrom the ton Club show in Paris gave us worried. But Eddie showed him outset that this policy would another opportunity of making how to do it, and Stéphane immediately bring good commercial results. sensational records. Strangely Some of his best playing is to And so, indeed, it did—as events enough it was Dicky Wells, the be found on those very record- proved. . . . : Q.ir first recording. date was great trombonist, who suggested fbced. to take place in April the matter even before I did. Blues. 1937, between ‘and10.30 p.m. His idea was to make some records Coleman Hawkiirs and Benny guitar: he had played with ise that any time we did not getting a recording studio! I Carter both being in Paris at Django in some late-night jam the tirrie, we had the idea of sessions,” and was very enthusiastic recording them in a saxophone’ quartet, along with two leading “Sure, we’ll get Django. But French players, André Ekyan what about getting three good (alto) and Alix Combelle (tenor), and a rhythm section trumpet players with you and including both Django Rein- making an all-brass recording hardt and Stéphane Grappelly date? “Dicky agreed to.this, (on piano). A real all star and so we brought Bill Coleman, band! Benny Carter -wasn’t told of Shad Collins and Bill Dillard the session in time to allow him along to the studio as well as to write arrangements for the Reinhardt, Richard Fullbright four saxes, and he had to dash on bass and Bill Beason on one off right there, in the drums. studio, and play it through on to play with Django, and the his alto in order. to teach it to date turned out very well, especially his fellow musicians. It took about half an hour to rehearse the Deep Blue Sea —H.M.V. the reed ensemble for Honey- B8799, now deleted from the suckle Rose and, by the time English catalogue. When Dicky this was recorded, there wasn’t heard the test pressing he told time enough left to treat the me: When you said that you other numbers in the same way. wanted four brass and no saxes I then suggested that each of I thought you were crazy. But the sax-men should take a now I see what a good idea it chorus’ in turn on Crazy Rhythm. was.” You should have seen their reactiøn! They didn’t like. the idea at. all, and didn’t want to do it —-.especially Ekyan and who visited Paris asked for Combelle, who thought that they Django when I offered him a recording would suffer by inviting corn- parison with the big American stars. It took about ten minutes to convince them. And the resuits were good, as you can tell by listening to the record, which is available in England on H.M.V. B8754. The funny thing on so many “Swing “sides. The couldn’t tell who took ‘thought’that Combelle’s chorus Reinhardt, but also the French gets the terrific beat of a good that when they learned into the studio with Eddie the difference by the way, in sax men who’d so puzzled them! It is interesting to note that and that no other with musical Questions and were scarce in our country and many. The opening of the 1937 Cot- meant and seemed a little bassist. with Django Reinhardt on about his work. I said: The coloured stars really loved Between the Devil and * -x- -x Every great coloured musician date. That is the reaf3on why Reinhardt is featured to Eddie and Stéphane in making “Swing “records in four bar phrases in turn), Grappelly ers—with a few notable exceptions, didn’t at first know what I got hold of the idea. ings--1)inah, Daphne . and Fiddle Stewart, when the Ellington It didn’t take me long to real- the Spring of 1939. Until the last have Django in the rhythm formers lies in their rhythm that an all-white rhythm section Paris. Coloured rhythm men like Wilson Myers the * * * Undoubtedly one of our most unusual sessions was with Rex Orchestra was in Paris during moment we weren’t even sure of only knew at the end of the morning that the date had to take place at 2 o’clock the same afternoon! I was able to get Django (Rex insisted upon having him) but it was impossible to find Tommy Benford or another rhythm man. I sent a friend to get hold of Pierre Fouad, a French drummer, but he didn’t want to come. Perhaps the idea of play- ing with some of Duke’s men scared him. Finally, I went to the hotel where Rex, Barney Bigard and Billy Taylor (the bass player) were staying and, By HUGUES PANASSIE REI NHARDT Eddie South, Rex Stuart, Django Reinhardt, Freddie Johnson, Don Byas, Billy Taylor and Big Boy Goodie, alt recorded for the “Swing Label”
32 togtfler with Django, escorted them to the recording studio, means easy to get Django into several miles distant. Duke’s musicians wanted to days. For afternoon dates it record tunes of their own, but Was quite all right, but most of were rather doubtful about our sessions took place at 9 am. Django who, of course, had and it was terribly difficult to- never heard of them. The convince him to get up in time. I Ellingtonians couldn’t speak had to send a friend to his room French, and Django didn’t know at S o’clock sharp to awaken him, a word of English —except then run downstairs and fetch “Yeah man! “and “Come on!” him a ‘cafécreme.” Then Django I told Rex: “Just play one of would ask for “some good music your numbers once or twice and on the radio.” My friend would Django will learn it right perforce twiddle the tuning to away.” And, to the amazement try and find an interesting pro- of the three Americans, that’s gramme. After several such just what happened. They had vicissitudes Django would at only to show him one or two last agree to get out of bed and special chords on the piano, here get dressed. On lucky days he and there and, for the rest, we would reach the studio around were able to record the tunes 9.30. We’d lost a precious half- immediately. Bigard was upset by the lad. usually put the other musicians of a drummer. After the firs two sides had been made he go still reckoned ourselves for- hold of a couple of wire bi’usheL tunate! and an old snare drum that were lying about in the studio and, from then on, any time he wasn’t actually playing clarinet he’d back up Rex or Django or to have been able to record more drums —and with a very nice frequently on “Swing “was sense of tempo, too, as you can Freddy Johnson, the coloured tell by the records. Every now pianist. He made n!,’ two ses- - and then he’d come over to me sions for us, when he came to and confide: “Django’s playing Paris in the Spring of 1939. It is so beautiful that I almost for was a wonderful sight to see; get to play, just listening to how his relaxed and powerful him Truth to tell, it was by no the recording studio in those hour, but Reinhardt’s playing in such a good mood that we * * * * * * During the war we had no more American stars to record. Delaunay thought that “Swing” should keep going and produce as many records as in the past. So he organised many sessions with French musicians alone. Those with Django and the Hot Club Quintette were often good, as well as one of André Ekyan’s dates. But, on the whole, the general standard could not compare with what we had done before, owing, I believe, to the lack of first-class rhythm sections. After the war we again had the opportunity of recording American stars —such as Don Byas, Billy Taylor and Big Boy Goodie. But such players are still scarce in Paris, and the situation compares unfavourably with the old days. “Things ain’t what they used to be * * * I left “Swing “on November 1—a little more than ten years after our first recordings. But I’ll never forget the many fine dates and exciting moments I enjoyed during the dear old by- gone years. - Eddie South One musician I am sorry not piano work put all the other Do not think that I am trying musicians in the groove: he to exaggerate Reinhardt’ must be one of the best orchesability. I am merely relating tral pianists in the world. He the reactions of some great has a gift of making almost any American musicians to his work. rhythm section sound good. Alix Combelle loved to play with him. His “Swing “date with Johnson (Big Wig in a Wigwam, Jam with Bacon, Blue Room, etc.) was one of his best ever. Freddy himself was very excited by Combelle’s horning on that session; you can hear little yells of happy laughter from him at two different spots during Alix’ powerful chorus in Blue Room! -and. the hands that made the jazimen jump! REINHARDT E The Reinhardt left hand, injured E ihen Django was only 18 in a E caravan fire. Despite this handiE cap (two of his fingers are v1rtt4 E ally useless). Diango invented new E chord shapes and surmounted h,3 E chfficulties to such an extent that E his guitar techniciue is now E Practically ufll)aralleletl.
33 March 17, 1951 ,vT HEN, after several postponements, Boris Vian’s “Club St. Germain “reopened recently, we were ofTered some of the best as well as some’ ot the most Indifferent jazz I have heard for a long time. The cave “• was packed and ‘dancingat least while I was there, was impossible. But as the drmks were free, on this opening night, the guests had plenty to keep them occupied. There were half a dozen different things to interest most of us. First We wanted to hear Django Reinhardt, whom we had not heard for two years. We also wanted to see what Boris had done to his club, as well as to discover whether the old Existentialist atmosphere remained. I’m sorry about that five- syllable word which, by the way, has nothing to do with Jazz, but does sum up the peculiar ambience one finds in St. Germain. As entrance was by invitation only—the invitations often being backs of envelopes on which Boris had sciibled a few illegible words—crowds without invitations scrummaged round the door in true fan style. A magnificently built “bouncer” guarded the entrance, however, and the very sight of him froze the warm jazz blood in the veins of those who were not among the blessed who had been in- vited. Hubert ‘o1- .. —ciiooci band that Dja7zgo A slight squeeze via1es a 1’t better Nevertheless, about three tunes Charies-Delaucay started shaking the number the cave “could hands at about eleven o’clock hoid comfortably did show -up, and was still hard at it at one- which meant that most of us thirty. when I quit. were slightly squeezed. Boris had had one pillar. which Our neighbours. for the most had annoyed everyone before the part, were strictly un-St. Germain. floor was remodelled. taken There were lovely ladles In away. He had alSO int&ed shoulderless gowns, there were a ritzy lighting. One will ‘.v.n,couple of film stars. the director- decorated with a group picture general of one of the great o the great Jeati Paul Sactre. National Theatres. as well as a Boris In person, a variety of ctiicr gentle trickle—both ways—of all St. Germair notabilitles aiid. the best-known ja77. n-ostcjaus In tinalty. f!ç rub waiter. who had Parts. • 4i.a; ,.rrce_’. rued bis in the plctur , .1 ) Roy Eldridge wa her’.a3 wel’. $röugb hh \nIimIted patience. ,Y:’• BflC3 %t..t’flUSii. {uberFo1 must produce an unpleaslng effect. Why?—It is a bOpI)iSh comblnatlon, As soon as DJango took this stand the band changed as LC They were easy enough to listen by magic. They played Alt to. But the progressIve playing God’s Chillun Got Rhythm,” ,‘ Smoke Get.s In Your Eyes,” ‘,Symphony C “—andthey all went like a charm. There was that steady throb to the music which is so essentIal 1301) means playing in unison to jazz. If, in its development, l with a perfect understanding and is still to remain jazz. Seeling i)etween the musicians, Django gave the combination a feeling that it was now in th Discord is not cacophony despite hands of a msster. the loud affirmations by some I sat next to Jack Dieval most or the evening and he, too, musicians are held together, it noticed the vast difference as 50011 as Django took the stand. Sidney Bechet has done ror Claude Luter what Django is now doing for Ilubert Fol. Evidently it takes but one great jazzna.an to step In, and a first-class band nears perfection. He could no make a mediocre band good. or but he can make good - go Is there. t1 ‘- ,‘ visit. I * STORY BY HENRY KAHN OF PARIS; PICTURES BY NERVE DERRIEN * Raymond Fol (piano), Bernard Hulhn ( trumpet), Pierre Mlchelot C l)aS ) and Pierre Lernarchand (driirns). Django Reinhardt, being the great attraction, is not to be in- eluded in the band personnel. Yet without him, and in spite of Fol’s excellen t technique, the combination did not quite come of!. although we were given one or two sweet numbers in between. was ragged and far too loud. Unison playing otherwise cacol)hony will result. . people that it Is. But unless the Django’S left hand. I Bernard Hullin A Imiqlt note hit ivitim force. peol)le see the hound they see Sidney. Henry Kaha Greulness born in U curuvun the exact location because he w of gypsy stock. LJO JAZZ FAME D JAN00 REINHARDT believed that he was born in Ouchie, Belgium. in 1910. He couldn’t be certain ot As a boy, he studied fiddle. Then he had full use of hi. fingers. The misfortune that deprived him of the use of the front Paris in 1946. On this show- third and fourth fingers oI his left hand gave humn the chaimce lug he was still unchallengeable in his field. of fame. ‘l’hefollowing month Reinhardt At the age of eighteen. while living in a caravan, Diango we., laidd in England with hIs wile working a spirit stove. It exploded and burned his lLi I haii(i. and 15-month—old son, ready and The subsequent formation of scat’ tissue left hini with ‘,cry eager to re—form the famous reetricted use of the third and fourth fingers. grout) with Stephane Granpelty. He gave UI) the violin. but latet’ made experiments wit ii a dtl.titai’. Alitiost within days there wa.s As orthodox niethods were impraètieable, Reinhardt dieVetOt)ed his the disluibimig news that the woown playing techiuique, He dvetoped Unprecedentc(i speed, linget - jected tour was postponed. Recur- ing chroiatic runs in the ;irst post ion, glissing theni up tt;e itnier— reilce of an old malady necessi— board with one linger. tated sit upei•atiott It is said that he turned to jazz SeI)L([i1)Cr 1946, brought the after hearing an Armstrong mews that Ellingtoti had Django’s record. His list i)afld jot) was signature Ott a contract. ‘thewith Andre Ekyan. Later he ic— tlloii’img month the great guitar— corded with violinist Michael 1st Hew to the States for appear- Warlol) and singer Jean Sablon. 111(05 with the Ellingion t)and, But Relnhardt t)ecarne a world iwludiii two Carnegie Hall con- name through his association ce i.. with the Quintette do Hot Club BuL t)jnngo had the veaknes.e.s de France Pierre Nourry, an of iii, ge ii ins. 1-l( arrived late 1 or oilcial ol the club, was looking return, dishevelled with for a grou) iii August, 1934, when itid on his shoes. Themi, juietly. he found Grapl)ellY and Rein— lie disappeared Iromn the Amen— hardi holdIng a caravan record can acene. session Reinhardt was offered Ill 1947 ht- rejoined Grappelly the leadershil). The Quintette to rc-toniii the Qulntette Ion the gave Its hrst concert in Novem— lint Club tie 1’rance. ben of that yeai’. Iii 1”ct)nuany of I 948 he turned Its success brought a recording UJ) ti(’xi)ectedly at the Nice Jazz contract that did much to make Festival. ‘UtieEnglish contingent, Django a world name. (-ltii)arn;is,sed t)Y an acute sitontrie The Quintette was touring in /. of lnanns, were gratelul br Europe in 19;36 and first visited . ao oi)ciitiandedne.s. England the following year for a ‘- Later that year he catmie to Eng— stage tour. It opened at Shep— laio with (nal)I)elly br Variety herd’s Bush Empire. -i et;eigeinctits. It was his last Eventually, Reinhardt pined for vist. faniiiban places and went hone. . .__-— - Grappelly stayed here. ‘Shegroup vas disbanded in 1939. Rumours of his death were cur- ient in America in 1942. bitt, happily, Reinhai’dt survived the Occupation. He was heard again by British listeners iii a prognamunie relayed
34 a real place in jazz... S TEPHANE GRAPPELLY, Says STEPIIANE GRAPPELLY popular French fiddler who has been a top-line name since 1935, is back at 1111111 changed over to the new In— work in Britain after some stiument and for what, work does three years away. And with lie use it? It is for jazz that literally more power to his he sees its greatest advantages. elbow. In his Variety act with pianist this fiddle it is fantastic. There Yrke de Sousa, Grappell.y still is “ill the difference that you find uses his standard violin. But tor l)etween the electric guitar and dances and jazz sessions his improvisations icoustic instruncnt. but to me, are now amplified electric guitar. directly lie puts bow to steel No comparison strings. He is an enthusiastiu txponent of the electric violin—sit Ameilcan instrument which radio usteners than the normal one for jazz heard for the first time in )laying; there is no comparison. World Of Jazz on November 1. “of course, the instrument’s For solos it is powerful and exclUng, full value cannot he realised with the sax, the trumpet arid from a record or broadcast,’ .ays tlir’ clarinet—Il has it least the Stephane. “because lie amplitier strength of the clarinet. isn’t really needed then. Sawn-off ,‘ The tone sounds ditierent, fiddles. a place In modern jazz, we won- worth—-it is Inipossible lou’ me— yes; but you must hear this than four fiddles, but, of course, It Is more than possible. You but I admire the mtisic he plays violin in a hall to get the whole the sound is not the same, In can phay anything on it. It just Is nothing in flop. A lot of dance etlect. It Is wonderful.” The wonder lii.sti’utnent Is a fact, it is an entirely new sound, depends on how you beet about musicians say it is dead, but it is curious sawn-ofl looking thing, anti eventually it will add new music. The ordinary instrument, already In the arrangements they visually unimpressive and extra- totle colour to jazz recordings, well, there are no new jazz play.” ordinarily heavy. We wanted to too. violinists, are there? Still Eddie know if it demanded a special YOU had to have a special cmii- all very good. But the instru— is ui’oad. Wflat he demands Is technique. To some extent it does. The hinatiori hI which to feature the merit doesn’t heip you to play good niuslc, and by good niusie fingerboard is the same, but it violin properly, stich as WO had jazz. has to have metal strings. I’or with the 1101 Club Quintet, ‘With this new fiddle I think In the jazz sense he means music me. the finger-piessure is about becomes possible to work with As for me, inside me I like the wInch bias swing, irupi’ov.st Lion. the same as I normally use, but any hand. You can even use modern music; I have to like it, technique and feeling. the bowing is different ,‘ This needs great control,” piiczicato against normal blowing although I cannot play it so well. first. “Feeling,” said Grappelly. Grappelly continued. “You must instruments. ‘,I admire the fine jazz musl— that? Jazz is not study, but have very steady bowing, br every little sound Is enlarged through the loudspeaker. Each time I am going to use the electric fiddle I must get used to it again; I must play all day.” Why has the f5tiiOii) French- .‘ It isn’t easy to play well at iirst, but once you have mastered this has a better sound than the know, and it may he a long time before the electric fiddle replaces the ordinary one in other work, and Armstrong and their kind of or even jazz. “IbIs fiddle is definitely better “But I believe that It mtist Jazz—of course I like It, because come In for dance music and ht is marvellous. jazz. It doesn’t have to be set against the standard fiddle, be- And you can play along ated with It, and want something cause really it Is a new tone. Yes, different, I ani always interested it Is foriiiicluble’.’’ “It means that the violin can take a lull oart in the jazz 0 em jazi orchestra at last. It’s no longer a little voice; it’s more like four Would the electric fiddle have can’t think like Johnny Dank— “I mean, 1 may play louder dered, Said Stephane: ,‘ In the old days, you know, South, Stuff Smith. Asmussen , . ,‘ Now, with the amplifier, It you could play great modern jazz. ,‘ People are slow to change,, I clans of every period. Elhington feeling. It Is a thing of the Littk recording Edtlie Lies (lone ‘‘crchi file ri’— c;ooili-uian and I walked into cording iii ricent yc.irs. lie line ti-he Copa Lounge, It struck ts l few sides on essur led small nostalgic note, for wlieii I tnet lal)els such as Coui iinciit,al and Eddie ill Paris in 1937, he had Clies., 1)11 1. i :, (lull’.’ :iothuiig just recorded this uiumbel’ tlii’il really liows his tnlenl to tog(’Lher Wi th its composel’S, .clvotitttnt’ eiIiCc llìe sidets cut iii Djauigo Reinhardt and Stephane l”i’u Ice Ill teen years ago. So until his next record coui— tract. which he expects to sign 50011 , You wit I have ii) take lily stairs adjunct of the basement word that tlìe old virtuosity is Copacabana, the luxury -night- undiunnied by the ravages of spot. For several years past, the time and lhl—heahtb. I . , a a it’ith “acous— tic” violin arid elite. J there waler illS ,, But sometimes I am satur— iii hOW iecluuuiciues, new idetis. I feel like thiat about, jazz. ,‘ ‘I’liatis why I have to like bop: l)ecause it is advanced. very much. ,‘ It Is nil absurdity to say there Stephane’s general taste In jazz We asked him wfiich lie put “What can you do withut heart: if you have it, you have it. The rest comes later.” Devoted intercst Grappelly, despite his long an devoted interest in jazz. has remained a fairly l)oLeiit box— office attraction. Could he ac— count for this dual success? ,‘ The ti’uth is I enjoy niusic of all kinds. I must meet the public, so I play every type of tune and like them afl—everi tangos. I used to hate those. but since I was lii the Argent.ne, loni ago, and heard them played welt by local bands, I have come -to like tlieun. “‘fleonly thing I heartly us-. like are those inusicini’s wh always have their heads boiled in tlue music. ‘,Basically, jazz Is a gay mime; even the blues is fatalist c rather than siid. Anyway, how can yoi be serious and studious when. you’re playing ‘I’ni J ust Wild About Hairy ‘?‘,Jazz Is my life, really,” he concluded. “But 1 caiinot t)e a real purist becatise I lute gorid. living, too. I have learned that you nave to put water w:tli ifle wine sometimes.” been through a serious Illness thit- kept h-un-I Out of Ihe music __4 ,, Daphne “when Benny scene for more than a year. huiactivlty had not lessened hIs lacility. After lie had entranced li-i with a set that encompui.seed P01) songs, blues, and light classics, plus an original by his pianist, Jinuiiiy Todd, Eddie came over to swap remInIscences with Benny, a bellow Chicagoan. They talked about the tough clays of prohibition when The Copa Lounge is an up- musicians everywhere were work- lug for gangsters. MELODY I’-E! Noveliiber 5, ‘)521w the violin can find —inthis exclusive interview with the MM’s MAX JONES. J’ii is Iiisforic ph 010 sliozvs tiu ii oi’iiinuI Quintet of the Hot Clii b di’ france, -wui:riuip lit ci?’ Jirsi I)ecra record in Bu’itaisu. Ileinui-ai’d is ,‘icco?iit Jruuiit fit i’ left ; Grcippelljj stiincluiuij. .1 ‘DDTESOUTH was playing Gi’appelly. Lotinge lias had no entertain- merit except a disc jockey who . . sat al one of the tables amid it uas ii:u’d to believe, looking unterviewed celebrities who came at Eddie, that tl’ie violin veteran in. Nou’ at last, live music has will he 48 on November 27 (mayreturned to the Lounge in the l)e thìe fact tim t he hasn’t had a pei’sonsof the Eddie South Trio. 4b lies aomething IL usa all important retui’n foi’ Ectilie in anoiluir way. Since the last time we had met, he had .ltclclie Soii fit . /)iit triO-i 2-iist after his rece ii t vpcnuno v-i tk ,t i,s’ Trio u t lien’ York’n Cope Lou-li je - Ve(1:h cc t i in i icr’ i it— /LeUll ii /i uS (I iii turd- hiS c(it-ii-osit?J, nti?/5 Ito iii id I”E’(t I Ii cr
35 This COIICCIiOfl ol solos was released ax No Stait, No Eiid. ‘T’hankOU Iviark. uiid I can add that I)jango recorded C/ic: Moi A Six /-Ieiiics with the Stati I3rcnders Orchestra in I3rLIsseIs on May 8 I 942. Coukl this have been the same iiinit,ei? SIiIoni COhCfl (Bionfley. Kent) intro— duces hi ii sd I as L n i iisic/u i tar teacher, Vh() has becOiTte fl self—styled nlUsiCOk)giSt (Ille to an al osL 1HEUt ical i nterest i n I)jango 1’ei fl —I1F(It aIRI i1i lootage c:)i hurt. ‘Chis1is iOVOIVed hini in inLetnatiottI correspon— (lence i n t he hope of ad(1 i ng to t he ucagre clips already traced. John Jeiciny. the uo— (I ucer 0 I ihe E)jango Legacy. 1ts t ol d h i in that a sighting ot the ()I I(1 on stage in a newsreel hagiuent seems to Intvc van ishe(I. Rumour has it that it is in the PSSeSStt1 of S()ttCOOC \Vh() i t hct i S unavarc of t t s t in pert —ance, or does not vish his find to he tl1— cisc(I. ktti CtUiCkshtOI the musical ads’ ser kr the Django Legacy. Ii intC(1 t Intt there i s a n issi ng I 5 in notes of Djaiigo and Joseph he 1(1 by an cx —service caineianuin I n \“V’a I es who i 5 concerned that he in gin yet he p105— ecllte(I foi taking non—military ihn in svar— time: Iit this seenis to have Ieen a a) se a I ain S Ii I Oni Iis toot age o I E)ingo p1 av— ing to a tItin catriagc to a Icv passengeis. hut i S iittavare of i ts Origin—coil Id the re ha\’e heen lU)le? 1t Route (Ic Boitheur ( vi 2753 ) IS t he OitIy’ I)jango fi in appearance I lste(I In f\leckcr, as (list net I 1010 souIl(lt rack refer— eI1ces s(lcll as (:hiir (IC Lone ( M621)). \vtlere he C’Olke(I on Jean Iciioir’s music tiack. I a Village (IC a (‘olere ( I o)47) is hCI(l It lega— tive by (‘entre f’atiottal (IC a (‘ittetnatog— raphie in lt()IS I)Atu) (laiis!) \Vl1() _aIitu)t SLY WlICtlicr l)jaitgo J)lItlClJ)ItC(I or tist (5)1 It fntici It ihc ttmustc tntttgd hv ( 1ttL LlWtCttC( ktr ftc (ottsur\’;tlotte Orchc’slra (5)tt(ItICtC(I I))’ Jean N itt non. (au tnvou ((1(1 to this tehulots (atalogl)e? Django in typical scsSiOfl attitude. This Herz’ë Derricu photo hiçjhliqlits his mastery over that crippled left hand. A yellouitiy photo froni the past—tire oricnnal Quintette du Hot Club cle Framue: Gioppelljj on the left; ReililLardt bc/i inC tlte miiiCe.
36 . Django is dead B JANGO REINHAROT is Saturday he was to have joiriec dead. In his house at his friends in 11w village in Samois-sur-Seine the guitar that billiards touriiainezu. But h thrilled a million jazz fans lies was seized that morning with silent. And Django lies in the cerebral hmorrhage. and d cemetery of the little church later that day, aged 43. overlooking the Seine. HENRY KAHN’S IEPORT IS He had returned from a tour ON PAGE 12. LAUBIE HENSHAW of Switzerland on Friday. On WRITES ON PACE 3. -i: ECENTLY I saw Paul .L1i Paviot’s new film, “Django Reinhardt,” the story of the great gypsy guitarist. The film is not a full- length feature a la Holly- wood. It is an earthy . documentary, passionate, sentimental, historical and musical. It Includes documents, almost everyone Django ever early photographs and just one sequence (probably the photographs taken during only one of Django In moving his visit to America. pictures). The film tells his story by The last sequence shows means of images of his violinist Stephan Grappelly people, his home, his friends and other musicians who and his colleagues. We see made up the famous Hot DJANGO REINHARDT: “Memorial.”Daphne; Tears; Dinah; Tiger Rag; Them There Eyes; Improvisation No. 5; Uptown Blues; Claire De Lune; Lentement Mademoiselle; Melodie Au Crepuscule; How High The Moon; Manoir De Mes Reves; Danse Nuptiale; I Can’t Give You Anything But Love. (Vogue VRL3OZO). Reinhardt (gtr) with various groups. Solo on ‘Irnprovisation.”1945-51. 1’7t E’VEhad Django memorial albums before, and his marvellous guitar playing has been plentifully issued since his death. But the standard of his solo improvisation was consist- ently high, and the present selection contains several superb examples. “Improvisation,”to start with the unaccompanied solo, is a slow and graceful invention beautifully played. “UptownBlues,” based on the famous Lunceford recording, is a rare item on which we can enjoy blues guitar choruses of fine sensitivity in the setting of a big band under the direction of Jack Platt. This latter was recorded live at Salle Pleyel, Paris, shortly after the liberation. From, ‘47,come five quintet tracks featuring Grappelly with his old partner, also with Joseph Reinhardt and Eugene Vees (gtrs). These are the first five titles on the set. Both principals sound in fluent form, and their music is especially gutty on “Dinah,”“Tiger”and “Eyes”.It is true that ‘‘TigerRag”, if played in character, has inescapably corny associations. But Stephane gets around the themes in admirable style, his phrasing carrying overtones of the New Orleans influences of his early years. Django de’ivers three finger-busting choruses, besides supporting Steph with unfailing drive. Three more quintet plus Django titles (“Clair”, “Lente.nent” and “Crepuscule”)were recorded for the sound- track of a film “LaFleur De L’Age”, whici was not rinished. Besides Django, they Feature Michel de Villers (cit). Hubert Fol (alto) is heard on the final track, taken —as are many of these —from recorded broadcasts. Reproduction is often poor, but Django’s talent cuts through. —M.J. - Club groups on the stand. In the front, In the place which might have been occupied played with as well as by Django, sat his brother Joseph Relnhardt, I have only one criticism. who is also a well-known guitarist. Joseph was never Django’s equal and never claimed to be. It would have been kinder to have left the chair vacant. Throughout the film we hear Django’s music played by Django, and this alone would make it a must for all guitarists. But, If It comes to Britain, you’ll enjoy a lot more besides the music. Don’t miss It. .., . ‘1\.._- Django Reinhardt in his home at Samois-siir-Sei,i——t/ie lust Hervé Derrien pliotograplt bejore hs dcatli. The Django film is a must Paris Report . . . from Henry Kahn 1 —._ .___ -— :._ . - •_ ——.-— - ——-- - —-——————————————. ————————_._ 2 DJANGO REINIIAR l)T —-— . - ——- --—-—-- -- ——----.—-.——-j---—————.,—————
Django homage to From Henry Kahn PARIs, Tuesday. IT was exactly 9.30 when they carried his . original one-man punching coffin out of the little house standing on the bank of the River Seine at Samois— sur—Seine, some 40 miles from Paris. Everyone who could be there was present. His vast gypsy family, 200 of them at least, and another 300 friends and musicians who had loved him and had played with him. Unhappily, only two of the original Quintette of the Hot Club of France followed his body to its last resting place on a little hill over- looking the deep and tranquil River Seine. They were Joseph Reinhardt, his brother, and Roger Chaput. both guitarists. Flower-heaped coffin Stephane Grappelly is in Italy, and the other musicians were unable to be present. Madame André Jordan represented her husband, who had played drums in the original combination. There were dozens of otliers who had played with him. Bernard Hilda was there, so was André Ekyan, Bill Coleman, Arthur Briggs, the veteran coloured trumpet player, Jean Bonal. the guitarist, Pierre Michelot, the bass player, Claude Boiling, and many others whose names would fill columns. As we passed slowly along the banks of the river to the 11th-Century church at Sarnois, I noticed little waitresses who had served Django with wine, sobbing quietly as they stood on the balcony of the café. watching us pass. After the simple chapel service, we carried Django to his last N ‘)21flI resting place. One by one. we iviay i,, i yj passed before the flower-heaped -—-— coffin to sprinkle a little holy water on the blooms of appieciation and memory sent by his lrien d.s. There were wreaths of loses, lilies and carnations from the Fedratoii ol: French Hot Clubs, from the Rose Rouge Band, and fiom dozens of others, including LAiD TO REST two billiards clubs. At the very moment wheu we were embracing the widow ari in. She sent for a doctor. The whispering our sympathy Paiigo pains got worse and spread to should have been playing his favourite game of billiards. Memorial concert He returned last Friday from a Django Reinhardt died, at the concert tour ofSwitzeiland. On early age of 43, leavIng behind Saturday he was to play in a hillia ida competition. But in host of friends who wili keep im4s the morning, while still at home, memory green by listening to his he wos attacked by severe pains records. In the head. Ferniand Loisy, a neighbour, who keeps the Auberge de Lille Delaunay plans to broadcast a hotel, where Django often went. memorial concert over Jazz told me pay Musicians an.d gypsie.s 37 DJANGO REINHARDT (1910- 53): The first great guitar soloist in jazz was Django, the French gypsy. He was also the rhythm section. He and pianist Art Tatum both had frighning techniques and both explored advanced chord progressions some years before other Jazzmen. Django’s jazz approach stemmed from an admiration for Louis Armstrong combined with his own fiery gypsy romanticism, his primitif genius for music and a fascinating natural dexterity. He became the first member of his race to achieve world fame, the first white soloist to be featured with the Duke Ellington Orchestra, the first non-American to influence American jazzmen, the first European to prove that jazz could be exported from the States. His technique and ideas were so individual they cannot be successfully copied. But Charlie Christian, Wes Mont- gomery, Kenny Burrell, and others, learnt his solos note for note so they might understand something of his approach. Whether Django played fast and hot, or lyrical and me- lancholy, his solos were always full of passion and sensitivity. His technique remained the slave of his intensely personal imagination. His style may not fit the current fashions, but his qualities are timeless. Djanqos brother, Joseo1i, stands mutely acceptiiicj the condolences of trummiet player Arthur Brigçjs. A Jriencl tries to control his grief. REINHARDT IS I “Madame Reinhardt called rn Djangos right arm, so the doctor decided to send him to Fontamnbleati hospital.” Late on Saturday evening, him a wife. two children, and a On Sunday next, Charles Varieties. “- - So’ui1tt after by i/ic great bczndleucters, Reinitarcit talls here mczt/i Alitbiose (left) aiid Du1e Eulinyton at a New York party. TiLe funeral cortege leaves the little ciLurciL at Samois— sum-Seine on the morning of Tuesday last, bearing Django Reinltardt to his last restinçj— place. lPhotos by Fierce Derrien. I
38 DJANGO REINHARDt: .. (1910 1953) —I The problem for most Europeans who triedlo play jazz in earlier times was the lack of any local traditions. Perhapsthe reason whyDjango , Reinhardt became the first important jazzsoloist to surface outside the United States was because he was a gypsyheir to a dillerent but . equally emotional approach to improvising. Incapable of reading music and lacking —after a caravan fire i 1928 —theuiseoftwo fingers of his left hand, Reinhardt emeredas a fiery and highly • unusual viuoso. When he played blues they seemed closer to the Camargue than to the Mississippi, but in iway that was pa of the Django Reinhardt. His guitarists strength his ability to build music upon his own experience colleague for many years, Reinhardt spent the war-years in Occupied France, cut off from what • the violinist Stephane was happening on the other side of theAtlantic. One of those ‘. Grappelli, has said, ‘Hehappenings was the wide-scale adoptionoithe amplified guitar. “did more for the guitar Reinhardt early attempts at adapting hielaborate unashamedly florid] than any other man in style were tentative even disappointing but before he died he had I jazz . . . . Jazz is different succeeded in coming to terms with the new instrument . . . . because of him.’ Photo: William Gottlieb/ Redferns
February 20, 1954 MELODY MAKER 39 STEPHANE GRAPPELLY tells -f9r *I!c first time--the true story of DJANGO REINHARDT MINETEEN FIFTY-THREE is a year I in the evening until four in the, A shall never forget—the year that morning, and earrd 100 francs saw the death of Django Reinhardt, the a night each. Stage B’ was like Paganini of jazz guitarists. Django w.as a genius In the real sense. He were passing through Paris used . had genius, and It found expression through to come In to see us, and often music, particularly jazz. . He did more for the guitar than any other man came In regularly, and I would in jazz. His way of playing was unlike anyone always beg him to play piano. else’s, and jazz is different because of him. There Several times Coleman Hawkins can be many.other fine guitarists, but there can- called in to hear Django. Corn- not; be another Reinhardt. I am sure of that. Although he was very well known musically, belle, who Idolised Hawkins, in- Django himself was known by very few people. variably- asked him to play—in He was the. most; reserved fellow I ever met in my vain, until one night Hawk must life. He almost never spoke, and his abruptness Sue,” and his interpretation of manner didn’t help. I knew him for more than 20 years, and came lasted nearly 45 minutes. He to understand him, • and In this story I want to must have blown about 40 open the window on his character. To me Django was more than 3 good musician, more ‘than a choruses on his own, and I think I friend. He was like a relation, maae me rei ne was part of my faintly. I met Django soon after coming back from the Argentine—in 1931, 1 thInk. At that time I was well, as he always did. He played working In the Croix du Sud In Montparnase, with perfect rhythm, I think, more saxophone player André Ekyan. One night, three or four men came Into the place, than jazz. I can remember being men who looked quite unlike the usual customers. It was a successful club then—it doesn’t exist nw his solos. To my mind, Hawkins —andthe habitués were too blasé to notice the band at all. Were they gangsters? These men did notice us. They listened hard amazed at the harmonic possibillties and looked intently at us . . . In rather a dLsagreeable way, to be truthful. So. tough was their my piano. I could see the intenoe appearance that I thought at first they might be satisfaction Armst rong go t l’roLn. gangsters, and, what was worse, gangsters who the way Django was playug. didn’t like oar music. I continued to watch the strange visitors, Inter- asked a favour of anybody— ested by their touch of flamboyance, and soon realised they were gypsies. One, a big, dark man, asked Louis to iay foc him, but I had seen before In the Paris streets playing guitar. Louis refused (it .seems that he He came up close to the band and indicated that never played oil the stage(. be wanted to speak to me. In extraordinary French he asked for a jazz tune. that famous club owner, Buick- His way of speaking was certainly not up to” that club, but I noticed that—despite his apparent toughness—he was very shy. .. Never mind, we started to talk, and to talk about ing, and she asked Django to go music. I was amazed. I had feared—and I remember It well. though my memory is bad—that perhaps this big fellow wanted to punch me on the nose. . . Instead, I heard him speak with embarrassment to me. And though he spoke that brutal kind of French, there was something gentle about him. The man was Django Relnhardt. He liked music, he . said. and above all, violin music. I guessed his love of the violin was due to his gypsy origin; later, he told me he used to play the fiddle, and In fact he sometimes played the instrument late at night when I changed over to piano. After that meeting. Django came quite a few tirns to the Croix du Sud, talking more about music and more about jazz, which he knew mostly from records. He possessed an old-fashioned gramophone with what we call a pavilion—I guess you’d say a horn speaker. On this he listened to American jazz bands, and I remember that he loved the Arm- strong and Ellington records of that period. A little later on, he developed a liking for the Jimmy Lunceford orchestra. Django was a true enthusiast, and jazz enthusiasts were rare in . Paris then. The young Hugues . Panas.sie was the only other one , I knew at that time. . Not long afterwards, Django and I found ourselves working . together at the Stage B In Mont- parnasse. I was playing the piano—a violin couldn’t be heard in those places—and in this quin. tet were Alix Combelle . (tenor), Arthur, Brlggs (trumpet) and Django on guitar, of course. We used to play from lOo’clock an ancestor of the present Ring- side, and all the great artists who play, to our great pleasure. Garland Wilson was one who’ ‘——-“‘..have felt excited. He sat down and played “Sweet it was Django’s accompaniment that made him play so superbly. Perfect rhythm In those days, Reinhardt played impressed with his chord work his harmonies, rather than with was playing better jazz. But Django was the best accompanist I had ever heard. Louis Armstrong used to come in, too. and he was obviously of Django’s W3tk. From As for Django, he—who never However, one night we were back home in Montnartre when top, called to say that LouL was in her place just around the corner. I,t was about five In the morn- there and accompany A um t tong. Of course, Django and I went at once, an for the only time in my life I heard Armstrong sing supported solely by Django’s guitar. There was no muttering about what key they should PlaY in. or what tune they’d chooe. Louis started something, and Django followed him tununediately it was a revelation to me, and all of us were delighted. ( To be continued) BY 1933, Django Reinhardt and I were very good friends. But in all our long discussions we never spoke of having a combination of our own. That came some time later. . Mostly, Django talked about his card tricks, his billiards prowess and his unlimited love of the countryside. Nothing pleased him more, he often told me, than to sit by the river catching fish with an Improvised line—with which he was amazingly skilful. Then, while we were still working at the Stage B in Mont- parnasse, there came an offer from Louis Vola for us to play witle his band for the dansant at the Claridge Hotel on the Champs Elysées. That offer was to shape the course of both our careers. I had been playing piano at the Stage B, and had I joined Vola on that Instrument the Quintette might never have been formed. But Vola already had a pianist. and wanted me to join him on violin. A few days after we started at the Claridge, I took my fiddle off- stage with me—quite by chance— during the Interval, while the tango orchestra was performing. Madame Reinhardt, widow of the great Django. Thousands mourned with her— in every corner ot the earth.
40 STEPHANE GRAPPELLY continues Backstage, I found Django amusing himself, as always, with his guitar, and he asked me to play the melody of a little ru! tune he had just made up. The sound interested us both, and of course we tried some more pieces. The following afternoon we could hardly wait for the interval to go backstage and play some more duets, The other musicians became quite interested In what we were doing, and came to listen to our progress. Somebody remarked that it looked like Lang and Venuti, and I must confess that at that time I had never heard one of their duet recordings. Of course. I knew their work. but in spite of my admiration for Venuti as a violinist, I was more inspired by the records of Armstrong, Ellington, Bix and, in particular, Frankle Trumbauer. Django, as usual, was sober In his comment, but with his customary frankness could not help saying that there was nothing to be learned from Lang. Joseph (Django’s brother) quite often came in to see us in the interval, and one day he surprised us by bringing his guitar. We were busy with our duets, and Django beckoned him to join in. With Joseph’s steady accompaniment, Django at once took on another role, taking the opportunity to embroider the music in his own way. Of course, Vola heard our trio —hecould hardly help doing so —and,forgetting his position as bandleader, begged us to let him play too. hi his debonair South- em fashion he said: “What you need, boys, is a contrebasse.” So then we had four—a nice, compact and rhythmical group. Our appointments behind the curtain at the Claridge became more regular, and soon we found ourselves staying on after work- ing hours. ‘We should keel) it like this.” we said. We must do something about this quartet.” Strings in jazz? All we did at first was talk about it. But Hugues Panasslé heard of the group arid got excited about it. He and Pierre Nourry had already organised jazz concerts, and they decided to try the quartet at a concert in the Salle de l’Ecole Normale de Musique. So we appeared there in 1934, our first public engagement, and caused quite a little sensation, for at that time an all-string jazz group was something revolutionary. To Panassié we owe a very great deal; not just the French must- clans, but also the American jazz masters, including his idol, Louis Armstrong. After this first concert for the Hot Club de France, Django said to me: ‘When you are playing you have the support of a bass, a guitar anti me. When I play, I’ve got nothing but bass and one guitar.” The difYerence was only one man, but when the man was Django Reinhardt it was a world of difference—and Django knew it’ So we approached Roger Chaput, another young guitarist as easygoing as the rest of us. We all knew each other, and knew that Chaput was a Parisian who would l)e able to get on with tljango. Thus the Quintette du Hot Club de France was born. There were one or two more concerts, for which we were paid nothing, or very little, as jazz was not then considered to have any saleable valpe. Panassié tried to get us record dates with the leading companies in Paris, but all his youthful enthusiasm failed to land us even a test. At last we were offered a chance by the Ultraphone Corn- pany. In Decernber, 1934, the Quintette made its first records— ‘.Dinah,” ‘Tiger Rag,” I Saw Stars “and “Lady Be Good.” For these four sides we were paid about 600 francs. I think Django and I got 150 francs each. But at least we were paid. The records, like the first con- carte, were successful. The all- string jazz, known as Masic sans tambour iii tronipette (a French 519._L had begun to register. We asked Ultraphone for more money for future recordings, and it caused an uproar. M. Calderoux. the Paris director of the firm, told us be had given us our chance, which was true, and we had to be content with what we were getting. Charles Delaunay, who was then busy trying to hell) us, still has the letter refusing to raise our money. Calderoux, it seems, was vei.y annoyed because we were asking for what today would be a few shillings more. After the release of several of the Quintette’.s reco rds, other companies began to take an interest in u.s. But we had a coittract with Ultraphone. so iiothiit could be done for the fllOfliCfl t. When those first skies were issued in Britain- --iii 1935—they were labelled ‘StephaneGraI)peily and his Hot Four,” because of contract difficulties. That was the one time Django didn’t object to ray name appearing as leader —hewas, as always, short of money. Paying our way During the year that followed, we played all over France and visited Spain , Swi tzerland, Betgium, Holland and all of Scan- dinavia. In Scan cli n a vi a. incdentally, our vocalist was Beryl Davis, who was 15 at the time. From Paris we broadcast to London and New York (at 5 am.), and often we broadcast from Hilversum. Then we started to record for the 1-IMV label itt Paris. The Quintette du Hot Club de France was finally l)ayiflg its way. (To 1)e (.C)?itilIlIed( THE STORY OF DJANu The early days of the Quintet Sep1zane Grappslly (left) is seen with Joseph Reinitarcit an Dja’iqo (right) in this early picture from the MM Jzles. In his nurt article Lii titis series, Steplla?ze writes about the JoriiiuluiiL of the Quintet dat Hot Club tie France. ZL’lliClL qrew from a chance session at tlte Claridge Hotel iii Paris. The top pioture shows R.einh.ardt (riçjlz.t) tal1iiiq to Louis Ariiistrwtq, Mace Mczzrow and a friend iii Paris in 1948, skortli.’ otter tlL(’ Nice Jazz Festival. Centre : the Quintette’s 10?) l)illilZq ( beloiv Torn Mit) at the London Palladium in 1938. Iii tin’ lower picture. Djanqo 7fl(f Stevheiie Graouellzj arc sce;i outside the China Theatre In Stoclclzolrn.
DJANGO REINHARDT and 41 THE BRIGHT by STEPHANE GRAPPELLY RED SOCKS Jow to dear Dj ango i ‘himself. Reinhardt’s personality is not easy to describe, for he was a complicated and contradictory character, though child-like in many ways. Physically, he was strong, with a natural strength developed my lifetime. by the active existence of his early days, when he his love and appreciation of any lived outdoors—anywhere—In his roulotte. In addition to strength, Django had fantastic adroitness. He him anywhere, and though he was a man who could do anything with his hands, and he possessed that co-ordination of senses which made him a skilful player of billiards or any ball game. Emotionally. he often seemed adolescent to me, but I was his childish conceit, Django was always being astonished by a nobility in his character. Despite fundamentally very • humble. what would be called .‘ poor birth,” Djarigo I had the stuff of a grand eigneur. Instinctively he liked e’egance. This I think was an atavistic streak In his nature. But. of course, it took time to develop, as a caravan life does not easily lend jtself to elegance. tempered, but in five minutes he would be laughing again. This sense of humour made a sharp contrast with the aeneral abruptness of his manner. He was one of those people who could see the funny side even of memory for music, and could his own discomfiture. Once we were engaged in Strasbourg and our Negro drummer failed to turn up. Delaunay up original stuff. To begin with, he was far . too lazy to learn to found a drum somewhere and read music—he liked to stay in played it. Django found the bed. I wonder if, in his young rhythm so amusing that he days, he even knew that printed laughed through most of the performance. Then again, he didn’t wish to Then, when we came hack to England from Sweden. we lost all play arranged fnuslc in any case. our baggage en route. Django, He was naturally an Improviser, who carried most of his posses- one of the finest I have beard in slons with him. had more of An essential part of Django was value In his bag than any of us. but he was the calmest of all. In the police station in the Tottenham Court Road, ! ‘vasmight be ignqrdnt of the work asking him questions and translating and composer he was hearing, he his answers, and he laughed so much that finally I should explain that, despite even the policeman was laughing. Diango had lost everything, did not hieve a shirt left. But the About art he was humble . . . and moment he bought a new shirt and handkerchief the loss was curious. I cannot forget watch- forgotten. log him listening to the music of the old masters—never talking, Another trait: Django, with his Intuition, could understand at never criticising. always listening. once what was going on around him, and he was so affected by the slowness of other people that he gave way to childish attacks of annoyance, believe he experienced them in That is why , we often had different faces In the Quintette. He asked too much of his close the glorious church of St. Eustace friends and family—-people who loved him as a musician but could not always stand his lack This admiration coming from of consideration. a man like him—who knew music If it had not been for me. his brother would have left us 20 times. It was my duty to end the hostilities between them each moining after a disagreement, so that Joseph would be back the evening for YO1K. For .iWO days or more, they would not speak to each other. until something made them laugh. Then a V e r ything would be patched up oyer a glass of wine or a meal. . One other person must be m e n t I oned: N a g U I n e, his wife. This woman was a gypsy. and the great figure of Django’s life. Despite hardt : he was very much a man In Django there waia mitur her illiteracy. she had as keen an spot.” He was incapable of satisfaction, • jealousy, sensibility, intelligence as any woman I planning anything, even for the arrogance, shrewdness and the have met. and feeling differently about what He was something of a philohe person—he was quite likely to Of course, she understood Django on sight. and knew how had arranged to do. sopher, and a natural existential- to look after him. She knew the ist—a truer one than most who whole scale of his character, and profess that philosophy. He when a storm was near she An injured look would stare for hours at paint- managed always to be there but I ings, wondering how a human ably surprised when reminded of out of the way. For Django could be a nagging kind of man. and an absolute despot at home Naguine, being a gypsy, expected this. She loved Django. she was diplomatic, and she So it is easy to believe that understand him. If they had, cooked the food he liked best. Django was not keen on arrange- I they would have forgiven his Was absolutely broke, living with (To be continued) remember. quite complex pieces. . Of course, he preferredto make music existed. good music. Music would bring would absorb and sympathise and understand. Django’s humility He liked great things. And I the way they should be zperienced. To see his expre3son in in Paris hearing for the first time the Berlioz “Requiem,” was to see a person in extase. better than most people did. who was himself a great musician— spoke of his true simplicity and humility. . It was the finishing touch of a real artist. Besides this tremendous love of music, Django also felt drawn to painting and painters. When we lunched in Montmartre he would watch attentively the painters working in the streets, wh ni:ght have numbered among them Utrillo, or other great artists. Django painted too—rather child-like things, colourful and impressionist. One or two of them have been reproduced in I ‘papers and magazines, and people used to say they had something. He saw that I didn’t think his work was so hot, and often he taught him to attach much im- would look at me with pity, think- have read, I know he would have portance to worldly things. ing to himself : “What a dope Immediately he got hold of that Grappelly is about art.” some money. he would spend the My little triumph came later. After seeing a gangster plc- night in a café and lose it all at when I took him to the Louvre ture, Dango would act rather cards. He was not a heavy drinker, for the first time. Then, I sup- ilke a gangster when he came out but when he did get drunk I pose. he understood what painting of the cinema. He was impressed needed help to get him home. could mean. by the roll of dollar bills generally Another thing about Rein-• of the present, living always on of everything : Intolerance. disthe a roll with an elastic band such next day, because on the next day restlessness—the mild craziness— He wa not a man to worry he. would be in a different mood, of genius. about bank accounts. Most of Not only that: he was ipvarl- being could do such work. her his candid. injured look if A sense of humour a promise, and I’ll always rememanyone reproached him for for- getting one. I The majority of people did not Before the Quintette days, he ments, social 01’ musical. But in I peculiari ties, for Django was really his second wife and his mother fact, he had an extraordinary a good roan. He could be bad In a little room In an ugly Child-like I shall never forget the first day Django put on evening dress— with bright red socks. It took some time to explain, without injuring his feelings, that red socks were not the right thing. Django Insisted that he liked it that way, because red looked so well with black. It was in those ways that Django was like a child—but one with more intelligence than many men, though he was obscurely Intelligent. Really. his attitude was that of a schoolboy. He loved Westerns and gangster films, and if he could enjoyed the comIcs. carried by tough film characters, and kept his own money In as he had seen In the films. what he owned he had on his carry several hundred pounds around, and pull it all out to pay for matches! But a roll didn’t last bag with Django. Remembering my own young days, when things were very different, I always managed to be a little careful; but Djano —never!Montmartre hotel. But it never DJANGO AT NICE IN 1948
42 STEPHANE GRAPPELLY tells the tale of jazzdom’s IAGIC N OBODY is sure where Django Reinhardt was born, or what exactly his nationality was. He told me only that he was born in a caravan, travelling the roads on the borders of Belgium and France. I believe his mother belonged their caravan at the gates of the to a family of acrobats. ‘Andhis city during the first world war. rather used to play the piano— During the years I knew him. 1:iow, I do not know, as I never when most of the time he had a heard him. But whenever I he could never stand town life spoke to Django of his father’s for long, and was dways running playing, Django laughed loudly. off to the country to fish or visit One of his uncles was an a gypsy camp. expert on violins. Like Django, three or four hours,” and return he was an illiterate man, but he three or four days later, having used to be consulted by imj been to see his folk at one of ortant dealers about the age the Portes de Paris. and authenticity of valuable i_fl struments. It is said Django became a he was. So, understandably, the Below: Stephane Grappelly and Ujango Reinhardt meet on a Paris street. caravan, and we didn’t see him before he had been badly burned. Parisian when the family parked tor a day or two. He preferred to live like that, for—as he said— where he was found to be burned he liked to go to sleep with the all down his left side—his arm, sound of rain falling on the roof. hand, body and leg. On the home in the Montmartre area, If he vanished when we had hand, a bunch of nerves had been engagements booked. then I was “grilled “and the last two fingers forced to go to one of the en- were shrivelled. cainpments and start inquiring for him. This wasn’t an easy stay in hospital, lying practically He would say: “I’ll be back In business, because gypsies are suspicious all this time on his right side. people—Django was him- He waited br the burns to be self a suspicious man—whose cured, determined to work out a motto seems to be: Anybody technique which would enable white is a policeman.” Finally, they got to know me, him to perform on the guitar in and I could usually locate Rein- spite of his two paralysed fingers. weeks, and no one knew where hardt and bring him back in time decided his hand must be Quintette was a bit funny in lot the next job. He was living In a caravan, amputated. Django did not like before I knew him, when he met the sound of this procedure. Even when we were playing in with the accident which nearly Like a good gypsy, he preferred Rome, Django suddenly bought a cost him his left hand. Various the risk of gangrene to the certam accounts of the mishap have been printed; this is the one that Django told me. He wa.s 17 or 18 at the time, had dozens of them) carried out living with his first wife some- a kind of commando raid and where on the outskirts of Paris took him out of hospital. and playing guitar with Joseph coup (though I know that all his In the Terrace de Café, where cousins looked pretty tough), nor they took a collection in the 01: what his family (lid to save Street. He was taken to hospital, For 18 months Django had to Then one day the surgeon loss of his hand. So, under his mother’s instructions, a few of his cousins (he I never heard the details of this hishand. But save it they did. and Django set out patiently to develop new lingering wtli the On this particular evening aid of his Iron determination DJango was lying in bed while and great musical talent. his wife made artificial flowers But It was not only will power and talent that enabled Django from celluloid—flowers she in- to triumph. He was helped also tended selling the following day. by his physique. Django’s wrists Django, lazy as he was, asked were nearly double the size ol an ordinary man’s, and his ,Jlngers were extraordinarily long and thutt caravan came from a candle end, and, as the girl picked It up, strong. she burned her fingers and Technique These factors helped hIm develop a technique which no one could emulate, and they help to explain the strength of his the caravan. Django leaped out tone amid style. He acquired of bed and got himself amid his —-amazing dexterity with those wife out of the fire—but not 51st two fingers, but that didn’t mean he never employed the others. He learned to grip the guitar . with his little finger on the E string and the next finger on the B. That accounts for some of those chord progressions which Django was probably the first to perform on the guitar—at lea.t in the jazz idiom. As a gypsy, Django was accustomed to overcoming adversity. Passionate as he was, excited about nothing, he became calm I In the face of tragedy. And so he learned to use any means po.s.sible to lncrea’e the expres— aba of his musical feelings. I He even employed all five fingers “at tiiii&s. a.s time Nea— politan guitarist will. Before bug he was playing In PUblic again, believing. J)(’rllap’, that Fate had arranged his accident, for hi’ wa.s ))layiiig irioie 1)rllliantly than hloe. ( ‘10be coIL(’l H ((((1 GERS continuing the story of DJANGO REINHARDT Sometimes he disappeared for those days. The fire the girl to give him a light for his cigarette. The only light In dropped it into the basket of celluloid flowers. There was an explosion, the basket bui’st into flames and quickly set alight other parts of The magic fingers of Django Reinhardt. < ,, ;... .—.--.,---‘ ..
STEPHANE GRAPPELLY tells of- DJANGO’S FIRST T week I wrote o a painter who could remember a Django’s struggle to shape, and at last he got it. develop a new fingering enough paper in the room to method after his left hand satisfy him. Everywhere I looked was burned in a caravan fire I saw “D. Relnhardt.” It was a There was another struggle, relief, because few things were less vital but almost as hard, ever more difficult than getting which I witnessed : when because in his face I saw such Django decided to learn pleasure. writing. He was, in the main, an in odd moments at the theatre, assured person—confident in how he should put certain sounds himself and in his ability as a guitarist And his confidence was reassuring to those who woriced with him Serene I was never nervous with Django. Playing violin with him, for example, I felt as easy as though I was sitting in my own drawing-room. In fact, I used to wonder if he ever felt neryous; he was like the Rock of Gibraltar, that man, always per- fectly serene on the stage. flut there was a chink In his armour. Sometimes be was In- timldated because of his lack of formal education, though you had t: know him well to discern this. As you would expect, he was not keen on people knowing that he could neither read nor write. In the first days of the Quintette he was often shown a contract which he would eye for some time before nodding his acceptance. He was not a man who found it easy to ask advice, and be would sometimes okay ai offer without even showing it to me. That was one reason why we had a few catastrophes at the beginning. Later on most of the letters came to me, and I tried to arrange the work for the group. Even so, two signatures were needed, and after a time I said : “Look, Django, when we sign a contract it Is miserable fQr you having to put a cross.” (It was a funny cross too.) “I think It will look brighter It you sign your name.” Enthusiastic At once he was enthusiastic to learn—so long as we kept it a down on paper. Correct spelling secret—and I began showing him did not worry him, but he was the letters of the alphabet. As it interested in being able to write was a difficult matter for him. I phonetically. “Dis, Grappellj,j.” he taught him just the capitals. I will not say that I taught would say, “what does so-and-so Django to write; but I certainly mean? ““How would you write showed him how to sign his name. this down? We began, naturally enough, with write a letter, and when he went “Django,” and took so long on to the United States he sent me the word that I said : “Never ( in January, 1947) what was probably mind the ‘Django ‘—‘D ‘will do just as well.” At first he was Insistent on the tJ show the progress he had whole name; he really liked the made. You can see a part of that name Django, said it sounded letter on this page. Although he nice ( he never liked me to call could not write well, his writing him Reinhardt, always Django). was the most picturesque I know. Finally, he got tired, too, and agreed with me that D “would do. That was all right. The great ob. came when we started on ‘Relnhardt.” It Is a complicated name and spelling meant nothing to Django anyway. Still, he was Once he had, there was not that man to sign his name. And It was worth the effort, Afterwards, he regularly asked, Slowly he learned enough to the ftrst letter he ever wrote, War In speaking 01 America, i am success—particularly with the jumping ahead of my story. But, guitarists—and was received like then, so many things happened in the 20 years I was a friend of oeen told that when Djano first Django’s that I am bound to leave rehearsed with Duke Ellmngton, out many of them. And we have he musicians left their card to bring the story to a close. We were in London, staying at games to listen to Djano and a pension in the West End, when hout : “Go to It, master. ‘And war started. On September 3, llington’s verdict was : Django 1939, Django took a taxi to Victoria S all artist.” Station and went home. uinteite finished. The answer while I remained in Britain. So it was five or six years before s that It died with Django’s I saw him again, though I some- Jeath. It might otherwise have tirn” flj word of his movements oeen re-started at any time that through the extraordinary know- The style would have moved with ledge of the gypsies. When I had a home In Devon Django were alive it would still I found a gypsy ,camp there, and be modern. curiosity compelled me to go and inquire. To my surprise, they knew of me, and knew the where- Dango cannot be replaced. abouts of Django. He was In Lyons at the time, they told me. In 1946, when he came to London news of Django’s death. But by on his way to America, I the time I received it, Django had found another Django—mature, already been buried two days. and yet more abrupt then ever. I was astonished at how changed ourse, at which I was asked to he was. As most people will remember, ppear. I didn’t go. For one Django had some trouble In thing, -I hate flying. And for America. His guitar was -lct on another I was too sad to do it. the ‘plane.he was late for his first concert and some rude happy atmosphere to play jazz In things were written about him. Master All th same, he was a great an ambassador. The story has Often I am asked when the the two of us happened to meet. the times, of course—and if But the Quintette cannot be reformed now, even with better or trore modern musicians, because I was in Florence when Delaunay sent a telegram with the There was a benefit concert, of I cannot feel like going into a tribute to a dead friend. LETTER He wrote this to me when he was in New York . J9gJuson HOTEL 3 WEST FIFrY.SEvENr STht1 NEW YORJC 1,. N. ‘4’.çrPPNE .J T F/kr A1 P o TEF11/VoI LL< VALE5 NiEA JEL-( N1) HPr w EN Bill Coleman says his last farewell to a oreat yazaman. Dja7mo is deaf. But iris music will never be for- ciotten.
DJANGO REINHARDT (LP) “Django”Charleston (a); Chêcago (a); You’re three on the LP, are among the Driving Me Crazy (a); In A Sentimental best the Quintette du Hot Club Mood (a); I’ve Found A New Baby (b); Alabamy Bound made. The fertility of Django’s (b); Lady Be Good (C); Minor imagination is amazing, and his Swing (d); Viper’s Dream (d); long solos on “Charleston “and Swingin’ With ‘Django(e); Paramount “Crazy “will still c a U s e Stomp (e); Bouncin’ guitarists to curl up. Around (f) ; St. Louis Blues (1); Swing Guitar (g). (HMV 12 in. CLP124O—34s. 1d.) (a)—Reinhardt Pierre Ferret, Mar- the whole company, And his eel Bianchi (gtrs.); Stephane Crap- one-man backgrounds on the pelly (viii.); Louis Vola (baa). duets are surprisingly complete i/4/37. Paris. (b)—Reinhardt (gtr.); Grappelly disability. (yin.). Do. Do. (c)—Reinhardt, Grappelly, with part to “Swingin’“and “Paramount Eddie South, Michel Warlop (villa.); Wilson Myers (bass). 29/9/37. Do (d)—Reinhardt, Grappelly, with a third to “Lady.” On this last, Joseph Reinhardt, Eugene Vees the order of appearance is Warlop, (gtrs.); Vo(a (Iass). 15/11/37. Do. (e)—Reinha’rlt. Crppcfly, wLh ,iisg wnat 1111.3 gone before. Warlop (yin.); J. Reinhardt, Von (gtrs.); Vola (bass). 14/12/37, Do. (f)—Reinhardt with Louis Caste made jazz that could touch (gtr.); Eugene D’Heilemmes (basa). what Teddy Bunn, for example, so 9/9/37. Do. (g)—Reinhardt, Grappelly with J. sLstently made superb guitar Reinhardt, Ferret (gtrs.); Vola (bass). 15/10J36. ANYalbum devoted to Django Reinhardt is going to be required listening for jazz guitarist.s everywhere. This one, though an album of 22-year-old string music, should please other people, too, because Reinhardt was a creator of real melodies. The solos on this record could have been conceived yesterday— If the guitarists still active in jazz approached Django’s skill— and we car. turn to any track for proof of his inventive genius. But for the essence I would recommend “Bouncin’ Around,” a perfectly formed piece, full of contra-st and unexpected ornainent. “St. Louis,” on which he also improvises alone (with guitar and bass accompaniment) , comes close to it. But here, the Mediterrllreafl character almost swamps the blues taste. ,- Swing Guitars “contains a brilliant medium-tempo variation on the Nagasaki “chords—in this Instance, the sleeve Is at fault in leaving out Grappelly— and “MinorSwing” and “Viper’s “are rewarding for 44 ‘c.thL-/LyL This 22-yearold album is a must for guitarists Django and Stephane as well as for team spirit. These tracks, and the first The rhythm playing Is another matter. But at times Relnhardt was sufficiently inspired to lift and complex, considering his Warlop adds a second fiddle “(mis-titled “Presentation Stomp “on the sleeve) and Grappelly and Soiith—’c uras. For me, Reinhardt seldom regularly produced. But he con- music.—iJax Jones. A powerful study in musical concentration from Joseph Rein- hardt, quitarist brother of the late and çjreat Django. Yesterday ( Thursday), Joseph opened at t7ie Black Sheep Club in Mayfair. He is accompanied by the resident Chico McDermott Latin-American Band. Also opening on Monday was a contrast- ma jazz group, ttie Kenny Gordon Trio. April 25, 1959. MELODY MAKER—Pag. DJANGO REINHARDT . Djanjo Roinhardt consistently made superb guitar m’sic.
45 ., ; REIHARDT, DJANGO : FrencLt guitarisL best known as star ot the Quinlette dü Hot Club de France, wLth which he toured England. This grtp was first formed in 1935 in Paris, atd subsequently had a spasmodic existetce in night clubs, concerts, etc., finally breaking up in 1939. Reinhardl and his brother, Joseph, are gypsies wh learned the guitar while travellit tn , their caravan listening to Eddie Lang records. Django’s left hand wis crushed in an accident, and mo.s t his fingering is done with two hnrs, Widely acclaimed in Europe and US. for fast • technique and flashy Many records, mostly on Deca iiti Swing. with the Quiniet, and its play ing accompani men ts w ith Bn n Carter, Coleman Hawkins, BiLl Cokman, Garnet Clark, Alix Conthelk, Eddie South, Michael Watlop. fDic&i Wells, Phillippe Brun, etc. lovers is, of course, that Hot Lips I {ALF of the Corner paid a Page is one of the resident visit recently to Knokke, features at the Casino. Here in on the Belgian coast, and we a large room, named New can heartily recommend it, to Orleans,” he plays from late readers of this page, as a night until early morning, with holiday resort with a certain a French group under the leadership of clarinettist Andre The main attraction for jazz Reweliotty. By the time we caught this youthful band, Hot Lips had been rehearsing them for several weeks, and under his tutorship they had become a sound revivalist group, playing with a fine spirit and no little swing. The pianist, Yannik Sin- gerry, is really excellent, and so is Jean-Louis Durand, a from- bonist who at times sounds surprisingly like our own Keith Christie. But it was friend Page that we really went to see—and he did not let us down. His trumpet playing is still very Kansas City in style : shades of the great Moten and Basie bands—fierce, open stuff, fairly simple in con- tent. but played with fine swing and a great, hot tone. Many of his numbers stem from the Armstrong book of the early ‘30s,but all have the Page personality stamped very firmly upon them. Wonderful His singing is wonderful. and we know ot no one in the world today who can top his gravel- toned blues. You can add to this that Mr. Page is a very great entertainer, and a prince of good fellows—and you lave it all. In addition to Page and the Reweliotty Band, there Is also featured in the New Orleans” the quite extraordinary piano playing of Bernard Peifer, plus the famous guitar of Django Reinhardt. We first heard the former in Nice three years ago, and were very struck by his playing in the Fats Wailer manner. Since those days Peifei’ has progressed. He now plays a fan- tastically fast l)UIflO. with greal technique and swing. If this boy ever gets to America he will, we are sure. be a great sensation. His duets with Reinflardt were rather on the cool side, but the great Django Is always Interest- ing in everything he does—even if we did prefer him before he took to the electric guitar. For those with modern Inclinations there was also a Belgian band playing short spells in the Minton manner. They featured a a1ly wonderful girl singer, whose singing would surely interest you. whatever your tastes in jazz hap- pened to be—S. I. 1,t4 Djunjo’s omission TN reply to Mike Nevard’s re. _I_ mark that Django Reinhardt was omitted from my book, The Story Of The Spanish Guitar. I would point out that the book l about the Spanish guitar—the nylon-strung, finger - played nstrument. Josh White was included 3fl the songs_withgUitaraCComPafli meat section because he does not play plectrum guitar. He plays finger-style. although he uses steel strings—A. P. Sharpe, London, W.C.2. . Mike Nevard coninients The second paragraph ot Mr. Sharpe’s letter contradicts his first. The book mentions Josh. and therelore does not adhere strictly to the “nylon.strung. hnger-played in- strunient.” Our point therciore remains valid. L Hot Lips still plays pretty fierce trunipet! amount of jazz interest. ) 54 [Registered at the G.P.O. L as a Newspaper The Story of Django I REINH4RDT I i DJANGO REINHARDT, the French genius of the guitar whose death last May ‘shockedthe jazz world, will be the subject of a series of MELODY MAKER articles beginning next week and written by his close associate, ace violinist Stephane Grappelly. Reinhardt’s was one of the most original talents that jazz I has known. He was generally considered to be Europe’s finest jazaman, and today he is still named as the supreme , ‘—exponent of jazz guitar. NJo one is better qualified ‘thanGrappelly to tell the story of Django’s rise . ‘fr3m the Paris streets to a position’ of world renown. In this series. “Steph “recalls how he met Reinhardt, how the idea of a “string swing group came about. and how the Quintette du Hot Club de France was formed. Grappelly also writes about Django’s caiavan life, his tastes and interests. his creative musical ability, his character and, of course, his totally unexpected death at the age of 43. Understandably, interest in the colourful French r”’ ‘has remained very great, and no guitar player—’ jazz lover—will ‘want to miss the +. Stephat ‘Told by -- MELODY MAKER. ‘Stephane Grappelly U. , One of t h e finest guitar blues recorded by a modern player.”
46 . FORTY-NINTH YEAR. The Monthly Magazine devoted to the interests of the Banjo, Mandolin, Guitar and Kindred Instruments Edited bi’ Subscription rage: ‘-712 mouths . . 15/- (U.S.A. $2.10) All news items subinitied for the next issue must arrive at this olfice before the 10th of the month. ADVERTISING RATES ON REQUEST Vol. L. No. 579] . JULY 1953 [Price One Shilling and Threepence DJANGO IS DEAD By THE EDITOR THE whole world of music was shocked to hear that Django Rein- two thousand enthusiastic people it hardt died on May 16 from cerebral 1iemorrhage at the age of 43. 1nhis (Delaunay). little house standing on the bank of the River Seine at Samois-sur-Seine, some 40 miles from Paris, the guitar that thrilled a million jazz fans lies silent. On May 15 he had returned from a Co. engaged it for its first recording ses.sion. lapped up every note of Django’s inspired concert tour of Switzerland but on the following morning, while at his home, he 1935 in this country on the Oriole label— guitar. was attacked by severe pains in the head. and guitarists in this country heard, for the A doctor was sent for but the pain spread first time, the drive pf Reinhardt’s rhythm to Django’s right arm and he was rushed and the beauty of his solo choruses. to Fontainebleau hospital. Late on Saturday night he died, leaving behind a wife, 1936, the Quintette had played in Nancy, he could play when he wanted to and two children and a host of friends. , Of gypsy origin, Jean (“ Django “)European cities. Radio engagements soon Reinhardt has been described as the most interesting personality in the world of dance music since Duke Ellington. It was during the 30’s, when jazz with its brassy ingenuousness was giving way to the sophistication of “swing,” that we first heard the name of Django Rein- hardt. Records issued by Levy’s of the “Quintette du Hot Club de France “featured Django Reinhardt on guitar—and the breath-taking beauty of his improvisations; his phenomenal technique; his good musical taste in everything he did; all these made musicians in general and guitarists in particular “sit up and take notice.” The Quintette was introduced to French audiences for the first time in the Salle de l’ecole Normale de Musique in November, 1934; proving such a success that a second “Hot Club “concert was arranged and held on February 16, 1935. Prior to the second concert, Django Reinhardt and the Quintette du Hot Club de France faced the general public during the “Gala du Disque et de Radio “at followed and these included special relayed the Champs Elysees Theatre on January 31. Again, in March of the same year “in the great Salle Pleyel and before received its definite consecration” FIRST RECORDiNGS Inspired by the success of the Quintette’s obviously enjoyed playing. There was first concert the French Ultraphone no attempi to “play down “to the usual These records were issued early in Success led to success and by January, atmosphere of French night clubs where Barcelona, Zurich, Geneva and other CONTENTS Music In This Issue: hawaiian Guitar So’o (with ucc. for 2 P.G.’s. ukulele and bass): “Hawaii Calling” Plectrum Banjo Solo: “Coronation March” Plectrum Guitar Solo or Duet: “El Choclo” Spanish Guitar Solo: “March “(Handel) Banjo & Zither-Banjo Causerie by I. Mc- Nauglzton 242 ‘,B.M.G.” Diplomas 25 By the Way 255 Club Notes 256 Correspondence 256 Directory of B. M. & G. Clubs 2!) Djanno Is Dead by The Editor 237 DoWt Miss This ‘253 Federation News . . 255 £500 Mandolin Stolen 245 Improve Your Form by Tarrant Bailey, Jr . 238 It Could Only happen Once by Jack Duane . 243 Julian Bream Recital . 254 Mandolin Technique by V. J. Parsier . . . 240 Modem Playing for Plectrum Banjoisti by Roy Burnhatn 252 Playing the Ifawailan Guitar by Basil King . 253 Plectrum Guitar Forum Coi:ducged by Jack W!:i(fjeld 245 Small Advertisements 258 Spanish Guitarists’ Scrapbook 244 Teachers and their Addresses 259 The Ilalialalka by R. A. Blest 239 The Banjo in Britain by W. M. fleewer . . 246 The I’retted Instrument Guild 255 The Modern Ilasialian Guitar by Frank Baker . 240 The Spanish Guitar by Terry Usher . . 251 This Month’s Cover Portrait 254 20th Century Minstrel 254 programmes to London and New York. By 1937 the popularity of the Quintette resulted in a tour of the British Isles and before thrilled audiences Django Rein- hardt and his fellow Frenchmen unperturbably played the kind of jazz they music hall audience. And the fans But Django’s gypsy blood quickly reVolted at the insistent demands of routine engagements and longed for the what he wanted to. He returned to Paris. In May, l939, the Quintette disbanded. Grappelly stayed in this country and Reinhardt went back home. During the • war rumours were heard that Django had died and reports of his death were published in America (“Down Beat “)and England (“ Melody Maker “)but the rumours proved false. At the end of the war he went to th. U.S.A. and appeared with Duke Ellington in Carnegie Hall concerts. Today Dango Reinhardt is dead. All we have left are his many recordings —atreasure house for those who can apprecfate a genius; a genius who, despite a physical handicap, had gifts far beyond those of the average musician. TRIBUTES Below I print some of the comments made by well-known guitarists when they heard of Django’s passing: Ray Deluphey: “DjangoReinhardt was undoubtedly an artist of genius and I would unhesitatingly name him with Louis Armstrong, Duke Ellington and wvwwvww . Published on the 1st of each month at 8 NEW COMPTON STREET, LONDON, W.C.2, ENGLAND Telephone—.-Te,nple Bar 2810 Telegrams—’ Triomphe, Westcent, London.” A. P. SHARPE The Editor does not necessarily agree with the opinions expressed by his . contributors.
47 23 Charlie Parker as one of those who have HCIIICVCd t his j)1LCC i n (lie sphere of jazi. [1 LI S C.’’ (;crge Elliott: ‘Reinhardt was an outstanding genius—fluent, cx pressi ye, hd(le Lang in the ranks of the intnortal passionate and completely unlike any- geniuses of .jazz.” thing before or since. 1-us passing leaves a great gap in the ranks of tIne per— In my opinion, the greatest plectrum gui- IL) rm ers .“ Roland I larker: “vVjth the passing of develop single-string playing than any- Django Reinhardt, layers of the i1ec- body and his fantastic solos will live for truin guitar have lost one of the greatest ever in my memory.” jazz guitarists of all times.” Jack Liewellyn: ‘As a great admirer 01 Django Reinhardt we have lost a great and friend of Django Reinhardt, he will a it ist, U niq uc an(l uncq Hal led in his ovn . always be remembered for his contribution sphere. lbs recorded art \vil, 1 know, to single-string playing as we know remain as supreme for years to come.” it now.” Ivor 1’Tairants: “It is a great tragedy that Django Reinhardt should be lost to us. lli style, never successfully copied, was a personal expression of his nisical genius and entirely original.” MLlCOli11 Mitchell: ‘As a close friend of Django Reinhardt the news of his death came as a great shock to me. I shall miss searching for his friendly smile when- cver I go to the Continent—most of all, 1 shall miss his inspired guitar playing.” Roy I’luiiiiner: “Now that Rcinhardt (with the exception of his legacy of magnificent recordings) is nO longer with LIS, flO amount of hero-worship can be too iuc. Some of the praise now bestowed on this guitar genius was long ove rd tie.” Peter Sensier: “I believe that his ‘gui- taristic ‘manner of improvisation will ren ain fresh when many current ‘stylists soutI dated, because he was at all times a guitarist.” 8MG. ‘ferryUsher: ‘The creation of a (uStinctive JaZz style marks the gulf between mere brilliance and genius. Reinhardt, whose deith we now mourn, has joined Bert Vcedoii: “Django Rehardt was, tarist that ever lived. I-Ic did more to Andy ‘v’olkowsky:“With the passing JULY, 1953 I)JANG() itI::Ni i.uui’ niiI, tlic Q1(I!lect(L’ lu l!t Clii!) le I,i,ic’ (ii 1 Il(’ /11%! ic’ct’iiliiiç’ (‘S.Sio1l for L)CCCu in London DJANCI() REINllARI)T 1)JANGO RFINIIARI)T .i(Ii iIi’ J!o Club Qui?lIellL—a P/otoS’raplz taking during the’ QuinlcuL’’s first English stage tour
48 IT COULD ONLY HAPPEN ONCE 13y JACK DUARTE THE impact of Django Rcinhardt down, is forever beyond his reach. upon the guitar world, both musically I and technically, cannot possibly be appreciated to admit) about a dozen of the first-issued “Limehouse Blues “(H.M.V. and Decca, by the younger genera- sides. This consisted, in fact, in playing respectively), he fingered eid plucked tion; much less can they most of the notes with little of the expression every note on thelower strings, playing savour it as the thrilling memory which it is to hall-marked the originals. those of us who are now compelled by his us that Reinhardt was a fairly normal tinuing to finger every note (1. 2. 1. 2. death to realise how fleeting time is. The full realisation of what Reinhardt represented is all the harder to achieve had produced such a pale imitation! now that so many of the older records have been deleted. I took up the guitar in the early deformity. This had been a subsidiary on “Moonglow “(Decca)—one of the thirties, when the death of eddie Lang matter to us as we found it hard enough first bombshells to hit us in the early was still fresh and his influence paramount. to credit our ears even without attributing discs—or in “Some of These Days” Those were the days . of Dick any handicap to our idol. vlcDonough (now dead also), Carl Kress memory) we met someone who had seen (no longer an active player profession- ally), George van Eps (still unrivalled in and played with The Great Man Himself! striking rise in technical standards, aided the pianistic style of playing), Teddy He confirmed not only that he did play by the advent of amplification, and there Bunn (now seldom heard of——but, remeinber those records with the Five Spirits of Rhythm?), Lonnie Johnson (on double- strung guitar) and, in this country, I VOl fvlairants (alias Peter Pan) and Albert Harris (now a Hollywood studio m usici an). Only a re-playing of the records ut these players can give the younger pla’er a grasp of the standards, style and general atmosphere of the period. How well I remember entering i record shop in Manchester about 17 yeats ago (even the shop closed years ago) and, entering one of the listening rooms, found Terry Usher (know him’? ) aiul Peter Sloan (now also claimed by the reaper sitting with craning necks and bulging eyes, listening as if hypnotised, to their first Reinhardt sides. Even now, those sides are sheet tech- nical and jazz-musical magic. From that time there was a steady low of Rcinhardt discs on both I-I.M.V. and Dccca, spinning a wel of ecstasy and bewilderment for musicians in general and guitarists very much in particular. Not only was there a fire and intensity and a frecdoi of expression and phrasing hitherto undreamed of lit the technique which served this flow of mtsie seemed to defy belief. RUMOURS Innumerable rumours and fairy tales circulated and were believed by most o LIS : ‘He uses linger picks on his right hand.” “The rapid passages are recorded slowly and speeded up.’ And so on. The only thing we found it dillicult t credit was that it was all done by honest ability and superb technique. Perhaps it is l)art of the peculiar makeIll) of a guitarist that he will struggle doggedly to play what he knows, dee; 13e that as it mmmy. l’crrv ishem mud I toiled for tens of bouts amul e’entual I y iiiammged to play (in public, ‘cflO\V blush and none of the assurance which the run in the conventional nut position It was, however, sufficient to convince either by a slide with tremolo or by con- mortal who possessed an abnormally fine 1. 2. etc.). The careful listener can hear technique. Just how fine it was we could which method he uses on any particular judge by the sweated labour by which we Another myth which assumed many always played tremolo down the first variants was that of his left-hand string. e.g., in bar 17 of his solo chorus During 1937 however (I write from with normal technique and at the speed are now many guitarists whose technique of the recordings but that he had only is of the same order as Reinhardt’s——jf two available fingers on his left hand! AP1EARS IN LONI)ON Early in 1938 the Quintette du Hot hardt’s own expressed belief—-that he Club de France played in a Sunday con- represented what would eventually cert in London aml a small expeditionary become a normal standard amongst force descended from Manchester . to witness the spectacle. What we saw and accomplished’ players and what might heard did not destroy any of the wonder even be surpassed. but merely underlined it. Django Reinhardt sat on the stage, be judged in their context and in terms unaided by any pick-up unit, yet was of their own times and when we do this remarkably audible in the body of the we realise clearly that such a miracle and theatreS He left us drained and stunned, an outburst of genius is as likely to recur not only by the miracle of his technique as is that of Schubert. but also by the complete relaxation, “fillip “to technical dcvelopment (par- effortlessness and certainty of it. His knowledge of the fingerboard ticularly in single-string solo work) in enabled him to run rapidly in any direction time to prepare guitarists for the demands and in any position, in any type of which amplification was shortly to impose phrasing; his right wrist was of steel and upon them—and it led in direct line, even in a rapid six-string tremolo (like through Charlie Christian, to the that which opens his H.M.V. recording numerous fine players of today. of “Mystery Pacific “)his plectrum technique and musicianship equals and in scarcely seemed to trespass beyond the at least one case even (in my opinion) first and sixth strings. His available two surpasses that of Reinhardt, but they do fingers on the left hand seemed to be not in any way affect his secure place in made of elastic and, when used in playing plcctrum guitar history aS the man who octaves, appeared to stretch at right first pushed the guitar through the tech- angles to one another. In chordl playing he relied much on the nical and musical “sound barrier.” simple formations readily available to the tribute with a brief dis ussion of Rein- two fingers but he used many big chords hardt as a musician rather than a to produce which he rested the remain- technician. ing two fingers and/or thumb on to the fingerboard, although he could not significantly alter their relative positions, A characteristic of his style was his frequent use of the chromatic run and this, too, provided technical interest. In ascent, e.g., at the end of his chorus on “You’re Driving Me Crazy “and in and then running along the first string record. In descent, the chromatic run was (Decca). . NORMAL STANDARD Since those days there has been a we disregard his physical handicap. This is only in accordance with Rein- Men like Reinhardt, however, can only It provided, moreover. a tremendous There are now several players whose Next month I propose to complete this (To be conInmue(l)
IT COULD ONLY HAPPEN ONCE By JACK DUARTE (Continued from last month’s issue) DJANGO REIN- HARDT’S style as idols. Unfortunately, he never assimilated chromatic in structure—and this terminates a musician was even more strongly personal work after the late war (call it “bop “if leap. The interest here is in the interval t h a n his technical you must). I say “unfortunately “not be- marked by the bracket. ‘facility.This simple cause he would necessarily have been qualify under the previous heading, also. fact over-shadowed all better for so doing hut because his others and reduced the attempts amounted to mere caricatures— ages with such warmth and conviction immediately pre - war a fate largely shared by those of Benny that one forgets they are mere strings statement of a certain Carter, another pre-war ‘great,” who of unvarnished arpeggii—as shown by Press critic that Rein- should never have tried! hardt was no jazz musician (the reference being “Blues Primitif “which Reinhardt made to melodic fragments that appealed to in derogatory terms) to on amplified guitar. a level of fatuous irrelevance attainable only by critics in their weaker moments. little “fingerprints “was that type of pausing just long enough at to catch Who, we may ask, cares or cared into spinning phrase (there were many van- his fancy so that he continues as in what pigeon-hole Reinhardt fitted? When the miracle of his technique ants of this in his playing) of which Ex. an artist to avoid the mechanical repeti- - ceases to monopolise the attention, there 1 on this page is characteristic. Such remains a fund of musical interest phrases were clearly zigeuner in origin. tion of his pattern and, although the obviotis which is unlikely to be exhausted by of modern jazz. Ex. 2 is from Dizzy phrase is kept, each repetition is varied anyone short of another genius. . Do not expect, therefore, a systematic passion for florid phrases, also attributable study of Reinhr1t a musician; rather will this article be a collection of personal to require any illustration and this, too, ing the excessive break-up of the line. reflections at leisure. Reinhardt, as we all know, was of is shared by the modernists. Further, and naturally he brings the rapid surge gypsy stock and there can be little doubt the modern “pointing “of phrases by of this passage into still water. Ex. 12. that his peculiar style resulted from the “ghosting “certain notes to give impetus fusion of this element with his love of and force to prominent notes was also improvised jazz. For this reason he was freely used by Reinhardt. never a purely gypsy musician and never Reinhardt and Ex. 4 is by the present- but space does not permit such luxury an out-and-out jazzman. His principal inheritances of romany day genius Tal Farlow. The principle is examples of the artistry which lies artist- origin were a strong melodic vein and an the same. unmistakable fieriness which broke out mon—it is strange that Reinhardt never ically concealed and which will reward with an abruptness that was often almost disconcerting. Who can forget the first really developed a feeling for modern Reinhardt’s work with a better object impact of the Qutburst which marks oil phrasing, and how clearly it underlines than simple simian imitation. the middle eight bars of his chorus of the unwritable subtleties of jazz style! “Moonglow “from the previous 16— which wer played with an expressive tenderness that was in itself before then unknown to the plectrum guitar? Such outbursts were, of necessity, displays as a melodist we are immediately faced sacrificed his better judgment for trivial of technique and their impact frequently with more material than we can possibly (musically) displays of technical facility hinged wholly on this fact rather cram into one article or, for that matter, —“MysteryPacific” and “RoseRoom,” than on their musical content. In this connection, an example immediately great interest in seeking examples ofi on technical grounds but the latter best coming to mind is the flooding even the following few aspects—none of forgotten. diminished-seventh arpeggio used in “St. which are peculiar to Reinhardt but all produce phrases of incredible poverty Louis Blues,” later in “N’gasaki,” and of which mre abundantly displayed: later still in “Songe d’Automne.” Al- though he demonstrated it to me many the upper register. Ex. 5. years ago, I never fully grasped how he did it! MANY LINES OF THOUGHT The preceding sentences, now that I accent is clearly self-contained and not “Body and Soul “which • is monument- come to re-read them before writing on, dictated in any way by bar-lines. See ally insensitive. suggest so many lines of thought that I Ex. 6. (3) The feeling for artistic balance points of interest unmentioned that I must turn back to explore some of them within groups of bars. Notice how, in must trespass on the Editor’s hospitality a little. Although his early study of jazz music Ex. 7, having formed a flat but by no revolved round gramophone records of means uninteresting little chromatic one Armstrong and Ellington, Reinhardt and a half bars, instinct led him to balance came into prominence in the so-called composed of an arpeggio with comparatively “swing “era—and if his playing belongs to any period of jazz, it is to this one. Apart from a taste for unusual harmony (the Ellington influence) which he displayed more freely on informal occasions phrase. Ex. 8 shows a phrase which than in his recorded pieces, Rein- begins similarly to Ex. 7—flattish and hardt showed little influence by his early the modern influences he found at Every Reinhardt lover of discrimination Ex. 9. (6) His obvious spontaneous reaction must have winced at the record of Strangely enough, one of Reinhardt’s in which he spins a delicate pattern; Ironically, they are also charactcristio Gillespie. It did not stop there. Reinhardt’s and at the third time the phrase is made to his ancestry, is too well-known Ex. 3 is a small phrase taken from With these—and other devises in corn- THE MELODIST When we come to deal with Reinhardt ful art by nature. Often Reinhardt into several articles. The serious student of style will find former is worth its place in the archives (1) The majestic sweep of phrases into (musically and technically) and I would (2) The construction of inspired middle section of his early record of phrases whose development in terms of it immediately by a jetting phrase wide intervals. HAPPY CHOICE 49 (4) The happy choice of the unexpected interval to lend interest to a with a wide, upward, but gentle Actually . this example might well :5) The ability to deliver some pass- him. An example of this is in Ex. 10 Ex. 11. He is, however, sufficiently great as relationship to the “trigger” to flow onwards in semiquavers; avoid- It is worth noting also how gracefully STUDY HIS WORK One could well continue indefinitely and we must be satisfied with these few those who have the patience to study As with all artists of his kind—the unschooled genius—there was dross mixed with the gold, jazz being a waste- to mention only two examples. The In moments of lapse he could, too, refer the reader, as an example, to the At this stage I find there are so many for one more month. (To be continued)
50 IT COULD ONLY HAPPEN ONCE By JACK DUARTE (Continued froni last month’s issue) V 7’ Ex.11 Tthose who have patiently read this series of articles so far (and who like to study the finer points) instruments (a subject too large to discuss its use to slow tempi. The same artist also there are a few more of Reinhardts “finger- Reinhardt must surely be the nonpareil of which has also been so long out of prints “I would like to commend as rewarding. which the smeared string is capable-=and Heart “)in these days of little vocalisation, Generally speaking, one can detect the difference in his approach modern brass section, are all devices of wealth of recordings—.--both solo and with to choruses at fast and slow tempi by the way vocalisation which are as eloquent as they over the years (by deletions) until there in which he leads into them. Not for Reinhardt the modern penchant of waiting anything up to a bar attack and emphasis upon certain notes. recording combines in this country, before entering with a solo. No! As This is always difficult on a percussive E.M.I. and Decca, and to the smaller soon as decently possible, he began his lead-in, almost as though impatient to begin. At quick tempi, his lead-ins are frequently in continuous quavers and the sweep is usually upwards to give emphasis and impetus to the first beat of the chorus proper. Ex. 1 on this page is typical. When the tempo was more leisurely he clearly thought more in terms of melody than beat and took more trouble in shaping his entry. Exs. 2 and 3 show typical entries to slow choruses (the second slightly quicker than the first) and it will be noticed that in both there is a slight pause (marked with an asterisk) to give poise to the entry. Notice also that this pause is followed by notes of lower pitch, which help to throw it into prominence—an artistic device also shared by Tal Farlow, from whom Ex. 4 comes. In his desire to underline clearly certain notes in his improvisations, Reinhardt utilised some of his most personal char- acteristics and his work is strewn with examples, such as Exs. S and 6. in the former the under-lining is by a long chromatic run played tremolo (the purpose of which is obvious) and in the second by a quickly-crushed arpeggio whose whole purpose is to lend force to the C which begins the next bar. h Ex.12 () L VOCALISATION One of the most pronounced characteristics (“ Time and Tide “and “i’ve Got You of jazz is the “vocalisation “of Under My Skin “),although he confines in general in this article) and in this realm uses, to a limited extent, the smeared note all time. His use of an almost exaggerated fashion (“ Zing Went the Strings of My vibrato—of every pitch subtlety of the indefinite upward glissando from a note which has no parallel except in the the “Hot Club of France.” Unfortunately, are freely dispensed amongst his choruses. remains a pitiful handful of records avail- Less obvious but equally important able. were tile unwritable subtleties of his instrument and no one shared this gift Oriole Co., to re-issue the withdrawn more fully with Django Reinhardt (in my sides in tribute to this great artist. Especially * Djano 1934-35 ‘7031935 727 . 935-36 739 C.t 937 V2 762 937-39 777 1939-3’) 793 939-6) 913 94(1 931 1940-41 752 1941-42 977 1942:43 50S COME INTO ITS OWN Strangely though, it has again come into its own in the hands of Tal Farlow “cool “phrasing and note placing. All that remains for posterity is a this legacy has been whittled down May I make a plea to the two great would I like to see the H.M.V. unaccompanied solo pairing. Both E.MJ. and Decca have ample material for the issue of long-playing albums and if they were to make such tributes to a great artist generally avail- able, those of the younger generations would come to realise how much is owed to Django Reinhardt’s genius by today’s prominent players. The out-of-print Reinhardt “Discography “published by the Clifford Essex Co. now assumes a greatly enhanced value. Improvisation is an ephemeral art and Reinhardt was improvisation incarnate— but through the gramophone his immeasurable contribution to the world of the guitar can defeat jimpermanence. Let the recording companies see that this It could, after all, only happen once. V V. V V Ex.9 , I,.,. ñb ---•1 3 Ex. 1 ,—.. —:r——r-Ex. 2’ estimation) than pianist George Shear- In the legato phrasing of a long-drawn ing. melody, Reinhardt stood alone amongst guitarists and in his hands the instrument almost sang. “The Man I Love “and of this gift. “Tornerai “spring to mind as examples It is strange to think that prior to Rein- passage to increase the force of a not-too- hardt no one ever exploited the octave florid passage. It became virtually his trade-mark. Although everyone copied the octave- with-deadened-intervening-string before the last war, it has almost entirely fallen into disuse since then; being somewhat foreign to the modern mode of expression and phrasing. Ex. 5 Ex. 6 44= A n Ex. 7 Ex. 8 ? ik t) ‘‘‘LU —_j - I -v-——--tL—r-----cOntinuation Lgradual decelera1ioj is so.
AT the outbreak of World War II, Django Reinhardt returned rendezvous , Charles Delaunay (the usually wound up with endless stories to France and after Dunkirk Hot Club of France authority), Grappelly of Django’s playing, his personality, news of the famous French guitarist what appeared to be an exciting and was eagerly sought by friends and en- happy conversation. thusiasts all over the world. During the Nazi occupation of French language is limited to “the pen France little was heard of him. The of my aunt “etc. There was so much I recording sessions we did for Decca wildest rumours circulated. Some said wanted to say to Django. he was dead; others that he was in a concentration camp. - In June 1942 the American music this is the man ! “and with the help of magazine “Down Beat “printed the Grappelly and Delaunay, we were soon news that “definite word had arrived nostalgically discussing so many mci- was later published with lyrics as “Thein New York this week confirming the dents and people we had shared and Bluest Kind of Blues”). In this session death of Django Reinhardt.” Our known when the great guitarist was in too, was the first Grappelly/Reinhardt own “Melody Maker,” to use its own this country before. Even his smile words, “ran round in circles to check up on this dreadful news.” It reported the news as incorrect. Stephane G’rappelly stated he was certain he would have heard such news through neutral sources—and one “M.M.” reader wrote in to say he had heard Django playing guitar from Poste Parisien. When the Hot Club of France was in England, I deputised for one of the guitarists for a fortnight and so had a unique opportunity of s t u d y i n g Django’s playing and I heard him broadcasting from Radio Paris on September 22nd of that year so I, for one, did not believe the story of Reinhardt’s death. Four years later my belief was proved. In January 1946 Django Rein- hardt came back to London after an interval of seven years. It was an extremely exciting occasion for me as I was to work with Django again. A series of broadcasts and concerts had been arranged to feature the great B.M.G. guitarist and his partner Stephane at an almost forgotten name, a half- Grappelly. The two great French remembered place, brought back artists were to be accompanied by a memories. British rhythm section consisting of myself and Jack Llewellyn on guitars neys with Stephane, George Shearing and Coleridge Goode on bass. A meeting with Django was arranged Quintet came back as Django stood to take place at Grappelly’s flat in facing us—and I could not help recalling Piccadilly and when 1 arrived at the and Django were in the midst of etc., and, of course, the endless reminiscences Unfortunately my command of the Quintet of the Hot Club of France. Stephane’s first words were : “Allan,on the French “Swing”label. Conversations on the long train jour- and other members of the British how those conversations of Stephane and Django in Paris before the world had heard the That night we “sketched out “the and H.M.V. for numbers to be released In the recording studio Django surpassed himself in the haunting melancholy “Nuages “(which, incidentally, DECEMBER, 1958 DJANGO’S GUITAR By ALLAN HOD GKISS IN THE RECORDING STUDIO Coleridge Goode, Jack Liewellyn and Django, Allan Hodgkiss, Sfrphane Grappelly
recording of another “Nuages “which gether by string—with a piece of bent much sparkle in the brilliant hands of was re-christened “Love’s Melody” wire for a handle ! its owner. and lyrics added. Django gave a really breathtaking early as 1935 Django Reinhardt was incredible that such quality of tone and display of inspired technique in “Liza”already something of a legendary inspiration had issued from that “old and “Tiger Rag “—buthis version of figure, whose free expression and Un- guitar.” After playing it I realised why the French Nati’onal Anthem was never rivalled tech nique stood unprecedented Django had never liked the big ‘cello-released, unfortunately. Apparently this battered tawdry old case becomes built type of orchestral guitar. I can the French authorities did not take the more significant. kindly to Reinhardt’s “jazzed up” version so the record was never released. Whenever I hear the “Marseillaise”Django—-and there I was with the and a polite shake of his head, Django played I cannot help getting itchy guitar and case of my “god “of the fingers on Django’s behalf! Concerts had been provisionally thralled, amazed and spellbound at the my own ‘cello-builtguitar. Django arranged but Django was taken ill and music that had issued from it. Now, once explained to me that the big admitted to the French hospital in here it was, in my own two hands. London for a not-too-seriou.s opera- tion. His wife and son were in London pass the guitar without five or ten on what I believe was their first minutes of day-dreaming with the in- visit to this country. Madame Rein- strurnent in my hands—thinking of the fifth and sixth strings a quarter of a hardt seemed rather lost but luckily wonderful choruses, bridge passages, tone with finger pressure alone) and Delaunay and Grappelly were always at modulations and, above all, the during the broadcast this extra hazard hand to make things easier for her. HIS EYES On visiting Django in hospital I was their owner’s inspiration lifted the solo pleased to find he was quite cheerful. jazz guitar away from its previous As usual his eyes were a feature that anyone who met him never missed. On limitations to ride along with the but my own feeling, then as now, was that particular evening he entrusted clarinet and trumpet as never before. with me something I will never forget. Django asked me to look after his whose playing had inspired every over-sensitivity on my part—it is so guitar for him during his stay in hospital—and guitarist in almost every country in the difficul to be objective when combining told me he wished me to world. In my possession was a dirty the functions of critic and performer. use the instrument for the broadcast I battered old case, minus its handle— was to undertake with Grappelly later and inside a very secondhand-looking in the month. If he was “out of action,” he said, at least his guitar could be kept going! In these days of big, bright, gaudy bejewelled guitars I think Django’s. “MAKE YOUR OWN instrument needs description. The guitar was not the usual Maccaferri (D-shaped soundhole, etc.) but a rather shabby, much scratched instrument with exceedingly light gauge strings. (The sixth string was approximately the same gauge as a normal fourth). The strings were perfectly balanced so that the first string was similar in gauge to the E string on a violin. The soundhole was narrow and elliptical, with the ellipse running parallel to the fingerboard. This unusual instrument had been designed specially for Django by Mario Maccaferri—but almost as much as the instrument I remember the case in which Django kept it. It was cheap, battered and worn and was kept to- B.M.G When one remembers that even as in the history of guitar music, At sixteen years of age I had wild Django his own super-de-luxe Amen- dreams of the fabulous amazing can ‘celloguitar to play. With a smile past ! I felt truly honoured. Many had been the time when I had sat en- At home I found it impossible to original ‘c o m p o s i t i o n s that had did not help my already nervous emanated from this shabby grubby feeling about playing on the instrument. amalgam of wood and wires. The thin but firm strings had with Django Reinhardt—the one guitarist guitar that could come to life with so Diango’s fingers, spoke a different kind I can recall that my wife thought it remember a night in 1938 when Danny Perri (the Canadian guitarist) offered refused. He acted in the same way later with guitars could not “speak “for him! EXTRA HAZARD Django’s guitar was extremely responsive (I could quite easily raise the Grappelly had assured me that using Django’s guitar would inspire me that it was not a good broadcast. In retrospect it may be that this impression was bred by imagination out of The fact remains that this instrument which performed miracles under of magic for me. More personal and psychological than musical, perhaps. I can still remember starting out from home for the B.B.C. studios, feeling like a person secretly carrying an atom bomb around. This feeling SPANISH GUITAR” heightened when I passed through the West End on the Underground train. A young fellow had got into the car- niage at Piccadilly carrying a guitar. He sat opposite me with his guitar case resting across his knees. And what a case ! Shining, polished—and nickel- plated fittings positively gleaming in their newness. It put Django’s case to shame. I had a strong urge to let him into the secret, for I had noticed he could not completely hide a smile as his eye caught sight of the shabby article in my care. I wanted to shout : “Boy ! If you only knew !“ But I kept it to myself. 52 DECEMBER, 1958 READERS IN THE U.S.A. MIGHT BE INTERESTED TO KNOW THAT A. P. SHARPE’S Is STOCKED BY:THE COLUMBIA MUSIC CO., 1816 “M”ST., NW., WASHINGTON 6, D.C. THE RECORDER SHOP, 309, W. FOURTH ST., LOS ANGELES 13, CALIFORNIA. MESSRS. G. RICORDI & CO., 16, WEST 61st ST., NEW YORK 23, N.Y. II, L. WILD, 510, EAST 11tI ST., NEW YORK CITY 9.
“DidYou See Djago II, B CHARLIE SCOTT T is the year 1938—the date July 4th—-just a quarter of a century ago. The place-—the Ardwick Hippo- boots. The legend comes to life; the chords vividly evoking visions of a drome, Manchester. A packed house myth embodied at last to a waiting moonlit garden. Remember! Up to has rocked to the broad Yorkshire breathless audience of devotees. humour of Albert Modley and relaxed to the “BabblingBrook” songs of of adulation (you think : “Applaud:minority—had received the records of Donald Peers and now the deep red clap until your hands are sore. He Django with incredulous disbelief, velvet curtains of the theatre are closed MUST play again, before we wake up, accompanied as they were by conflict- and an expectant hush settles on the or before he\ disappears again behind ing rumours about the elusive genius: audience. Then from behind the closed curtains that screen of mysterious anonymity”.) picks”. “Therecords are speeded up comes the ripple of golden notes from a magical guitar: backed seconds later by a solid swinging lifting beat and the whimsical half-smile—and sweeps into their act, curtain after curtain and repeated resonant biting attack of a rhythmic another nu rnher—”Li mehouse Blues” violin. A great roar of applause surges from this time—lifted along by the solid, the audience—drowns the music for a tramping four-in-a-bar of the two other summer evening. moment—and subsides as the jazz guitars and the deep rubbery thump of aficionados of Lancashire settle down a plucked bass. to hear the musicof their idol—Djungo “straight”,with a cool dispassionate, Django in person. (I recall the faces of Reinhurdi—the myth : the unbelievable almost Oriental tone, followed by an Terry Usher, Jack Duarte, Peter Sloan and unforgettable: the enigrna---a incredible virtuoso improvisation—and found him in a rather small dingy Gallic gypsy mystery. The legend-in- then it is Django again! his-time has come to town! The curtains swing open to reveal bass and streaming up, unbroken, into the presence making mental if the Quintet of the Hot Club of France through three octaves: great chunky no English and we but a little had grouped centre stage with, in the centre, solid mounting sequences of octaves schoolboy French—Grappelly did the on a raised dais, a casual, swarthy, tlit bring the audience out of their honours and conveyed our congratultions BIMIG. figure hunched over a Macaferri guitar seats; lingering, liquid and tender blue from which pours with an effortless notes of a gypsy pouring out his soul fluency a cascade of rhythmic and in- through the negro medium of Jazz! credibly melodious improvisations. There against the contrasting back- fingers of his left hand paralysed and ground of the elegant slim, white- distorted by the fearful flames, yet with jacketted standing figure of the violin- the two remaining fingers he produces ist, Stephane Grappelly, sits this little, music which would defy the efforts of rather nondescript looking, figure— a many-handed maestro. dress trousers hoisted carelessly up to reveal a bare leg above the top of a with falling cadences of augmented sock; feet clad in what looks like street The first number finishes in a roar Nonchalantly—incred ibly nonchalantly—the in recording”. little French gypsy acknowledges tide of excitement and at the end of the plaudits with a slight, wry, The violin plays the first chorus Chromatic runs bubbling up from the not physical obeisance. Django spoke We still cannot believe it! Two A slow number now—”Moonglow”— now guitar enthusiasts o the 1930’s- - a rather misunderstood and oppressed “Onlytwo fingers”. “Heuses finger Chorus followed chorus in a rising encores until, finally, the elated crowd poured out into the dusk of a A few of us went backstage one morning after rehearsals to meei and other Manchester stalwarts). We dressing room at the “Hipp”and came and our questions to the dark- eyed quizzical bjango. NONE THE WISER “Howdid he do that long chromatic run in his record of “Someof These Days”? The brown eyes twinkled; lazily Django moved into action. His left hand did soiizetlzing between the nut and 15th fret—and the faultless, smooth, round-toned run rippled forth from his guitar. We looked puzzled. Again he obliged—but sadly we rca- lised we were none the wiser—-we never would be! How can you dissect and analyse natural genius. Might as well set out to measure space with a footrule. “Couldwe have an autoraphT’ Laboriously he scrawled “D.Reinhart” (sic) three times on my programme. In a corner of the room the plump, swarthy and jovial figure of Madame Reinhardt sat, measuring us up with a slight sardonic smile, as if secretly AUGUST, 1963 53 THE QUINTET OF THE HOT CLUB OF FRANCE in the recording studio during their first visit to this country.
54 LANG INFLUENCE amused that these mad English boys should so obviously worship her rapidly absorbed into Reinhardt’s hardt’s tcchnique in any way restricted Django. Out on the stage, rehearsa’s had fin- xtent in his accompaniments, at least his profe flow of ideas arnid had these ished and the orchestra played a few until the break-up of the pre-war ideas deeloped to such an extent as desultory bars of the National Anthem. Quintet. Not the delicate Lang single- to necessitate a more complex An impish smile flitted across the round string and chord combinations that approach, I feel he would have been swarthy face of Django as his fingers danced over the strings in a deliberately corny but joyous little syncopated cancatune Comin’ Virginia” but the more Reinhardt critics frequently overlook of that staid and majestic tune. rhythmic and powerful accompaniment is that for the major part of his life he I do not remember how or when we featured on some of the “Jimmyperformed and produced his best left but I shall always have with me Dorsey Novelty Ork” recordings and music on the acoustic guitar, not the the memory of when I saw Django and his innate sense of fun shining out in that little intimate musical joke. Djai,gc. Rein hard( By RoGIR S. HAVE always been amazed by latter initially using many of Django’s later life, was Charlie Christian—the the manner in which mar1j critics, developments as a yardstick for his first musician of any significance to particularly American, either corn- pletely ignore (or pass over with, the briefest of mentions) Django Rein- extensive comparisons. hardt when considering the jazz guitar. This failure is probably due to the inability of many people to appreciate those who have a specialised know- acoustic plectrum guitar is that in solo something truly original, for Reinhardt ledge of the guitar. His solos would work the tone is too delicate and is possibly the only musician in jazz extend any present-day guitarist what- gentle for such a harsh robust music as to fully justify, in all respects, the title ever his particular style and are truly all but the “coolest”jazz and the only of a “trueoriginator”. Louis Armstrong and Charlie were virtually all entirely improvised. this trouble with real success were Parker, particularly the latter, are examples of great innovators but soloist to previously unattainable Many others were partially successful whereas they used well-tried jazz con- heights and will always remain second (with particular reference to Carl cepts as a basis for their music (and remoulded them employing their own in themselves but when one considers acoustic jazz guitarists, Reinhardt ideas) Reinhardt formulated an the damage Reinhardt suffered to his remains absolutely incomparable both entirely new approach and then left hand, the important hand for a modified this to suit the framework of jazz. One can, of course, only guess at the nothing less than phenomenal and guitarists, is a keen admirer of Rein- form of which his music would have theoretically quite impossible. The hardt, is some measure of the French- taken had he not decided to work number of “muffednotes” and slips man’s stature as a musician. within jazz. But a definite pattern can Django made throughout his whole frequently Dverlooked, is his potential be distinguished from the few solo recording career is less than that made as a composer. There have been recordings made by Reinhardt. The by a modern jazz guitarist on one very few really great composers original 1947 version of “Improvisation”,L.P. alone and thjs is a statement of . , jazz—the majority of “classics”or even the much later recording fact in 90 per cent of the cases I have coming from the outside world of of “Nuages”(1950), are good examples studied. and here Reinhardt owes virtually nothing to any outside pressures with it is surely not important whether Gershwin. Of these few, Duke Ellingtor the qualified exception of the gypsy Reinhardt was a master technician or and flamenco styles. His early environment necessitated performer. Assuming a musician has arrangements whereas Reinhardt pro- this strong gypsy influence, which has the inspiration and it is not curbed by bably had the greatest potential. Not on occasions been harshly criticised, his technical ability then this is the all- Dnly did he conceive such exquisite but I feel it is this influence that led important factor in jazz. to the virtuosity so badly lacking in the numerous jazz guitarists who have example of the phenomenon of a man “Mélodieon Crdpuscule” , “Nuages”worked almost entirely within the producing superb music with a or such fiercely rhythmic themes as blues idiom. If Reinhardt can be said to owe a severely-limited technique. debt to any of his predecessors then jazz guitarist of any significance since able modern works combining origin- it must be to Eddie Lang; a musician Christian) is a mere beginner when ality with classical tradition. “Bolero”,of considerable unfulfilled poten.ial, compared technically with, say, Segovia one of the very few serious studies thought by some to be “outsideof or Carlos Montoya. jazz”. Although Lang’s influence was music it remained apparent to some can be heard working so beautifully quite capable of dealing with the with the Beiderbecke solo on “I’msubsequent demands. the excellent Venuti-Lang duets. To actually ascertain the extent of amplified models that appear essential Lang’s influence on the young Rein- to the present stream of jazz guitarists! hardt is extremely difficult, as the perform well on an acoustic guitar gypsy’s early recordings (mainly (although ultimately more rewarding) accompanying French singers) are not than on the electric instrument, which available, but it is almost certain tends to cover up and minimise human Reinhardt was an outstanding musician errors. Consequently a definite lack of some time before he had ever heard of expression results. Eddie Lang. A similar situation arises between producing any real feeling through the Reinhardt and Charlie Christian; the amplified guitar, besides Django in subsequent revelations. Again lack of early data prohibits Reinhardt’s technical ability has even been questioned by sime ill- informed critics, although never by remarkable considering the fact they people who were ever able to overcome His accompaniments inspired many Reinhardt, Lang and Teddy Bunn. to none. These achievements are praiseworthy plectrum guitarist, his playing is one of the world’s foremost classical Whatever one’s views on this subject popular music, notably George not as it would be with a classical Bix Beiderbecke is an excellent Today, Wes Montgomery (the only it is certainly untrue to say Rein- A further point in this connection It is undoubtedly far more difficult to The only person ever to succeed in specialise on that instrument. REMAINS INCOMPARABLE One of the major problems with the Kress, Dick McDonough, George Van Eps and Oscar Aleman) but of all the as a technician and a musician. Surely the fact that Julian Bream, Another aspect of R e i n h a r d t, undoubtedly has the largest collectioi of first-class compositions and melodes as “Manoirde mes Reves”, “MinorSwi ng”, “Belleville” and “Djangology”but also some remark- Reinhardt ever completed, was per- formed successfully beside the works of such classical masters as Ravel and Debussy.
It is a great pity Reinhardt did not pursue his ideas in this direction and serious music will always be the poorer for this omission. Had he lived longer his career may well have taken a corn- pletely different path. But again one can only surmise as to the outcome. Fortunately, however, Reinhardt did leave behind a substantial collection quite incapable of producing a really of material, ranging from the good improvised solo and Pierre beautiful melodies of “Lenternent,Fouad, the Quintet’s regular drummer, Mademoiselle” to the later “hardbop” would, I think have felt more at conceptions of “DoubleWhiskey” or home in a music-hall act, being typical “ArtillerieLourde”, although in truth, of the popular French drummers of “bop”was far too “unmusical”to fully employ Reinhardt’s amazing melodic gifts, Why these compositions say that the “newQuintet”, as a unit, have been almost entirely overlooked did not record some superb music; for so long I do not know as they particularly between the years 1940- would provide an excellent basis for 45. “Douce• Ambiance”, “Oui& the harmonic framework of modern Manoir de mes Reves” recorded in jazz. When one considers the inferior 1943, with Anare Luis and Gerard material chosen by many modern Lévèque on clarinets, are excellent musicians at times one cannot help but examples antI the original 1940 version wonder if there is some considerable degree of ignorance or prejudice on Alix Combelle, is (barring Fouad’s their part. MISFOUNDED IDEA Many musicians appear to believe first turned to the amplified guitar and Reinhardt compositions can only be about 1950 was, excepting the brief performed successfully as guitar pieces reunions with Grappelly and the old whereas this idea is completely mis- string quintet, the most unrewarding founded, as has been proved on the period of his career. rare occasions that a jazz musician has Reinhardt strove to adopt himself to had the foresight to realise ther potential. the limitations of the electric guitar; Possibly the problem lies in the fact that, like so much of his playing, his flamboyant virtuosity being unsuited Reinhardt compositions are strongly romantic; a characteristic thought by music of that era. However, as he was many in jazz to be undesirable, even an exceptional musician, Reinhardt unrhythmic. Such ideas are to me so ultimately • overcame these problems misguided they do not merit any and for the few years before his death further comment. It would be impossible to adequately was producing, almost in obscurity, discuss Reinhardt without making at jazz that anticipated the “goldenboys” least some mention of Stcphane Grappelly. of today by some ten years. his constant musical partner recordings, made a few months before before the war with the original Hot his death in 1953, with those made Club Quintet. Only Grappelly and with the “HotClub” in 1934 that one Eddie South (both of whom produced fully realises Reinhardt’s immense con- their best work with Reinhardt) really tribution to the music of this age. He succeeded in applying jazz to the was the one great exception in jazz; violin. Joe Venuti lapsed too ftequently the one true individualist; and the into his “vaudevillestyle” to greatest guitarist music has ever be considered a serious jazz musician. known. The Reinhardt-Grappelly partnership produced some of the best jazz ever and the degree to which Reinhardt inspired Grappelly is obvious when one considers the mediocrity of the violinist’s later playing. Similarly Reinhardt’s work with the pre-war Quintet was probably his greatest and although he subsequently produced some brilliant music, the old flame seemed to have dimmed slightly. it is hard to believe that two men so musically compatible could have such totally different characters. With the exception of Grappelly and the rare American visitors, particularly South and Coleman Hawkins, Rein- hardt played with vastly inferior musicians. Only his rhythm guitarists were really adequate and virtually all his post-war recordings are interesting purely for his presence; those made privately with Ellington in America being unissued. A COMPETENT MUSICIAN Hubert Rostaing, the clarinettist who replaced Grappelly in the new Quintet, was merely a competent musician that era. However, it would be quite wrong to of “Nuaes”,with Rostaing and “comic”drumming) a jazz classic. : However, tle latter half of the 1940’s between 1946 when Reinhardt It was during these years that to the instrument and to the It is when one compares these later 55 ‘,. pi,n1s• Featured with Quintet of Hot Club of France, 19349,’ whieji also recorded under Grappdlly’s name on Decca Played violin , piano on many. French recordings with visiting American artists. øii breaup of Quintet ‘atein 1939, ‘cneto London and joined Arthur Young’& Swingtette atHatcliett’s. —LIFE LINES ]‘AICES FOITNI) HIM flrsL ‘FIIKN. IEI) a)oiiL . .I.J1 inirneir ‘riivrVL% s.rEI,It, NI: (; r:i )))IIIy ANI) his )oL BUE’ iIay III)fllC ViIIE ‘riii:iu;k .. NONI1 ,)f the (;U’r huek’( AI$(Ij this I:xTu,ol 1)1 NIi V pI. cr IlK nay lack ., ‘EIIir .Nt) Uark ()j. (• (T’ )ie I’()ssI,:.s1,:s a . (;):NItTs for MI:I,oI)Ic iitritioi ‘TII:I 1rNsLJIrAssI:1) IN j.ttz Iih.Lory S ri;i’ii.>.i•: ii.ts )1.iyccl I’IAN() Lou FOht’ IIt kiiiii 1,. MIItI(.’S tirii .1.0 rii A 110(11’ i Q1’INII i,’i.i Dii 1101. (liib i,: )ran(r vi i: heard them Iir%( ‘riINIYOU
Django was 18 when disaster veloping a technique unequalled caught up with him. A blaze by any jazz guitarist before or broke out in the caravan and, since. Ifl the attempt to put it out, he sutered severe burns to the used the first finger. For three 1et hand and side and was liotes oem the sante string, the taken to hospital, where he was first finger played the iowest, kept for 18 months. Then, slid up to the next fret, and the under the threat of amputation, scconci fluiger was used for the he was strong-armed from the third note. HIs rapId clironiatio ward by a deputation of tough ipsy relatives, The sinews and nerves of the I)lLLYCd Up the iluger-board, with left hand were burned . and shrivelled. the third and fourth For some chord shapes Django fingers being almost paralysed; could twist his extremely strong but, despite this colossal haii. dlcap, Django continued to play and, by courage and treinendous his maImed third and fourth will-power, conquered his lingers and .soiiietlmncs tue aUllction and succeeded in deHis tlitinsb. right-hand plectrtirn tech- nique was astoundLng. He could play a powerful tielilolO of great rapldiy and accuracy, and then, In solo work, Django mainly such wa.s his control, bring the volume of the guitar down to a wii Isper. When he confined himself to rhyt h ii acco:npa Lilnient, the chords came out full and solid, the rhythm steady and awIng- rumis, If In the ñrst positIon, lng, varied with accents and were lingered separately; If back-strokes and the character. Istic eight-to-a-bar shutTle t.rokes which. seem to huti the inualc The guitar was tuned normally. atoag. At the age of 20, DjMo married NOIcUIL1S. havIng carrIed agIle flrst anti second fingers her olr in the true gYI)SY trsditIon. into amazing Positions; Ofl certniin His reputatIon wai Increa..qln. H could b) found aittlng In wIth vartou% btuids alt over Pails. At one o( the.ie se.stoni began his oti ftlondship wIih Stepha tie G.tappeLl y, who was then leadit a group on pIano. —____ ri fl ,:hn. ihe mach Ine ..wi’ cI’l L)lt . Ainiclat cloid.s of W21 ‘ILI toI)acco—%LI1oe. NolLrry e)CI))UIlded lik .icheine of an all— .sr • .wltig outlit, that would e:LL eciII).e the In ne of I)1C dccar Joiinsoii’ ktarlcmItcs.’ To )aCIC UP the two lead instrugiIcnt. wero two rhythm guLtsi iLued l ftoaer Chiult, and Di uos iwo Iher, JOaCti)h and wcIt—knowfl b.,slat, LouIs Vols. £(eLt.4hr’# contIttdte : ‘Retiring DJanio. ne.%aed to accept leader- 51111). agreed. The portable was started up. An impromptu toast was drunk. To the musIcal i)Lt.aiflg of LouIss golden trurni)et., It the pIcturesque car’an cdtIn at the ttea of ParIs. was horn the Qulutette du Hot Club tie France.’ ‘tuenew Quintette gave Its flrst concert in Paris and was an . Instant hit.. Other successful concerts followed and, in Dccciii- icr, t934. the groui recorded for sIdes for Oriole which caused a sensatIon In EnRland. ‘On those early records Django’a . . improvIsIng shows the Influence or Armstrong (in. partioular), the Lang-VcnUti school, and through Lang that of Lonnie JhtLoLt, yet all enriched by Django’s own subtlety. rhythmic a.ocsntlng and unIque sense of harmony. UntIl the war, the Quintette recorded prollflcaliy, and on these sides, now mostly deleted, the development of Reiuhai’dt’a own 8tyle of jazz can be noted. The important characerisEIo of his music is emotion. He wied his fabulous technique to expre his feeling, never to show off, and betit all the reotircea of liLa instrument —vibrato. tretnofo, slurring and a variety of tone colours, to this end. The constructIon of his soios Is amazing. Each one seems V be set In his mind before it begins. Each phrase has a mean- log anti atmosphere of it OWLL. —_.-,,_ In fast iumhers (“ Itun.nttig Wild,” “MY Sweet “I,glIttering phrases ptayed with treniendout’ attack seen to casca.de front the liistrunient In slower tunes (“ Chasing Shadows,” “Time On My hands “I,au amospliere of melancholy is Induced by be.tuiful phra&e6, 110W rbapodIc, now sombre. The war caused the break Uj) of the Quintette. Django re— maflied in France, while SteI)haiis worked in London. After the war-time gap, Django used ainplifled guitar or nt of his recordIngs and was revealed to be playing with Mt even more Incredible cclnlnlarLd. But despite this, one misses the greater colour and expressIon which he drew from the plain acoustic Maccaferri. Django had always been in demand for record sessions featurIng vIsiting American jiez stars, and incie many lie sides with such musIcIans as ColenluL Hawkins, Barney Bigard, Dicky Wells a.nd Bill Colenuin. After the war, he visited America. to solo with Duke Ellington’s Orchestra, ho t h is eccentrio and lackadaisical nature clashed with the slIck ached ules and organhsatlon or the American commercIal mudcal industry. Before long he ws back In his old haunts around Paris, where he belonged. Djaiigo Reinhardt died of a cerebral bmsmnorrhage on May 16. 1953, at the age of 43. Th world’s muslotans mourned h La passing. In his cottage on the bank of the Seine at Smunola, his treasured guitar lay sIlent. But Django wes already unmortal. 56 June 9, 1956. MELODY MAKER—Page 6 .::: I I DISLEY, guitarist and MM artist, contributes an appreciation of the late Django Reinhardt, the iii great jazz guitar virtuoso Diz also drew the j:i picture on the right. J EAN REINHAROT (nicknamed Django) was born Into a wandering gipsy family on January 3, 1910, at Liverchies, on the Belgian frontder. His mother was an acrobat from a ramily of acrobats; his father a musician from a family oE stringed-instrument players. At the outbreak of the 1914-18 war the family were forced to imniobilise their caravan near he gates of Paris. Thus the young Django became a Parisian. When he was nine his mother bought him his first guitar and he soon picked up the traditional gipsy style of playing. He had no formal education during these early years and though, much later, he attended night school (15 times) he was pa.st 30 before he could sign his name, although this did not seem to make much dierence to him. A famous accord!onlst, Guerino, passing the gipsy camp, overheard the young boy playing his guitar, and was iinpre.ssed enough to take him to his own home for tuitdon. The conventional life and nice clothes did not appeal to Django, who stood it only a few months and then ran away. Then, searching the junk stalls of the Orleans flea market one fateful day in 1929, he caine across a copy of “Dallas Blues,” by Louis Armstrong. This was his turning point. Inspired by the master, lie began to develop his original jazz style. lIe played In the clubs and dives pf Pigalle, then In a band led by saxophonist André Ekyan, and also as accompanist on certain records by vocalist Jean Sablon, anti others by Michel Warlop, the swing violinist. a one-fingered glissancio. shapes lie was able to utlli.se ‘,.. ._ The resident band of the lint Club of Franco Was lcd by the Co oured piamiiat Freddy John- son. When JolimLon returned. to the States at the end of 1t’J4, Hot Club organizer Plem’re hourry, seeking a group t represent the French jazz muovcnment, hit ott lii Idea of a acIng quintet. ‘rimebirth of tim, uniciue grour) wa well described later In cit article by Laurie ltcn.Immcw: “It wa_s in time caravan sottiuf that Nowry burst In upon Reinhard,t and Grappelly enjoying, with a few other ‘swlim ‘musicians, the strIdent intprovlsallons of trumie tsr Art. tromiR via. the DIsley and Nagulni Rskihardt OUtside (hi laihC’s caravan In Paris. medIum of a smnati portable
57 JAZZ GUITAR THE INNOVATORS DJANGO REINHARDT - The Ultimate Guitarist 0 C .2 I f ever there was a guitarist who had it all, it surprising t’o find that all the most was Django. In evei (1(/)(111111(11t —tone, f eeling, .speed, att(lck, oiigiiialitv —he i’as incredibly strong. AiuI his technique was all tile Christian would often quote Django’s by horse-drawn caravan. His father more amazing/or tue/act that he had a crippled left hand... B’1’ Ian Cruickshank DJANGQ COULD NOT READ or write words, let alone music... it was not until he was in his late thirties that he learned to sign his name and write a few simple sentences. In short, he was a full-blown natural genius. Every note he played was somehow great, every solo a compositional gem, so it’s not too important guitarists who came after Django admit to being inspired by him. To give two examples: Charlie lines within his own solos and Wes Montgomery’s famous octave playing together with a few other gypsies and stems directly from Django. But generally speaking he was impossible to copy; even if you could manage to By the time he was thirteen Django play the same notes it would still not could play guitar, violin and six-string sound the same. Since 935, when his banjo —and all of them very well —to first records were available, up to the the extent that a lot of people were present day, guitarists of all styles have listened to Reinhardt and shaken their heads in disbelief: ‘Howcould he play like that?’ ‘Howdid he with his mother and brother Joseph, get that sound?’ These and many other questions will never be fully answered... the man was a mystery. Born in 1910, at Liverchies in Belgium, close to the French border, Django’s parents were Manouche gypsies who travelled all over Europe was a multi-instrumentalist who, some performing animals, would put on little shows wherever they went. beginning to notice him. His parents had split up some years previously and he was now living in a caravan in a camp on the outskirts of Paris. Every &v Djang’ would go into town % I
58 to play on the street corners with accordionists, violinists —anybody he fingers for solos and single note lines. when Grappelli was stranded in could find. J azz had not yet ‘arrived’and the popular music in Paris consisted of tangos, waltzes, polkas and, not least, way by using his thumb on the bass gypsy music. Whole books have been strings, or by holding down two written about gypsy music and the gypsies, but in a nutshell it has a history of hundreds of years and is a wonderful mixture of all the music the gypsies heard in their travels... from India to the whole of the Middle and stronger that those that are East and Europe. Probably because, as a race, the gypsies have always had crippled third and fou\th fingers he to live by their wits, they have traditionally been very quick-thinking first or second strings and only on the his guitar and used a crude valve and clever with their hands. Consequently there have always been stretch these fingers). great gypsy musicians, to whom improvisation was as natural as breathing. Against this background it’s not hard to see how Django easily adapted to playing jazz, which he first heard in the late twenties when the records of Louis Armstrong and Duke Ellington began to arrive in France. Before this, however, Django Grappelli on violin and Lousi Vola on there are Hot Club-type groups all was to experience a catastrophe that double bass. The group initially held was to affect his whole life. He was eighteen, newly married and already had a solid reputation in the Parisian nightclubs asa phenomenal musican. It was the first all-string jazz group The top English bandleader of the time, Jack Hylton, had gone to Paris specifically to sign up Django for his orchestra. After signing the contract Django’s playing. Some mistakenly with his usual cross Django returned thought the records had been to his caravan outside Paris. It was the early hours of the morning; his wife was asleep, having spent all day making thousands of little celluloid flowers for sale at the cemetaries. Django sat on the bed and lit a cigarette. From the pile of celluloid came the rustle of a mouse. Picking up a candle Django leaned over to investigate, and in doing so accidentally dropped the candle onto Mario Maccaferri, an Italian living in the flowers. Within seconds the whole caravan was in flames and Django and his wife were lucky to escape with their lives. However, he received severe burns to his right leg and the left side of his body —particularly his left hand. He was rushed to hospital where it was decided to amputate his leg. During the night several gypsy cousins broke and light gauge strings (for an in and took Django away to a gypsy ‘doctor’.The result was that after eighteen months he was left with a deformed fretting hand —his third and fourth fingers were drawn back at a sharp angle and almost.welded together. . During this period of recuperation (Boulou and Elios), Fapy Lzifertin and recommended is the biography Django must have shown unbelievable determination to play again. He evolved a completely new approach, using only his first two He also found ways of playing chords London by the outbreak of war. —many of them quite complicated, harmonically speaking —in a simple notes with one finger. Also he would the war he had worked and recorded make up his own chords by leaving out or re-arranging the order of certain notes. Strangely, these simplified chords sound much richer About this time Django became ‘conventionally’fingered. As for his was able to use them, but only on the return to Paris he fitted a pickup to same fret (he couldn’t separate or By 1931 Django was back on the scene and much in demand for gigs and recording dates with the top French singers and instrumentalists of blood vessel in his head. He was 43. the day. In 1934 he teamed up with Stephane Grappelli in a quintet that included himself, his brother Joseph and a gypsy cousin on guitars, sessions at The Hot Club in Paris and huge recorded output it’s surprising they soon became known as the Quintet of The Hot Club of France. and the first records, issued in 1935, caused a world-wide sensation. Guitarists especially, were amazed at on the spot, somehow reproducing speeded up or that he used a weird tuning. His bewildering array of devices, such as whole passages of octaves, shifting tremolo chords which sounded like a horn section, flatted fifth chords, devastating runs and arpeggios, harmonics, bends and this way. His jazz was different and cross-picking left guitarists staggered. contained a far wider range of The guitars that Django and his rhythm guitarists used were made by was one of the most melodic Paris. These guitars had a unique sound and great volume. They are extremely rare today as only a few hundred were made during the thirties. Several makers have produced copies over the years but none have managed to equal the originals. Django and his colleagues played with thick, heavy plectriirns acoustic guitar) resulting in a loud, ringing attack. The same method and guitarist. 0 guitars are used by the hundreds of gypsy guitarists of France, Germany and Holland who play a Djangoinfluenced style today. Among the finest of these are the Ferre brothers Birch Lagrene. The Hot Club Quintet, in its original form, made many records and toured frequently up until 939, Django continued playing and recording in Paris using a clarinettist in place of the violin, and drums in place of second rhythm guitar. Before with several American jazz stars and in 1946 Duke Ellington invited him to tour America with his orchestra in. interested in the ‘new’jazz called be- bop and began to incorporate this influence into his music. On his amplifier in order to compete with the extra volume of drums and horns. Later, just before he died, he went over to the electric guitar. Django died in 1953 from a burst In the course of a recording career spanning 25 years he recorded over 850 items, most of which have been re-issued in album form. His records are now more popular than ever and over the world. On examining his to discover just how much musical ground he covered, and the variety of people of different styles he recorded with. Especially intriguing are the solo improvisations which he composed the effects of a whole orchestra on the guitar. He was also responsible for many distinctive compositions of all styles, from beautiful ballads to exciting be-bop riffs. He would get other people to write down the parts while he played them or the guitar. He even composed for big bands in emotions than usual. Above all, he improvisors the world has known. Django was a very colourful character who saw the world very much as a child does. He spent money as fast as he made it, would often fail to turn up for gigs and sometimes disappeared for months on end. He loved fishing, billiards and gambling as much as playing guitar. He could hear any piece of music once and reproduce it on the guitar instantly. He was the ultimate Ian Cruickshank’s book ‘TheGuitar Style of Django Reinhardt and Gypsies’ will be Dublished by Music Sales in the Spring. Also ‘DjangoReinhardt’ by Charles Delauney (Ashley Mark Publishing).
U 59 Djang Omarched into Paris. Among the world-famous jazzmen AFTER THE fall of France in World War II, the Germans who lived under the Nazi occupation was—Django Rein- hardt Hitler had decreed that “Jazz was decadent “and such music was “verboten “in Germany. So how did Django and his fellow French musicians fare during these t11 e able to present a first-hand account by a member of the lost years “? For the first time, the Melody Maker is —. occupying German Forces —DR DIETRICH SCHULZ- KOEHN (right) then an oberleutnant in the Luftwaffe. Here is his story of his wartime experiences with Django, written specially for the MM. lost years day when the postman Cocteau and playboy Rubirosa brought me the notice that a belonged to his admirers parcel had arrived at the during the war years. customs he handed me at the At one time Django tried to same time a notice that I make his getaway to Switzershould report to the Gestapo. land. He lived in a small When I was called into the village near the Swiss border. officer’s room he looked at In a little café, he waited for me, then said “haven’t you the guide to take him across IT HAS been my good fortune to know Django been at the Wilhelm-Raabe- but as there were also Reinhardt for almost two decades, as a matter of Aren’t you the guy who place they arrested him as he School. ‘“Yes,” I said. German soldiers in the same fact he played a major role in my life and he is played trombone then with appeared to be acting suspithe ‘Sunshine ‘Reporters‘(a ciously. responsible for many worthwhile memories that jazz and dance band I played When daylight came he was are dear to me. with)? “‘escorted to the Kommandant He was much friendlier and people in the steet pitied I first heard about Django as a young student at Koenigs- after that and asked what the him and his wife. But the berg in far East Prussia when I received a copy of the records were. I pointed out officer happened to be not newly founded magazine “JazzHot.” It contained a detailed that I wrote my theses on the only a jazz fan but also a review of the first recording of the “Quintette du Hot Club world-wide record industry ‘Django fan and dismissed de France “for the long defunct “Ultraphone “label which and needed them for scientific him. enjoyed European fame. purposes. So he came with me This time when he came At that time Stephane to the custom office and out from the Kommandantur Grappelly received mOre ac- little platform he crossed his explained the case. the people were suspicious, claim than Django, and being legs which enabled me to Since then I had no trouble thinking he was a collaboraa violin player myself I was detect that the sole-leather of in getting my records and I tor! The next evening he very anxious to get the first one shoe was ajar and I could was lucky to obtain the latest managed to reach Swiss two records. But how? It was see his socks! And when he American records up until territory but being neither impossible to go abroad or to ran down a few chords on his 1944. Negro nor Jew he had to go send money abroad except if Selmer guitar I saw that his Django was at that time a back the same way he had the purpose served the needs left sleeve was fastened with very big star. I think that’ come. of the Nazi government. a few stiches only. But the I apart from his gypsy origin course, Django did not “Guns are more vital than music the quintet made, made butter “Herr Goering had Y° forget all that . . . . and his love for jazz and like the occupation but it declared. But fate stepped in Next year I was able again othei American music the would be wrong to say he in the person of an employee travel to Paris. The third component of no less was unhappy. Except for the of the French Consulate in Swing label had just been importance was his love for opportunity nf going abroad, Koenigsberg and he helped founded and Paris was jazz- , France. He could not reside especially to the USA, he had me to get the records (shellac wise speaking like Harlem at elsewhere. everything: reputation, money, of course) safely and without the time with l-lawkins, Benny Where Grappelly was gen- food and at one time even his even paying duty! Carter, Eddie South, the tlemanly suave and cosinopoli- own club. Teddy Hill Band, Teddy tan, Django could be In 1942 Django was invited With the help of the same Weatherford, Willie Lewis, identified with the “French to give concerts in Brussels friend I was able to travel to Herman Chittison, Bill Cole- way of living. He loved the and he was allowed by the France for three months in man and many other cele- food, the nonchalance, the German,, authorities to “go 1936 and I spent most of the brities in town. Django played climate, the general con- abroad. On this occasion he time in Paris. One morning with all of them, also with ception. This explains some of recorded 16 tunes, among Charles Delaunay, editor of Dicky Wells, and on most of his best-known compositions, them the only German tune “Jazz Hot “and co-founder the sessions Stephane Grap- “Nuages,” “Tears,” “Manoir he really liked (if you omit of the French Hot Club in the pelly sat in on piano. De Mes Rêves “and others. “When Day Is Done “which the “Quintette “called me up The next time I was in Django lived in a luxury appeared American to him), Rue Chaptal and mentor of at my little student’s hotel Paris was in 1942 in the flat on the Champs-Elysées. In viz, “Bei Dir War Es Immer and asked me if I would like uniform of an officer of the 1943 he married Sophie So Schbn “by Theo Mack- to attend a recording of the Luftwaffe. All the time I was Ziegler. She was referred to eben. And Django was in such group the next day. Would I! stationed at airports near the as La Guigne or simply high spirits that he even Delaunay picked me up at sea, at first along the Naguine (which is also the seized a violin in the studio my hotel then we woke up Channel, than on the Mediter- title of a composition by and played two tunes: “Vous ranean and later from 1943 Django). Et Moi “and “Blues En Freddy Taylor who was on in the Bretagne. Whenever Later, when the two had a Mineur!” The recording firm scheduled to. sing and we was on leave, or on a little son the family moved was the SOI3EDI (Société drove to the studio. The specia’ mission i always near the Place Clichy where BeIge du Disque), the label recording was paid for by the went by Paris, of course. And the subway was the deepest was Rhythme “but after British “His Master’s Voice.” I profited by the occasion to shelter in Paris. Django went two years it went out of They wanted six tunes, e.g. drop in at the Hot Club of there even before the sirens business and the matrices three originals by Django and France which had its head- went and before he left he were destroyed. three evergreens with vocal. quarters in the Rue Chaptal always sent someone upstairs When Brunswick wanted to Among these was Hoagy between the Place Pigalle and to see if the bombing was release all 16 items on an LP Carmichael’s “Georgia On My the Place Blanche. over. they were unable to find Mind.” ‘records in good shape (the Bu t Freddy Taylor, a Negro The officers of the Club , wartime shellac did not stand entertainer who claimed to liked me coming there, espe- Circus many playings) I was able to have danced with Duke El- cially in uniform as some- supply them. Nobody in lington and who later took up times they were raided by the France knew these recordings. singing and even playing the Gestapo. They found the place Django usually never car- Django even played bass on full of letters, magazines, ned his guitar, that was his one occasion on record. The trumpet, did not know the records with labels —all in brother Joseph’s duty, and he title was “Premiere Idée lyrics. I hinted that I might be able to write down the English and this was no looked really frightening with d’Eddie “for the Swing label. lyrics from memory, thinking laughing matter at the time. a very dark complexion and “Eddie “was Eddie Barclay of Carmichael’s own record So they could use me as a the crop of hair leaving only who played piano at that time with Bix, Big T, Venuti and signboard to prove their about two inches of forehead. and only later became a innocence and reliability. At that time he was recording director and pro- Lang which I knew very well. I succeeded, omitting one line appearing at the “Cirque prietor. Medrano “and he was enthu- The ‘idea “was based on which enabled Freddy Taylor Decree siastic at the idea of being the harmonies of “Japanese to insert a little scat. lowered on a luminous star Sandman.” The German From this time on I was on from the very high circus authorities had forbidden good terms with Django and I had had my own ex- ceiling. But when somebody American tunes to be played Stephane. I might add that I perience with the Gestapo, by remarked that the rope dic’ and every programme had to was a little bit shocked when the way, but this was two not look very safe he aban be approved by the ReichsI watched Django closely that years before the war. At that doned the idea. Django wa musikkammer “(the music day. He did not yet care so time a religious and pacific capricious and unpredictable board under the auspices of much for fancy dresses al- sect had smuggled records And he loved to be “Beat Joseph Goebbels, Ministry of though he was very proud of with anti-Nazi contents into Brummel “and being idolised his Stetson hat. When he took Germany and by a decree all Film actress Danielle Dar Propaganda). Therefore many his place under the mike on a imported records had to be rieux. ooet and olavwrig’ evergreens were hiddeA under ‘—.-—---—--‘.--.insoected by the Gestapo. One French titles.
60 Django the lost years These and other records gave me the inspiration for a lecture which I prepared showing Django in a manifold capacity: as guitar virtuoso, rhythm player, composer, bandleader, even arranger (sic!) and playing violin and even bass. (bowed). This lecture found grace before the eyes of Francis Doutre, who was then with Radio Nimes of the French Radiodiffusion and he invited me to broadcast it live, in French and in the uniform of a Luftwaffe offIcer! This broadcast of June 18, 1943 (at 8 p.m.) was the first in my life, thanks to Django! The more the end of the war drew near the less Django played. In the summer of 1944 I was refused the annual home furlough, only 14 days at a special course in Paris were admitted for me. The day I was about to return to my airport in the Bretagne, Paris was heavily bombed. The mademoiselle who accompanied me to the Gare Montparnasse railway station was happy that I could not leave. The next day I learned that the invasion had begun. After the war I saw Ojango shortly before his death. I was in Paris for the “Jazz Salon.” The concerts were over, I was about to leave when somebody said Django will play for the re-opening of the Club Saint-Germain-desPrés.” So I decided to stay two more days. As this was an exclusive affair which the French call a “vernissage “when only specially invited people can attend, I tried to get an invitation. But Germans were at that time “undesired.” Somebody sugg : d I might get an invitation from Django himself. At last I found him in a little café on the ‘eftbank of the Seine. But how could he —or I —manage the invitation as I knew that Django could neither read nor write? Smiled Django smiled, put his hand into his pocket and produced a little guitar made of plywood, not greater than the palm of his scarred hand. He gave it to me and said: this is your laissez-passer. Not many days afterwards, on May 16, 1953 Django passed away. I must add that I did not like his playing the electric guitar as he did most of the time on this evening. But the little guitar he gave me is for me a sort of sacred relic. It hangs in my studio on the wall and reminds me of my formative years “in jazz when I became a collector in France and learned their way of “savoir vivre.” DJANGO REINHARDT.
61 The unpredictable French gypsy had only two good fingers on his playing hand, but he’s still remembered as the absolute power and glory of all jazz guitarists BY OLLIE STEWART illustrated by Marvin Friednwn JANGO Reinhardt died ten years ago—on May 15, 1953. The first time I saw Django—the greatest ja.zz guitar player in the world—he was sitting on the floor with his eyes closed, and he was doing things to “SophisticatedLady” with his guitar that would have made Duke Ellington stare. It was the nLght after Liberation Day in Paris—August 26, 1944—and as a war correspondent I’d been invited to celebrate the rebirth of the Hot Club de France. The Nazis had banned jazz for four years as “decadent,”but now the Hot Club’s plaque was being restored to the little building at 14 Rue Chaptal, and the jazzmen who’d gone underground were coming out of hiding. I went up to Pigalle with Allan Morrison, a Stars and Stripes guy who swore that Django was the absolute power and glory of all guitar men. I’d heard of Reinhardt, but with me it was seeing and hearing— or no believing. “Thinkthe big man will show?” I asked as we turned off Rue Pigalle. We were going to the home of a woman named Didi, an agent who booked bands and musicians. “Hardto tell,” Morrison said. “Butat least they’ll have his records.” I was panting from too much Liberation cognac and champagne, and from climbing the slope they call Montmartre. “Ohhell,” I said, “Ididn’t climb this damned mountain and stumble over those barricades of paving blocks just to hear records. I want to see the Man!” Morrison shrugged. A few minutes later we went in and Django was there. . And though it happened aLmost 20 years ago, I still remember the scene as though it were yesterday. Django was stretched out on the floor with his head against the cushion of a sofa, and he and “SophisticatedLady” were way off somewhere. “Sweet”singer Nelly Kay, who later became Django’s vocalist, was holding his drink. And backing that smoldering guitar were three of the best horns in France—Andre Ekyan, Hubert Rostaing and Robert • Mavounzy. About a dozen other Hot Clubbers and their disciples were stashed never-mind-how all over the place, soothed by Courvoisier and curves. Morrison and I were given. roora to squat; we were two more sardines in a full tin. And in no time at all I was a true believer. The good times might have kept on rolling till dawn—if Django hadn’t blown the gaff. That unpredictable genius with only two good fingers on his plaing hand broke up the party just when every- body was making it to outer space. . Out of the night came the wail of air-raid sirens— and before you could say Yardbird Parker, Django and his guitar were streaking through the door like Jesse Owens doing 100 meters with the wind at his back. “Well,I’ll be damned!” somebody said. . But nobody laughed. Not a single person. And I’ll tell you why. Most of us had been introduced to fall- ing bombs, and we didn’t like it one little bit. We wanted to do exactly what Django did, but we were ashamed to show panic before a single bomb fell. Not Django. He did what came naturally—and got the hell out of there to an air-raid shelter. I think that’s when I started liking the guy. He was scared, but he was honest about it. And he took his fear away with him tO a place where it didn’t matter, or where it would soon go away all by itself. Later, I found out that Django had a thing about being bombed. It was a phobia. He was so afraid of being buried alive in a bombed-out building that he actually trembled at the mention of it. People close to him during the war told me that he picked out the deepest air-raid shelter in Paris-and practically lived in it for days at a time. “Onetime,” a guy told me, , “Djangosent his wife up from the shelter to see if it was safe to come out. He wouldn’t budge uhtil she persuaded him there was absolutely no danger.” All right. So Djaxgo Reinhardt was afraid of bombs. He was also temperamental, proud, jealous, a fop who liked big hats and gaudy ties but would go barefooted on occasion, was almost always broke because he spent money faster than he earned it, was generous to a fault, unable to write his name, uncomfortable outside a trailer because (Continued on page 75) DtI (I JUNE, 1963 31
62 Django continued from pace 31 he was born in one, and a man who lost more ,jobs than most people ever find. Django ‘Reinhardtwas all those things. He was also a musician of unbelievable depth and skill. There are musicians who don’t just thing,” Smith said. “Ihear they’ve got a . play notes. They make their music in- man who plays some guitar around here. side, and it has to come out like a flower Django Reinhardt. Know where I could has to bloom. These are the musicians who were midwives to the birth of jazz as an art form. Many of them arc already about a block from his house. When you living legends, although some are walked up I’d just about made up my still upon the scene. Many played with mind to drop in on him.” :, Django: Ellington, Rex Stewart, Benny Carter, Barney Bigard, Coleman Hawkins, said delightedly. Arthur Briggs and Bill Coleman. These are the architects of jazz, and on Django’s door. He was home baby- they will tell you that Django got the sitting with his eight-month-old son. His message from somewhere and could wife was away visiting relatives. I in- walk with them because he felt what they felt, and gave a part of himself each another. Then Django simply handed time he joined an ensemble. Once he got - Floyd a guitar, and took another from the theme, you could throw the score out the window. Like the late Sidney Bechet and Eddie South, Django was a over-lightly; then Floyd took over and master of improvisation; Ie could carry treated Sue in a different key. After that the ball when you gave him a chorus, he and Django both jumped on the tune and make it his very own. Django played easily, because it was Babik, cooed in his crib and waved his his supreme joy to make every rendition heels, and I sat there listening in amaze- a brand-new thing. It bugged him when he had to play the same thing twice. “Music,’Django once said, “makesme but even for all the loot they gave him, gay or sad!” He proved it one day in 1935 by burst- few minutes, he was crooning to himself ing into tears while sitting in with a and patting his foot like mad. You knew group of Americans playing in Paris. he had found a kindred spirit. He Said one bystander: “Theywere really jumped up to pour us some red wine riding, and Django got so full of emotion after “SweetSue” was put in hei’ place, that he cried like a baby. But he never then he and Floyd got down to more stopped that guitar—and he never solid strumming. missed a beat!” Says Hugues Panassie, president and Moon” and “LadyBe Good,” and took voice of the Hot Club de France: “Djangoturns decking out “SweetGeorgia was the greatest musician that Europe Brown.” I’d heard Charley Christian has given to jazz. He was the only Euro- and I thought he was the greatest; but pean who influenced colored musicians this day I put two more names right up . . . He was an accompanist without there with him. If I had a recording of equal.” Charles Delaunay, who knew Django afternoon, I wouldn’t part with it for a from his first professional engagement, weekend date with Soraya. puts It this way in his book, Souvenirs of Django Reinhardt: “Aswater is the element know. You don’t hold a watch on great of fish, and air that of birds, so was moments. All they got out of it was sat- music the element of Django.” In New York, shortly after the end of the other guy. All I got was guitar fever, World War II, I visited Benny Carter and it still hasn’t gone away. in his apartment overlooking the Polo I made a reluctant departure. Django Grounds. Carter is a fine composer-ar- came to the door, and nobody said any- ranger whom I knew had worked with thing but “Solong.” Everything else had Django. I asked him about Reinhardt. already been said. . Benny just smiled. When he answered, it was a simple statement of fact. “Django—whenhe wanted to be—was Smith as we walked down the street. fantastic!” Shortly after the war moved out of sician,” said Floyd, “butnow I know . France, Django had a frequent visitor— me. Nelly Kay took me around to his er, parked in Charleroi, near the Belgian ground-floor apartment on Avenue Frochot border, on January 23, 1910—and until and introduced us. After that I made it my business to drop in at least he was 20, he never lived in a house or once a week. I’m no musician, and had a coat to match his pants. His gypsy opened Big Apple—the hottest spot in couldn’t hit a note with a pillow, but mother was constantly on the move, and Django tolerated me because once he both Django and his brother Joseph, a accepted you in his home, you were a year younger, had seen a lot of the world friend; short of burning the house clown, by the time most children are ready to you just about couldn’t do anything go to school. When Django was five, he’d wrong. Knowing him came in handy one Corsica and to North Africa. He got lost afternoon late in 1944. It also showed me in the famous Tangier casbah one day a wonderfully human Django I might and his mother almost tore the place never have known. And to top off the whole thing, I got a treat that money was 13, in a café on the Rue Monge in couldn’t buy. I was standing at Place Pigalle, won- Paris. Django and Joseph both had dering whether to bother Django or not, gravitated to the guitar, and one night when a familiar-looking soldier, wearing they wandered in from the street, play- sergeant’s stripes, walked up to me. I’d ing mostly for kicks. They didn’t leave a last seen him at the Howard Theater in coin on the floor, however, when some- Washington, D. C., where hewas playing guitar for Andy Kirk and His Clouds of Joy. “I’mFloyd Smith,” he said, and held out his hand. “Iknow it,” I said, and we shook hands. “Well,maybe you know one other find him?” “Rightnow,” I said, “we’restanding “Whatare we waiting for?” Smith Five minutes later we were knocking troduced the two men as one guitarist to the wall for himself. Django gave “SweetSue” the once- and gave it a face-lifting. Django’s boy, ment. I’d heard Django at the Bal Tabarin, he never played like this. After the first They exchanged guitars for “Bluewhat Reinhardt and Smith dealt out that How long they played, I just don’t isfaction—and a nod of approval from When it was almost dark, Floyd and “Whatdo you think of him?” I asked “Iflguredtht he’d be a hell of a mu- he’s a hell of a nan.” Django Reinhardt was born in a trail- crossed France to Nice, had been to down until she found him. His musical career began when he body tossed one their way. But Pigalle was more like home—and more fun to Django. Afternoon and eve- fling, he played poker and billiards not only with’othe gypsies, but with mu- sicians and pimps as well. The Bal Ta- barin was on Rue Victor-Masse, and Django was usually somewhere in the neighborhood, making a little something with his guitar, and quickly losing it in a poker game. He still lived in his moth- er’s trailer. At 17, he became a man according to the gypsy custom. He grabbed the girl of his choice, ran off with her and hid for several days. That made them mar- ned in the eyes of the tribe—and he happily broughther back to his mother. When he was 18 (on November 2, 1928), came the most terrible day of his life. Django came home late to the trailer and found everybody asleep. There were a lot of artificial flowers around, and he lit the stub of a candle to get undressed. The candle fell over, and in a few moments the trailer was a burning inferno. Everybody ran out but Django. He grabbed a quilt and tried to smother the fire. He was horribly burned on his left hand—and it was not until they dragged him outside and took off his clothes that they discovered his left leg was also a mass of charred flesh. He was in the hospital for 18 months. The doctors finally decided to amputate his leg. But Django talked them out of it. However, they had to operate ‘on his left hand—his playing hand—and nobody thought he’d ever play again. But he did. The scar stayed with him for life, however, and the third and fourth fingers were useless. He produced all his music for the rest of his life with his in- dex and second fingers. Six years later, Django was not only playing better than ever, but had his own little combo. They tried out first at Chez Florence, on Rue Blanche—and flopped. But on December 2, at Ecole Normale, they were a big hit. But only for a select few. Paris as a whole didn’t know anything about them. It took an American sax man to push them to fame —ColemanHawkins. On February 23, 1935, the Hawk was the star of a big jazz blowout at Salle Pleyel. At his insistence, Django and the Hot Club Quintette were put on the bill —andthey brought the house down. The line-up that night included Django and brother Joseph, guitars; Stephane Grappelly, violin; Louis Vola, bass; and Pierre Nourry, drums. Local offers poured in after that session, but it was Benny Carter who gave Django his next big boost. Lining up a tour. of Spain in early 1936, Benny got Django and his boys booked for three big concerts in Barcelona. They electrifled the Spaniards, and back in Paris they had iore &tes than they could fill. They sett1ed. however, for a long en- gagement with Bricktop at the newly town. Meanwhiie, Django was recording, and recording. Even before the Quintette, he had recorded with Louis Vola—.and his first known record was made at the Grand Theater, Toulon, in 1931. With Jean Sablon as vocalist, Django also cut several sides in 1933. In addition to Django, Joseph and Grappelly, the other musicians used, depending on the records, were Roger Chaput, guitar, Eugene Vees, guitar; Paul Cordonier, bass; Pierre Ferret, guitar.
The first records credited to the Hot Club Quintette were made in December, 1934. The tunes recorded were “Dinah,”“LadyBe Good,” “TigerRag” and “ISaw Stars.” Then, in a memorable occasion with Coleman Hawkins. they waxed “BlueMoon” and “Whata Difference a Day Makes.” At different times, and with different men, Django helped record just about every tune that was in the repet’toire of a jazz musician of his day. Some of his very best sides were cut with big- name stars—Rex Stewart, Eddie South, Bill Coleman and Arthur Briggs. “Afterhis music,” says a musician now playing, “Djanga’smost consistent claim to fame was his unpredictability! People who signed him to contracts kept their fin ‘mrscrosed. They never knew when—or if—hewould show up.” That was Django. In 1946, I met him strolling with his son in Cannes—when the papers had him playing nightly at Chez Djan, Reinhardt, his own club in Pigalle. Booked into the Boeuf Sur Le Toit that same year, he had the manager frantic on opening night until he finally strolled in with a group of gypsy friends. He was offered a juicy contract in London with the BBC, which put him and Grappelly together again; earlier, they’d had a spat. Django took his whole family to London. Then, two days before their first appearance, Django became ill and was rushed back to France for an operation. The tour of England had to be canceled. Late in 1946, Django arrived in the U.S. for a much-heralded tour with the Ellington band—without bringing his guitar. On the night of Nvember 23, with Carnegie Hall jammed, Ellington was ready to tear his hair. The Duke was ready to introduce Django—but nobody had seen the man. They played an extra number to stretch out the program, and then Django showed. He’d run into Mar- eel Cerdan, the French boxer, and got to talking. “Iwas homesick for somebody to talk to about Paris,” Django explained to Ellington after the concert, “andwith Cerdan I forgot what time it was.” Beforr leavin” the States, he was booked into Café Society Uptown, with Edmond Hall and his group. But they could never get him to work on time. And just about the ti.e they were ready to give up in him, Django took off for Paris. In February, 1948, he was the big man at the jazz festival in Nice—and was the only musician who showed up late. In 1949, he bought a big car, moved out of Pigal” and disappeared. Then in 1951, after a two-year absence, he showed up again in Montparnasse, but played only occasionally before retiring to the quiet village of Smois, near Fontainebleau. In early 1953, he agreed to make a Norman Granz tour, but it never caine off. For on that warm afternoon of May 15, in Samois, sitting at a café table with friends after a fishing trip, Django fainted. They rushed him to the Fontainebleau Hospital—but he died with- out regaining consciousness. They buried him there in Samois—by the Seine. Django Reinhardt left us a rich heritage in the music he composed as well as recorded. His masterpiece is a haunting melody called “Nuages(Clouds).” Royal- ties from it have made life easy for his wife and son (now 18, and playing guitar with his own combo) . His last recording session was on April 8, 1953, when he waxed “ChezMoi” and “ICover the Waterfront.” For the too young or too hidebound who have never been intro- duced to the Reinhardt magic, Nat Hen- toff calls The Best of Django Reinhardt (Capitol TBO 10226) a “must”album for a well-balanced jazz library—it’s genuinc Django. Every year, on the anniversary of his death, Django is remembered. Each year, Radio Diffusion- Television Francaise has a special Django broadcast—and gypsies get together to mourn his death. While vome of his self-conscious friends try 10 make excuses for the way he lived, Django never did. His lateness and unpredictability were as much a part of theman as his incredible sense of rhythm. ‘henhe showed up at a plush restaurant with a half-dozen shabbuy dressed gypsies, he was behaving the way he thought everybody else should: His pleasures were more important than any job; his friends more precious than the size of his paycheck. That was the Django I knew. *TLIE END 63 DJANGO (AND BROTHER JC’EPH) IN ACTION.”
Djaagc. By DOUGLAS PEEL ARDLY had the final notes of work and with which he brought jazz- passages bursting into phenomenal II II the phenomenal chorus time to guitar to the peak of perfection. reach the rafters than the audience, no peer—it defies any comparison. shaking off the spell cast by the swarthy gipsy onstage, burst into applause that such artistry as he possessed, had it note a gem. A young guitar pupil reached near-delirium. Django Reinhardt—guitarist, wan- been coupled with a formal education recently asked me—”Who was Django derer, lover of the hills and dales, the and a violin, would undoubtedly have Romany—with all the gifts and the rivers and lanes—rose to take a bow; placed him pn the concert platform shortcomings of the race, for all his black eyes glistening with pleasure among the great classical musicians. as he surveyed the eager-for-more ad- listening to Bach’s music played on the Romanies are of one race (scattered mirers. At his side, the suave immaculate organ—he loved harmony and had the throughout the globe though they may Stephane Grappelly. violin tucked gifted ear that is the birthright of all be) and originate from a tribe—the under one arm, also took a bow as the gipsy musicians. fans yelled—but it was the magic of would take the most simple “evergreen”eventually reaching Europe in the 12th Django that made them wild for more. and build around it ‘an inspiration for century. The time? Nearly a quarter of a century all aspiring jazz-guitar men. He was a the Hungarian tyiganes (gipsies) also. ago. The place? The Cambridge master of modulation and used his fin- are of the race and are characterised by Theatre, London. Organised by the “MelodyMaker,” gerboard to the full. the concert is an event remembered by guitar enthusiasts and jazz fans to this day. Seats had in fact been sold quicker than had those for concerts by such .. great names as Ellington, Benny Carter and Louis Armstrong. Soon music dealers were besieged with enquiries, and orders for records of Django Reinhardt and the “Quintettedu Hot Club de France” became a “must”on every guitarist’s list, The group returned triumphant to France, leaving behind an insatiable thirst for more—but the war clouds were gathering over Europe and soon Django would disappear into the unknown, with rumours of his death crop- ping u,p from time to time. WOULD WONDER Many of those fortunate enough to be at that concert on January 30th, 1938 would wonder if that amazing Macca- fern was ever to be heard again. Reports from Servicemen on leave told of hearing Django play in this village or that town. He was reported in Switzerland, Italy—everywhere; but six years were to elapse before he was to re-appear. Hardly had Paris been liberated than Allied troops began scouring the city for their idol, for luckily Django survived the War. Soon he was on the ‘phoneto Stephane Grappelly (who had stayed in England during the War) and it was not long before the old group would be together again. BIM.G. The era of the electric guitar was well under way but the magic of Django’s Django is no longer with us, his artistry old acoustic instrument was still way lives on through the LP’s issued during above all others. He did take to amplification recent years and those old 78’s but was known to prefer his old cherished by so many of us today. instrument, on which he did all his best His style, if it can be called that, has ductions and delicate Arabesques and, Django was above all an artist and throughout, the flawless tone—every He loved to sit quietly in a church He had but to hear a piece once. He 1000 A.D. and spread over Asia, some 243 How lucky we are that, although It is all there—those beautiful slow chromatic runs; those wonderful intro- Reinhardt?” Django was a French gipsy—a true Doms—that left north-wec India about The Spanish gitanos (flamencos) and their dark complexions, black hair and so on. INDIAN PRINCE Django was often taken for an Indian Prince (it is said) when, immaculately dressed, he booked ih at some plush European hotel as he loved to do. He was born on Jan. 23rd, 1910, at a village called Liverchies in Belgium. The tribe into which he was born were wandering players and had halted their caravans there to give a show. Django’s mother was a comdienne and a dancer (a fine one) with the show, while his father was something of a musician. At the outbreak of the 1914 war. the mother took Django and younger brother Joseph to Italy, Corsica and Algiers, eventually returning to Paris after the armistice and there, in their caravan, they lived a r’ore or less settled life for the next fifteen years. There were many guitarists and violinists in the encampment (some of whom made a living playing in the cafés and clubs of Montmartre) and at the age of around twelve Django was given a banjo-guitar by a neighbour. He began to teach himself and lost no opportunity of listening to others when, boylike, he made jaunts into the great Metropolis with his pals. At the age of I 3 he got his first pro. fessional engagement, accompanying a well-known accordion player in a club which included among its clientele members of the Paris underworld. (To be continued) 64 MAY, 1963
336. DJANGOLOGY (refer July 1963, No- vember 1964 and January 1967). Charles Dclaunay listed T,oublaiit Bolero as unissucci ill his Django book discography for the eNccllcnt reason that at the time (1961) it was of crutches for a long time. It was introduced by Savitry to the secretary So. Chris Evans (Newport, Mon.) writes that M. thought he would never play an instrument of the Hot Club of France, an organisation Dclaunay confirms VL2 i i was the version issued on VSM FELP 239 and 1-IMV CLP ii. From Romsey, in Hampshire, comes some fascinating Django as was his freedom. He persevered best jazz of the day. additions to recordings of radio pro- gramiucs. Man Turner, who has l)cen collecting tually developed his two good fingers meeting with Stephane Grappelly and jazz records since 1925, and who reviewed jazz to such an extent that his disability the forming of the famous Quintette. records in the mid- ‘thirtiesfor Billy Mayerl’s was no hindrance. magazine, has lent mc a tape which is full of interesting items. On two occasions the BBC heard around the cafés and clubs of war years and his playing was still in relayed Django and the QHCF ‘live’from the Montmartre once again. One day the a class of its own, he was a sick man club in Paris, via the French radio. Unfortunately, they were recorded on a very call of the road, ever strong in his and at the start of his post-war tour ‘HeathRobinson’ type disc recorder, made by breast, came knocking harder than Regaining his health somewhat he Cairns and MorLison, on aittininluin blanks, usual and with his young wife and eventually did his long looked-for- which had to be covered with oil before each brother Joseph, he set out for the Côte ward-to American tour with Duke take! Consequently, the quality varies from d’Azur—playing where they could on Ellington, during which lie did po to awful, and Charles Delaunay was unable the way; fishing for trout; and recordings on electric guitar. to issue them on Vogue. Nevertheless, there are catching the occasional hedgehog, that g()Otl patches and the whole atmosphere is in- delicacy beloved by all gipsies. tcresting—not least the gorgeous example of vrC-Var emotionless, p 1 u rn-in- mOU th , announcing—I had forgotten how stilted it sounded, particularly when describing something unfamiliar and slightly incongruous ! 1-lere are the details : —29 Mty 1937: l’cnnies Fronz Heaven ( iiHn.) Improvised Guitar Chorus (2 lisin.) LX(lCtl)’ Like You (3 miii.) Iii The Still Of The Night (3 huh.) Fat ( hlliTi.) Iuuprovisatioii (2 nun.) antI fragment of St. Luui.c Blues. lirickiop (a miii.) (Faded out by BBC) :2 April 1938: I)jaiigoiog’ (3 nun.) 1)aplhne ( mm.) Man also recorded the relays over the Trans. atlantic Radiotelephone from the BBC’s pre-war Five Hours Back’ series, including Paul White- iuuaiu (with the Teagardcns featured), Benny Goodman front the Pennsylvania 1-lotel, and Joe Marsala’s Chicagoans. Djaago By DOUGLAS PElI. (Cont in ued fro?n last iizoiil h ‘sissue) one must be playing gramophone town on the Seine, Django found Con- DJANGO had little time for scho1. He never learned musical of gipsies” was the reply, “butthey’ve chatting with the regLiars at a side- notation and, in fact,even to write just left. properly but this was no bar. The Paris of pre-war days was the days before finding the mercurial Mecca of all the best jazz players Django and brother Joseph and are rumours abroad that he is an up- (American and European) and young secured work for them in a club. It was and-coming guitarist. Will there, could Django listened to and liked those Savitry who fIrst introduced Django to there, be another Django? good old “evergreens”that still stand the playing of Louis Armstrong by way the test of time. He acquired a guitar of his gramophone records. It was on vibratos and foot pedals, will there and one job led to another. When he was seventeen a fire des- acquired his first car, a big old some day appear a young gipsy, with troyed his caravan and lie just escaped American “Dodge.”He loved fast cars. return of such music that has not been with his life. As it was, two fingers of his left hand were permanently disabled mother, wife and brother (a journey heard for ten years now—ten years too and he was walking with the aid they did by easy stages) Django was long. B.M.G. again but music was necessary to while convalescing and even- And so his guitar was eventually Ending up in Toulon, the brothers 1953, during a tour of Switzerland, he were heard playing OOC day by a well- great recording team—greater perhaps known Parks bohemian, Emile Savitry, who could not believe his ears. Such playing was not possible. He had heard all the guitarists in that town. Some- 1-Ceo IdS. Hurrying down from his hotel room tentnieiit aniong his Itiends, playing to the bar beneath he asked where the his favourite game billiards. music came from. “Oh,just a couple Savitry searched high and low for died during the night in hospital t the Côte d’Azur that Django also On his return to Paris, with his 281 engaged in the interests of the The rest is jazz history—the Although Django had survived the was forced to return to France. Back in the Europe he loved, Django continued to thrill his fans but in began to complain of headaches. Right to the end he remained a Romany at heart and here in Switzerland lie and Naguine, his wife, borrowed a caravan for a while and took to the road with some gipsies they had met. WAS CONTENT He was content, doing the things lie loved—fishing and living with his “cousins.”While in Switzerland at that time Bing Crosby had tried to locate him, unsuccessfully. It was the singer’s wish to take Django back to the United States with him. It was not to be however. To locate Django when the roadway caUed was like trying to catch a moonbeam. A pity, for Crosby and Reinhardt would have made a than when Eddie Lang backed the crooner on some of his best recordings. Back in his home in Samois, a little It was on May 15th 1953, while walk cafe, that he had a stroke and Fontainebleau at the early age of 43. Django left a growing son and there In this electronic-age of switches, a battered Maccaferri, to herald the 65 L :
66 January 4, 1958. MELODY MAKER—Page 7 Posterity Take Eddie Lang, who recorded with the greatest jazz players of his time, including Bix Beiderbecke. Bix has been immortalised by history. Books and films have been produced about him. His recorded music has been reproduced for the sake of posterity. What about Lang? Nothing. Out of two dozen or so people I asked, not one or two had heard about Lang. Most of the people were guitarists! Plectrum ?et he was the man who was responsible for the plectrum guitar and made it take the place of th banjo in the dance band. But was he a great jazz player? history says No. How about Django Reinhardt? His popularity even increased after his death. G r e a musicians h a v e dedicated music to him and admit to having been influenced by his music. While some guitarists think that by playing a Maccaferri guitar, they’ll even sound like hini. History has voted him “great.” Most of the guitarists I have named at the beginning say quite openly that they were either inspired or influenced by one great player of the guitar—Charlie Christian. French t ,r . Babik life THE film ot . f&!€1’ Djcingo made in France, should provide some pretty good musical mements.” Above is Reinhardt’s son, Babik. Right, a group of musl sians headed by Stephane Grappelly (violin) reconstruct a Hot Clubsession. With him are henri Crolla (guitar), Emmanuel Soudjeux (bass) , Joseph Reinhardt—Django’s Brother—(guitar), Eugene Vees (guitar), Gerard Leveque (clarinet), Andre Ekyaa (alto), Hubert Rostaing (cit.). —. The maestro-.Django Reinhardt A yelloiiiiiçi photo froni t1e rnst—tiie OiiçJill(Ll —------- —-—---—-— Qziziztutte dii hot Club (1(’ lru,z(e: &rcppclly OIL I lie IeJt ; I’CiILILLLrLl t b(/Z iitd tIt 7)1 i1e. 44 I STEPHAN E ELLI:
Django Reinhardt By Bob Rovai 67 T(.) Iflfly 1)CPlC the 1ite tortics and early fifties, and to many ui the guitarists we have interviewed, Django Reinhardt was the greatest guitarist of all time. His music was the best form of European jazz and his amazing style on the guitar was accomplished with almost incredible dexterity. All the more WOO— drous was his accomplishments in spite of a partially paralyzed left hand. Early on the morning of November 2, 1928, the Gypsy was getting ready for bed in his trailer. The trailer was filled with artificial flowers which provided the livelihood for the faiily, who were to sell them at a graveyard the following day. Before retiring, Django heard rustling among the flowers and picked UI) ‘candle to investigate the strange noises. The hot wax from the candle melted quickly and burned Django’s hand. Al- most immediately he dropped the can- die into the celluloid flowers and within seconds he was engulfed in flames. With his left hand, lie gral)bed a burning blanket and found his way to the door. After arriving at the hospital, the doe- tors recommended that his left leg be amputated, having been badly burned during the tragic incident; however, Django refused to listen to the doctors’ diagnosis of his leg, as he was much OK)C concerned with his left hand. Tvo of the fingers of his hand were seared I ogether. Following six IflOOths of’ constant treatment in a nursing hoie, his burned fingers had finally been returned to their original shape, but they were para— lyzed. It was suggested that he play his guitar to strengthen both his hand and morale. LTndeigoing great iaifl , Django worked tirelessly with his left hand and finally managed to devise a new chord- ing technique to conipensate for the loss 01 the use of the lingers. Although iany guitarists have at— tempted to copy the Reinhardt style, none has succeeded. No oiw has cap- t ured the aura of the uninhibited Gypsy’s approach to the guitar. Reflect- ing his tune and environnent in his tUusic, he becaie a coipletely unique artist. Having copied or studied no one, he was indebted to none of his con tern— Poraries for h is al)i)rIch to jazz. lie never learned to read Ui write either music or words. I-us technique was SO U() rthodox and his music so brilliant that guitar players the world over fully realiied his genius whenever the him perform. Reinhardt could lisin to a complicated symphony and poini out any mistakes that might occur, yet he did not know what a scale was! Reinhardt’s unique guitar style con— sisted of the first and second left hand fingers playing most of the single-note work; in chord work, he could make use of the third and fourth fingers to a limited extent on the first two strings. He played his famous octave passages on any two strings, with a damped string between (first and third, second and fourth, third and fifth, etc. ). Chromatic runs, if played in the first position. were fingered; if played up the fingerboard they were struck with one finger. He played unusual chord shapes because of his handicap. One thing phenomenal about his right hand was that he did not rest it on any part of the guitar. He down-strokes most of the time, except when he would play extremely rapid passages. Reinhardt first started his career at the age of thirteen. He played at the Bal-Musette, which was a meeting place for thieves, prostitutes, and the Pa underworld. The music consisted ô June, 1969 88
banjo (Reinhardt) and an accordion. rope, he spent the next six years playing This type of music was found through- out France and Europe at this time and was probably influential in the later jazz style of the gypsy. Around 1925 or 1926 he first heard American jazz and was completely over- and his elderly mother. He still traveled whelmed. He especially liked Louis Armstrong, Duke Ellington, and Joe Venuti. In the latter part of 1931, Reinhardt would often visit a nightclub in Paris where Stephane Grappelly, a pianist (later turned jazz violinist) was playing. Sometimes he would sit in with the band. This was the beginning of an important musical relationship. Reinhardt and GrappeHy would later form the famous Quintet of the Hot Club of France. The group originally consisted of Reinhardt, solo guitar; Grappelly, violin; Joseph Reinhardt (Django’s brother), id Roger Chaput, rhythm guitars; and Louis Vola, bass. The quintet made several name which guitarists everywhere have records which are available on albums here in the United States. The original quintet existed from 1934 to 1939, when the war started. It was replaced by another group, when Reinhardt and his quintet. Some of Grappelly stayed in London during the war. Up until 1948, Reinhardt’s small recording groups were still known as the Quintet of the Hot Club of France. Several times during the post-war years Grappelly joined the group for record- ing dates and concert appearances. In November of 1946, Reinhardt traveled to the United States to make a long-awaited tour with Duke Ellington. The tour went to Cleveland, Chicago, St. Louis, Detroit, and several other cities and then to Carnegie Hall for two nights. Although he received more curtain calls than any other soloist, his Carnegie Hall performance was called disappointing, if not a failure, by the critics. They said he didn’t generate the excite- ment which was evident in his perform- anCes with the quintet in France. Rein- hardt also didn’t have his own guitar. Several were provided for him but they were all electric and he wasn’t accustomed to the tension of the strings. Barney Kessel has said “IfDjango wanted to stay in the United States and learn the language I’m convinced he would have altered the course of con- temporary jazz guitar playing . . . per- haps even the course of the music it- self.” When the guitarist returned to Eu- the old clubs which were familiar to him and making several records. •Ily’ 1952 he was fairly well settled down, living in a small town near Paris. He lived with his wife, their two sons, and played some concerts. On.May 15, 1953, he returned home from a concert tour in Switzerland. The following morning as he tried to get out of bed, he called to his wifl. lie was terrified be- cause he could hardly move his arms and legs. She called a doctor. Before he could arrive, Reinhardt had felt better and gotten up to go see some friends across the street. When he got outside of the door he collapsed. Neighbors rushed hit to the nearest hospital but he never regained consciousness and died that night. It had been a cerebral hemorrhage. He was 43. Jazz fans all over the world mourned the gypsy’s death. Django Reinhardt is a taken inspiration from. Les Paul, Chet Atkins, Sal Salvadore, Glen Campbell, and Charlie Byrd are just a few. There are several albums available by them are DJANGOLOGY RCA-23l9; IMMORTAL DJANGO RE1NHARDT Reprise 6075; THE BEST OF DJANGO REINHARDTCapitoI—-T-l0457. E lnthewholeof hi; years of tremendous creative output, there has been hardly the mildest lapse of musical taste in his playing. With such a record it is not surprising that many of our best British jazzmen —Kenny Baker, Dill Jones, Dankworth, Skidmore, Bob Burns and so many others— rank Django among the very tiny handful of jazz ‘greats.”It is not surprising that Django is held in such high regard by many American musicians, from Ellington and Gillespie to Les Paul and Barney Kessel, What is surprising is that there are many musicians even in this country who have not listened to Django. We shall never hear any new music t’rom L)jango. All that we have left of him are his records, some 150 issues. These records form a treasure-house for study and enjoyment. With them per- haps, we can come to a true assessment of the immense stature of this guitar giant. The word “genius”is a dan- gerous one to have at hand at the death of a great musician. • But it is almost certain that D;ango Reinhardt will deservedly be recognised as a true genius, with gifts far bcyona those of the normal musician. Even to those who never knew Django, the powerand the sensitivity of his music will make his death not only a blow to jazz, but will leave a sense of deep personal loss. rp[E sudden death of Django Reinhardt has come as a shock not only to musicians and jazz lovers, but also to millions of other people in Europe and America who have been attracted to his playing by his extraordinary musician- ship and his colourful back- ground. Eighteen years ago, from his first recordings, he became known as the finest jazz guitarist in the world. Playing with such men as Benny Carter and Coleman Hawkins, he was recognised as being of their class. Eighteen years later he was still the finest. Only a few weeks ago in Belgium, Dizzy Gillespie and Django fronted a brilliant concert, with Dizzy quoted as holding Django in “highesteem.” Background What manner of man and musiclan was Django, whose playing captivated people not interested in jazz, yet whose jazz style was always in the vanguard of modern music? So much has been written, and so much more will no doubt be written about his gypsy back- ground, his maimed hand, and his unusual life, that the music of Django has been overshadowed by journalists’ stories about the man. Certainly, Django’s character was in every note of his music. The flamboyance of style, the intricacy of ideas, and yet the very deep emotion of his playin were all a part of the man himsel Only in recent years had he begun to read or write. But for years he had spoken the inter- national language of music with more meaning and fluency than most dramatists achieve with the common word. Since the war, Reinhardt has been neglected by most people interested in jazz in this country. A new generation has grown up without hearing the name or music of Django. A small set of individuals in this country have tried to dampen down Django’s brilliance by labelling it as “tech-nical” or “flashy.”Individualist Anyone with a feeling for music will know that such superficiality comes from the listener. It is not in the music. Every phrase of Django’s was played with a reason and with feeling. Every note was given its individual mean- ing. Yet Dianim was no mere olaver , of choruses, Neither reading nor writing music, he was, nevertheless, a composer and arranger with a completely original and individual style. As a guitarist, his technique was almost certainly greater than any other. He ranged from jazz solos to gypsy and classical solos and to amazing accompaniments to singers and instrumentalists. He covered the whole range of music and every facet of the guitar. And yet everything that he played was Django himself playing. Every time he played he improvised anew. No arrangement was exactly played the same twice running. Every group that he played with took on a different character from the powerful per- sonality of Django’s music. 68 1 /kj,/L DJANGO REINHARDT An appreciation by tarist KEN S YKORA
:Y-’ /c!4.+, REINHARDT DISCOGRAPHY Compiled by N1E1E1LiL & IE. GA1i DJANGO REINHARDT. OF gypsy origin, Jean C’ Django “)Reinhardt has been described as the most interesting personality in the world of dance music since Duke Ellington. Born in 1910 at Ouchie, Belgium, Reinhardt’s first musical instrument was the violin, but at the age of i8 he sustained an injury to his left hand which deprived him of the use of two fingers and compelled him to renounce the study of the bowed instrument. Fortunately for the world of guitarists, he started to study the fretted instrument, for he was still able to use the remaining left-hand fingers, while limited use was made of the third and fourth fingers in certain chords. In spite of such a handicap—a handicap, which would have discouraged the average person—Reinhardt succeeded in surmounting digital difficulties and acquired an almost supernatural and awe-inspiring technique unparalleled in the history of the plectrum-played guitar. Guitarists will be interested to know that Reinhardt uses thefirst and second left-hand fingers most of the time in single-note work ; in chord work he can, as stated, make use of the third and fourth hngers to a limited extent on the first two strings. He plays his famous octave passages on any two strings, with a “damped “string in between, i.e. on first and third ; second and fourth ; third and fifth ; etc., avoiding that frenzied rushing up and down the fingerboard which would otherwise be necessary. His famous chromatic runs, if played in the first position, are fingered; if played up the fingerboard, they are glissed with one finger. He plays unusual chord shapes because of his handicap. Reinhardt’s right hand is phenomenal. He does not rest any part of it on the guitar ; it pivots from the elbow a little but principally swings from the wrist. He employs down strokes most of the time, except for extremely rapid passages and notes played tremolo. With the inherent qualities of the genius for composition and improvisation in rhapsodic form—and with the aid of gramophone record- ings by the most famous jazz exponents—he developed a distinctive and incomparable style ; a style both “hot “and melodic and described as having a quality of “delicacy and subtle charm reflecting his every r iood; in turn plaintive, sombre and jubilant.” CREATIVE GENIUS. Hugues Panassie, in “The Real Ja,” says : “First of all his instrumental technique is vastly superior to that of all other jazz guitarists. This technique permits him to play with an inconceivable velocity and makes his instrument completely versatile. Though his virtuosity is stupefying, it is no less so than his creative invention. In his solos . . his melod ideas are sparkling and ravishing, and their abundance scarcely gives the listener time to catch his breath. Django’s ability to bend his guitar to the most fantastic audacities. combined with his INTRODUCTION. THE purpose of this booklet is primarily to furnish the student of the plectrum-played guitar with a handy reference to the recorded works of Django Reinhardt as a means of study of the instrument ; the artist; and his remarkable and invaluable masterful style. Secondly, to give the swing-minded “fan “complete details and data of all known titles, sessions dates, and soloists (and bands) with whom Reinhardt recorded. The authors have endeavoured to cover every aspect of the artist’s career, but the obvious need for brevity will, they hope, be appreciated. If any purchaser of this Discography can give additional authentic information not included, the publishers would welcome details for indusion in a possible re-print. As the main purpose of this booklet is to aid players of the plectrumguitar, the bulk of the contents will be found to be sufficiently informative and helpful, but the person whose main interest is well-played music will, it is hoped, reach a greater and fuller unde rstanding of the possibilities of the instrument through a study ofthe recorded work ofDjango Reinhardt. * * * The discographical section is tabulated in the numerical order of matrix numbers, and a list of the abbreviations used to denote the various lab1s will be found on page 14. Dates of recordings do not necessarily follow numerical order of matrices, as may be expected. In the case of the records issued by the English Decca Co. the seemingly erroneous dates are authentic and the apparent contradictions are explained by the fact that matrix numbers were evidently allocated at the time of issue and not at the time of the recorc3ng. - Certain omL sions have been considered as unlikely to discredit the artist and have not been included because of- their unimportance to the guitar student and swing connoisseur. . Acknowledgenent is given to various people who have made this booklet possible : notably J. Gaylard (U.S.A.) and S. F. Dance and E. Cherrett (England) from whom many of the Atherican and French titles and matrix numbers were obtained. Especial thanks are also due to the Decca Co. and The Gramophone Co. for their invaluable help in providing many details of recording dates, personnels, etc., without which this Discography would have been incomplete. 0) CD * * * *
---- REINHARDT DISCOGRAPHY expressive inflections and vibrato, is no less wonderful ; one feels an extraordinary flame burning through every note.” According to Charles Delaunay we learn that Reinhardt’s first band job was with saxophonist Andre Ekyan, who frequently sought him in his caravan to find him studying recordings or improvising alone, or being accompanied by other guitarists. Violinist Michael \Varlop also used Reinhardt for certain recordings for “La Voix de son Maitre “(French H.M.V.) as also did vocalist Jean Sablon for many of his French Columbia sess ions. MEETS GRAPPELLY. Stephane Grappelly was with Gregory and His Georgians in 1930 and later with Stephen Mougin’s Orchestra for three years as a pianist, but his talent on violin was soon recognised and later, in the “Croix du Sud” with Ekyan and Al. Roman, he became acquainted with Django Reinhardt, who frequented this spot, mainly to listen to the various musicians. on one of these occasions, Django “sat in “with the band—and from then onwards a close friendship with Grappelly was formed. In the Autumn of 1934 the Hot Club of France (of which Pierre Nourrv was the principal mover) was in search of a new-style group to replace the Club’s resident band (being led by Freddy Johnson ) ; one that would maintain and emphasise the value of French jazz. Here is an extract from an article by Laurie Henshaw (August 1942 “B.M.G.) picturesquely describing the formation of the Quintette du Hot Club de France “French Jazz, in its infancy and skipping hastily along in the footsteps of the giant American-born “swing,” was sponsored mainly for its limited admirers by the Hot Club of France, founded in 1932. Resident band, dubbed the “Harlemites,” “swung “the oldest and latest tunes under the able baton of coloured Freddy Johnson. Famous visiting musicians would hic to the Hot Club’s Paris headquarters to sit in for a “jam session.” Came a time, however, in August 1934, when pianist Johnson had to leave France. Hot Club’s chief official, Pierre Nourry was left without a band to carry on the stave of “swing.” Determined to kick the infant French jazz into long pants and manhood, he sped around to find a worthy successor. It was in the caravan setting that Nourry burst in upon Reinhardt and Grappelly enjoying, with a few other “swing “musicians, the strident improvisations of trumpeter Armstrong via the medium of a small portable gramophone. The machine ‘a-asswitched off. Amidst clouds of weaving tobacco smoke Nourry expounded his scheme for an all-string “swing “outfit that would even eelips the fame of predecessor Johnson’s “Harlemites.” The two string virtuosi listened attentively and were impressed by proposer Nourry’s eloquence. Plans were speedily drawn up. A quintet was thought to be an adequate medium to display the dual talents of fiddlist and guitarist. Suggested to complete the personnel were rhythmical guitar players Joseph Reinhardt and Roger Chaput, plus foremost “swing “bassist Louis Vola. Retiring Django, pressed to accept leadership, agreed. The portable was started up. An impromptu toast was drunk. To the musical blessing of Louis’ golden trumpet in the picturesque caravan setting at the Gates of Paris was born the Quintette du Hot Club de France’ REINHARDT DISCOGRAPHY 7 FIRST APPEARANCE. After several rehearsals the newly-formed Quintette was introduced for the first time in the Salle de l’Ecole Normale de Musique (November 1934) ; proving such a success that a second “Hot Club “concert was arranged and held on February i6th, 1935. Prior to the second concert the Quintette du Hot Club de France faced the general public during the “Gala du Disque et de Radio “at the Champs Elysees Theatre (January 31st). Again, in March of the same year, “in the great Salle Pleyel and before two thousand enthusiastic people it received its definite consecration “(Delaunay). Inspired by the success of the Quintette’s first concert the French Ultraphone Co. engaged it for its first recording session. These records were issued early in 1935 in this country on the Oriole label. ON TOUR. Success led to success and by January 1936 the Quintette had played in Nancy, Barcelona, Zurich, Geneva and other European cities. Radio engagements soon followed and these included special relayed programmes to London and New York. Recordings continued for Ultraphone and French H.M.V., and soon these Companies’ aliied undertakings were issuing the Quintette’s records. Late in 1935 British Decca and H.M.V. had several records by the Quinette du Hot Club de France in their lists. (On the English Decca records the Quintette’s name was changed to “Stephane Grappelly and His Hot Four “apparently because of contract reasons). By 1937 the popularity of the Quintette resulted in a tour of the British Isles ; again described by Laurie Henshaw (“ B.M.G.”, September, 1942) :— “Insistent were the demands for the personal appearance, in London, of the Q uintette. Arrangements were made. Before thrilled audiences thronging the Capital’s leading musical halls played leader Django and his fellow musicians. To appease the inevitable commercial element among listeners, announce- ments and vocals were handled by Norwegian Carola Merrild. Disquiet- ingly, the quintet’s brilliance was almost eclipsed by quite a different allure. Unperturbed Reinhardt, white coated and detached, just played on. Smooth, sauve, Grappelly stood smilingly before a separate microphone, lured bewitching melodies from his singing violin. Plump bespectacled Vola plucked away at his sonorous bass while expressionless Joseph Reinhardt and Pierre Ferret plucked out a solid rhythmic background. ORIGINAL. The quintet was, above all, original. Gratifying indeed the complete absence of any silver-tinselled gallery appeal. No vacuous baton wielder grinned toothily, waved his arms or juggled seif-sonsciously. Almost exotic were the contrasted lighting effects. Swarthily handsome leader Reinhardt gleamed in the centre of an unwavering spotlight. To the strains of Reinhardt’s graceful composition “Djangology,” the curtain slowly descended. Eventually, Django became a little bored with the insistent demands of routine engagements. Longed for his Homeland and the intimate atmosphere of back street night spots where he could play as he wished. Grappelly was content. Accepted an offer from Arthur Young and his Hatchett’s Swingtette. His dark companion said farewell, returned with bassist Vola guitarJoseph ierre nec.’ 0
. REINHARDT DISCOGRAPHY LAST RECORDINGS. May 1939 saw the last of the Quintette’s recordings. The group had disbanded. -‘ Rumours that Django Reinhardt was a victim of the war led to reports of his death being published in America (“ Down Beat “)and England C’ Melodj Maker “)but the Editor of “B.M.G.” learned that the world- famous guitarist was appearing at “Maxim’s “in -Paris and, later, was appearing in cabaret with Jane Stik in a Rue de Ponthieu night dub. More recently confirmation of Reinhardt being very much alive and continuing to purvey his unforgettable and brilliant extemporisations has been given to listeners to the French radio. It is universally hoped that a re-union and revival of this unique and spirited combination will speedily follow the cessation of hostilities. GUITARISTICS. 1ST student of the plectrum-played guitar can afford to ignore the importance and value of Django Reinhardt’s style ofplaying. Until a startled and bewildered swing-minded dass were rudely and justifiable awakened from their somnolency, the plectrum guitar had never been explored in terms of the Reinhardt mode of thought. By hicoming a new life was given to the instrument, opening up a fresh field for study. Reinhardt set new standards by an almost incredible and hitherto unthought-of technique. Obviously based on and emanating out of the instrument’s past develop- ment, Reinhardt’s amazing technique and brilliant florid style of single- string work is nevertheless singularly important. Expressing his ideas, his style is characteristic of a genius who periodically lashes out at con- vention and complacency which too often tends to stifle progress. His ideas have a freshness and spontaneity that are at once fascinating and alluring . . . but not easily understood at a first hearing. Only by a study of this famous guitarist’s recorded works can one assimilate the subleties underlying his intricate and involved style. To a degree, Reixthardt’s style and ideas were premature—one might safely say they are, even yet—as emulation and further development have, so far, not materialised. Having outpaced orthodox p ocedure of technique and association of ideas, small wonder t.at this “interloper “should have set a fretted Instrument profession floundering in a sea of ambiguity, contradiction, and controversy. FLUENCY OF IDEAS. An analysis of ReinLardt’s playing and style shows remarkable characteristics and traits. His fluency and apparendy inexhaustive ideas of lengthy discourse are more of the violin or clarinet school. The elasticity of his Bach-like phrases and his Chopin-like rhapsodising in melodic improvisation, is confidently, skilfully and legitimatrly displayed in every recording he made. This fusion of the violin-clarinet style of playing to the plectrum guitar was unprecedented and, to the reactionary, was sacrilege, unethical and unpremeditated. It defied and chUenged the futile rantings of the older school of players ‘hotried to discredit the (to them) unbelievable - REINHARDT DISCOGRAPHY 9 and hitherto unheard of “pyrotechnics “and “fakings,” bringing their smug and self-satisfied theories crashing to the gound. Its description—. often in most abusive terms—as “acrobatics “; “faking “; “indulging in superficial virtuosity “; etc., soon gave way to every kind of academical and theoretical treatise. Controversy raged ; speculations as to Reinhardt’s so-called “faking “and alleged use of finger picks were ranipant. Doubt was expressed that one man could manipulate the instrument with such amazing dexterity while the story of his left-hand disability was dismissed as too fantastic. Time and testimony, together with a study of his work, have proved his genius to be only too real. Even were “faking “and other means employed, such could not refute the extraordinary content of his melodic, rhythmic and rhapsodic ideas. NOTATION INADEQUATE. Any attempt to transcribe his playing and style into musical notation is totally inadequate, for the written page cannot convey the subtle and complex nuances of his individual and inspiring expression. Difficulty in the choice of adjectives to describe his uncanny melodic sense and superb imaginative inventions is evidenced by the failure of all writers to do justice to his efforts. True, the notes ; their time values and figurations by sound can be written down, but sound, to be musical, must have a quality—a “soul “—andonly by a study of Reinhardt’s recordings can one really understand and appreciate his “quality “and manner of interpreting his fluidiform ideas. All students are recommended to obtain the four published solos recorded by Django Reinhardt (“ Swing Guitars,” “Souvenirs,” “Ultrafox “and “Bouncin’ Around “)and read them while listening to the composer’s own renditions and thus come to a fuller understanding of his style. This style is far from easy to emulate, but it is not impossible, for by studious and diligent practice the willing student can make quite a reason- able show. The characteristics of Reinhardt’s music are primarily emotional. His relative association of experience, reinforced by a profound rational knowledge of his instrument ; the guitar’s possibilities and limitations; his love for music and the expression of it—all are a necessary adjunct to the means of expressing these emotions. Obviously, he is possessed• of an inherent and high degree of intelligence and cognition which is the C’ gift “that the mentally-lazy “theorists “offer as -the explanation for Reinh’rdt’s genius. What they forget is that this “gift “of itself cannot, by any stretch of the imagination, produce a Reirthardt, a Rembrandt, a Rolfe, or a Rousseau. No I only by applied effort and by the develop- ment of the intelligence can “genius “manifest itself. EMO’A’IONALISM. Reinhardt’s “emotionalism “is the essence of his style. It is this quality which, being individual, cannot be emulated. The emulation of his technical and elaborative-style is a possibility which can be acquired, for this is taking place ; various exponents of the plectrum guitar (both in England and America) demonstrating the fact, although there can only be one Reinhardt.
REINI-IARI)T 1)ISCOGRAPHY I’ In moments of delicate mood, his creations have a charm of warmth, intimacy and -a rich, fullness of sound—both melodic and moving. In the faster numbers Django’s playing is “cry “and “explosive “and a torrent of notes seem to cascade from his guitar as if released from a pent-up dam. His fingers dance over the fingerboard and demonstrate his effortless and dazzling technique. Most awe-inspiring and astonishing is his peculiar and fantastic fingering. One almost unbelievable gyration in overcoming his digital handicap is a cross-fingering position where his second left-hand finger crosses over the first to play a note behind and on a lower string to the note fingered by the rst finger. INSPIRING. Often, as in many of the Quintette titles, Reinhardt inspires the rhythm section with chord syncopations and chromatic chord changes in trefriolo form ; creating a tenseness of atmosphere. Despite his “punching” the utmost power out of his instrument, never does he distort the tone; knowing full well the guitar’s limitations. The construction of his melodic inventions are as complex as an under- standing of his nature. Quoting one of his musical associates (Roger Kay—” Down Beat,” August 1942) the comparison is evident : “His life in Paris was unusual too. He had a small apartment but a lot of the time he’d sleep out on park benches or just roam around all night with his guitar. Most of the time he was broke, although he did make some money on record dates and irregular jobs. He had such an odd attitude toward life in general and was so irresponsible . . . He might be working in an orchestra, suddenly decide that he wanted o be some place and just get down from the stand and walk out and probably wouldn’t be seen again for two or three weeks, or even longer. He was interested in Schpenhaur and Nietzche and loved o talk about philosophy. I think the point is that he was just a simple person who liked his music better than anything else and played only the way that he wanted to play. He wouldn’t let anything interfere with that.V Other extracts from the same article typify Reinhardt thus : “He never learned how to read music but could play involved technical classical pieces from memory that made other musicians shake their heads in wonder.” And again : “About his own playing he was over-modest and while he must have known that he was eat, he used to feel some- times that he wasn’t q Site good enc tgh for the best musicians.” ‘CThere was something strange about Reinhardt,” goes on Roger Kay, C’ that no one was ever able to ure out. For one thing he never talked about himself or his life before we knew him. . • . There are all kinds of stcries about his han’-1 being paralysed, the mort common being he was burned rescuing a girl from a fire. He never spoke about it himself and none of us brought it up.” S._ch tell-tale glimpses of the nature of his earlier lif can be found in his playing. Sometimes impulsive—but never erroneous—gentle, insidious, poetical—in rhythmical and melodic form—and ever animative. All and more such moods are vividly illustrated in the many recorded titles listed in the discographical ection of this booklet, and it is hoped that the student and record collector dii- 2 will benefit from this collation of the recorded works of Daago Reinh:r&. * ‘a“HIGH SPOT “RECORDINGS. I T is, perhaps, iniquitous to pick out any Django Reinhardt records for special mention, but it is felt that a worthy object will have been achieved if certain records are reviewed with a view to assisting the ardent collector and zealous student. “Improvisation “(Decca matrix 29oS and H.M.V. matrix 1740). Although similarly titled, both these recordings are entirely different; both in composition and treatment. (The former is played finger-style and the lattcr, plectrum-stvle). Whether these were actually improvised in the recording studio is difficult to affirm, but the distinctive qualities of both versions leave no doubt as to the possibility. Finding fitting words to describe these solos (and their performance) is difficult, but Reinhardt’s technique needs no eulogy. The two “compositions “are not orthodox ; each rambles on ad lib. as Django fashions his kaleidoscopic patterns and gently and coaxingly imparts to, and extracts from, his beloved instrument the utmost possible expressions of elaborate and delicately formed sentences. At first, these seem to be a veritable musical jig-saw, but they form themselves into a homogeneous whole. . The Decca version is the slower and less intricate, and will perhaps :.bc easiest understood. It is certainly the more melodic and pleasing to the ear. Needless to say, the feeling, tone and technique are exquisitely and faultlessly displayed and no better examples of the mastery of musicianship are (in the writers’ opinion) to be found in all Django R!inhardt’s work than in these two titles and the H.M.V. coupling of “Parfum.” These three sides combine all the finest aspects of Django’s style; tone ; technique ; form (fancful and florid ; ingenuity ; impeccability; and inexhaustable font of ideas. * * . * “Louise,” “Please be Kind,” etc. (Duets with Grappelly on piano.) All these titles show Reinhardt to be a soloist of the highest rank; with Grappclly forsaking his violin for the piano—and providing an able and supporting accompaniment. . . These duets are worthy examples of the team spirit of Reinhardt and Grappelly and show their blending of tastes. Ejango obviouly enjoys himself in these renditions and his “somersaulting improvisations “show him at his best ; indulging in a free utterance of the type of music in which he excels: The varied inter- polaions (rhythimc and otherwise) roll out with surprising ease. It seems all so easy I • These tities provide ample scope for study and should not be omitted from any guitar student’s library. * * “Eddie’s Blues “(and other titles with Eddie South—violin). In “Eddie’s Blues,” Django and “The Dark Angel of the Violin” indulge in and demonstrate their skill in the art of extemporisation via the 12-bars blues—seven choruses and an introduction. Rcinhardt plays no solos here but confines himself to a supporting rhythmic accompaniment. Noteworthy is his use of passing chords which l’e phrasrs intc) melodic form, and his “eight to a bar “chording in th;_ fifth cho:uc. —zREINHARDT DISCOGRAPHY 143
REINHARDT DISCOGRAPHY REINI—IARI)T 1)ISCOGRAPIIY . 3 “In original ideas, inherent rhythmical feeling, and technical skill, Django shows himself to be one of the eatest of all swing artists. . . . His originality is phenomenal and no matter how often he may play the same tune, one always senses new and diffcrest nuances in each interpretation.” (Duncan MacDougald “Metronome “June 1938). - “There is no doubt that the greatest sensation in the guitar world of recent times has been created by Django Reinhardt.” (Geoff. Sislev, “B.M.G.”, April 1936). ‘CHis melodic invention is given full expression and is shown now in a graceful line, now in a magnificent and inspired flight of fancy, facilitated by an unusually brilliant technique. Then in contrast he resorts to an extremely simple yet forceful style.” (Andre Durand, “Swing Music “August 1936). “His (Reinhardt’s) work on guitar combines swing with a singularly high degree of musicality. The musician in him is evident when one listens to the delicate, smoothly-fusing graduations of light and shade. Django has an exemplary command over the limited dynamics of a SOlO iflSttutTlCflt. This strikes one in most of his solos.” (R. Kelly, “.IeIodj Maker,” Scptemhcr i35). “He sits quietly and confidently, playing the most amazing passages without the slightest breach in his armour of natural poise. There is no Gallic flourish in his behaviour, yet the gypsy in him speaks in his every note. “(Terry Usher, “Frelled Harmo?9’ “March-April ‘oS.WHAT OTHERS SAY. ,-. ... Stephane Grappelly and Django Reinhardt
:r’-° (I7Tt-i c-Jo LEN WILLIAMS I WAS one of the unfortunate beings who were unable to attend the Hot Club concert organized by the Melody Maker, where Django Reindhardt made his first appearance in this country ; but the opportunity of seeing as well as hearing this great artist presented itself when Reinhardt again made his appearance on the stage at the Wood Green Empire, London, and at the manager’s invitation (although naturally I would have gone anyway) I enthusiastically attended. Fortunately I was in the front row centre of the stalls, and scarcely a note, phrase or movement on the part of Reinhardt escaped my attention. Much has already been said of Reinhardt in this and other publications of a subjective nature, but I wish to confIne my criticisms to certain aspects of his playing which, to my mind, required a more objective treatment . Before continuing thus—and perchance previous articles on Reinhardt have escaped the reader, I cannot do better than quote several passages from Terry Usher’s recent report on the Melody Maker concert Djago is a French gi5si’ of uloul thirty years of age, I should say, of ,nediunz build, very dark, with a countenance which ravel)’ unbends fro;n its norna1 tranquillity. Only wizen a particularly brilliant solo wrung fro;n the audience wild applause, did lie smile sli’htly. Yet there was no trace in his via;nie of that 1tustified conceit from which so ;;zany of the lesser lights suffer. “.f-fe 5lays with a plectruin, and not with finger ichs ‘11ic fit uid ecQiulJingr wt(v in ii1c tcy•ing chqrd work, lie caii us he t1iid and f.iurthfi,ers to limited uxtent on tlaefirsl Iwo strings. ,,.e plays his famous octave assages On any two , .stvings,vith a damped st’ing between, I.e on first and third, ‘condandfourth, third andfifth, etc., avoiding that t’nzied rushing zp and down the fingerboard whic,_Lwould otherwise have been necessary. His chromatic r)ens, ifplayed infirsi position, are fingered: :i played up the fingerboard, they are glissed with one ft nger. He plays unusual chord shapes simply by icG,Qfl of 4s h((IdiCCI of part(ysi fingers—I pre sitme this because he isever uses the normal shapes. His guitar is legitimately luiiud, and ha plays it legdiiacly. He is definitely not a “freah ‘player, but a sound technician ; although Iwo of his left hand fingers are paralysed, the remaining two are worth any f our of the normal man’s. They are extraordinarily long and powerful, and the tough sinews are apparent My own remarks, which follow, and the MSS. examples given here are based purely on observation. It was my wish to discuss certain points with Reinhardt personally, but I found him a most difficult person to meet. At the North London Gig Club, where Reinhardt presented a cup to the winner of a quintette competition, I made two attempts to meet him, and on each occasion was told by his manager that it was inconvenient. Following his performance at the Wood Green Empire I went round to the stage door, and only after much persuasion did the manager reluctantly agree to ir.roduce me. Following a formal handshake I asked if there was anything Reinhardt wouldlike to say to guitar enthusiasts in this country, but nothing came of it. So readers must forgive me for being unable to give them anything “straight from the horse’s mouth,” so to speak. It is futile to compare. him with Eddie Lang, or any of the American stylists for that matter ; his style is altogether different, but only differnt in so far as the restrictions brought about by the paralyzed fingers have resulted in the extra agility of the first and second fingers. Consequently his single- string playing takes on a different aspect (cont. Ofl ;zcxtjnige 74; REINHARDT--THE SINGLE STRiNG GENIUS evenfrom a seat in the stalls. Django has no robleJJ?.c of fingering—he has only two alternatives I He uses his first finger principally : if he has three votes to play on the same string, he uses the first jingei’ for the lowest, slides it up to the next fret, and then uses the second finger for the third note. If ‘ieis doing an arpeggio on several strings, he uses alternate first and second fingers to agrect extent. These two Jingüs are amazingly agile, and considerably more flexible in every way than the normal player’s. I saw at one point that the first and second fingers were actually fingering two notes at such a position that the two f ingers were absolutely at right angles to each other / His right hand, too, is phenomenal. He doesn’t rest any part of his right hand on the guitar top : it pivots from the elbow a little, but principally swings franz the wrist. He uses downstrokesfor the most tart, except for extremely rapid passages, or trernoloed notes. The tone he produces is absolutely grand, but when hitting chords he often . ttles th, strings, so fiercely does he strike them. This, however, was to i;iake sure the sounc carried to the back of the big theatre in which the concert was held.
that is to say, the limitation in itself intro- duces a new quality into his playing. But this ‘‘new quality ‘‘is only possible to the examples of certain phrase procedures, detriment of other aspects of guitar playing consequently the sophisticated style of George Van Eps, for cxaml)le, could not even l)C at tempted by Reinhardt, technically or musically. Again, Reinhardt’s playing is quite a suggest that, if the student gives the necessary different matter to orchestral )laying. 1-Ic plays right into the microphone, and uses a type of instriiient ideally suite(l for such feature playing. His tone is the tone peculiar ‘illhave less difficulty in emulating to sound-hole guitars. The first and second strings are plain wire and (so far as I could see) rather thin in texture ; consequently Example i ‘‘blues ‘‘effects and ‘‘dragging ‘‘can be obtained with comparative ease, and the tone produced is of a brilliant ringing character. I suspect that the bass strings are covered silk, which again (for broad- casting, recordi ug and microphone playing) are ideal, l)ut ol11(l, of course, be useless for the typical ‘‘gigster.’’ and 2 from a chord point of view, we would have C and Cb alternatively. First and second fingers oniy shouldbe used throughout this exercise, for not only will you find it easier, but the phrasing lends itself to this fingering. Example 2 This is an introduction in the key of D minor, and typical of the Reinhardt idiom. Although written in common time, it must be played expressively and not to a set tempo. Example 3 A few of the well-known Reinharcit octaves, showing various positions for use of same in Key C, and a characteristic finish in bars 4 and 5. In each case there is a “damped “string, i.e., if on first and second string, the second string is “damped,” etc. The ‘‘damping “is best managed with thern first finger—slantwise. In conclusion, let me add that these exercises are given for the advanced player, and should not be attempted by anyone who has a “questionable “technique. Appearing on this page are a few MSS. showing string positions and fingering typical of Reinharclt. To “listen “to any of these examples without taking into consideration the above remarks would, of course, have the effect on the listener of being nothing short of a revelation. But I venture to consideration to these points and adjusts his technique along the lines illustrated, he Reinliardt than, for example, Lang, McDonough and George Van Eps. Here are a few explanatory remarks This can l)est be described as a “leading- in “method of extemporization, frequently used by Reinhardt, and applicable to almost any ‘chord‘‘shape.’ ‘The first bar is on the chord of C, and the second Db. The same effect is possible with chords, but of course not at so fast a tempo. Looking at bars. 1 —.(z____ —JThe SINGLE STRING GENIUS (cont. from preceeciing page) 75 THE . GENIUS . DJANGO REINHARDT. Belgian gipsy guitarist with a phenomenal imagination and technique—even though he could use only two fingers on the left hand after a fire left it partly paralysed. When he came to Britain be- fore the war to play the Variety halls, I used to sit next to him in his hotel or dressing-room. marvelling at the way he handled a great big clumsy plectrum. He would play right near the , . bridge—hacking away and producing miracles. America’s Les Paul idolised Reinhardt and, after the —--war, -4lew---to -ParsiQ see him. But it was no use try- . ing . to imitate Reiardt He. could transfer to the finger- board exactly what came into his mind. Paradoxically, Django really came up after he died (in 1953). As the interest in guitar playing developed, people began to realise what kind of a genius this was. In fact, they became more aware of Django than Charlie Christian—possibly because reissues of ‘his records were more easily available. I (ot:k1) I Djunqo iii lyjncctl session altitude. TIizs IIL’rmc Derricit J)llOtO IlicJlLliglLfS his mastery oz’er that crippled left hand. I. t’.eb.e I I r ? j L I :r I ___J G— ®— . ____J ————____J .. L:rgj . . - c— —-------U ,W I JLf —‘L1 jz__ f__ i4: -y------’ 3 i __ -.--— __%__ -.
Django Reinhardt DJANGOLOGIE 1--1928-1936: JEAIv VAj4jjf (accordion); lijango Meinharcit (bj); unknown (slide whistle) Paris—March 1928 BT4116-1 Griserie LO UIS VOLA ET SON ORCHESTRE D U LJDO DE OLA 1294-1 In the still ofthe night TO ULON: Louis Vola (accordion); Doubraire (p); Django Rein- Marcel Bianchi (g) replaces Joseph Reinhardt hardt (g); unknown (d); Pouzalgues (yin) Paris—June 1931 OPG 765-1 Carinosa L’ORCHESTRE DUTHEATRE DANQI]: Leon Ferreri (tpt, tbn, yin); Paul Jean-Jean (alt); Michel Emer (p); Django Reinhardt (g); Max Elloy (d); Jef de Murel (dir) Paris—March 14, 1933 OPG 641-2 Sij’aimeSuzy MICHEL WARLOPETSON ORCHESTRE: Pierre Allier, Maurice Moufflard, Noel Chiboust (tpt); Marcel Dumont, Isidore Bassard (tbn); Andre Ekyan (cit, alt); Arnedee Charles (alt); Alix Combelle (ten clt); Charles Lisee (alt, bar, clt); Stephanc Grappelly (p) ; Django Reinhardt (g) ; Roger Grasset (bs) ; McGegor (d) ; Michel Wariop (dir) Paris—March 16, 1934 OPG 1415-1 Presentation stomp COLEMAN HA WKINS (ten) acc MICHAEL WARLOP ET SON ORCHESTRE: Arthur Briggs, Noel Chiboust, Pierre Ailier (tpt); Guy Paquinet (tbis); Andre Ekyan (alt, cli); Alix Combelie (ten, cit); Charles Lisee (alt, bar); Stephane Grappelly (p); Django Reinhardt (g); Eugene d’Hellemes (bs); Maurice Chailiou (d); Michael Wariop (dir) Paris—March 2, 1935 OLA 346-1 Blue moon OLA 347-1 A colon OLA 348-1 What a difference a day made COLEMAN HAWKINS (ten) ace p ; g as above same date OLA 349-1 Stardust GARNETCLARKAND HIS HOT CLUBFOUR: Bill Coleman (tpt, vcl-i); George Johnson (clt, alt); Garnet Clark (p); Django Reinhardt (g); June Cole (bs) Paris—November 25, 1935 OLA 730-1 Rosetta OLA731-1 Stardust OLA 732-i The object ofmy affection-i Q UINTETTE D U HOT CL UB DE FRA NCE: Stephane Grappeily (yin); Django Reinhardt, Joseph Reinhardt, Pierre Ferret (g); Lucien Siinoens (bs); Freddy Taylor (vci-l) Paris—May 4, 1936 0LA1057-1 I’seamuggin’-I,2 OI.A 1058-i I can’t give you anything but love-i OLA 1059-1 Oriental shuffle -2 group vocal responses on this track Pathe (F) C 054-16001 (82.25) (401 nuns.) I)JANGOLOGIE 2—1936-1937: Q UINTETTE D U HOT CL UB DE FRA NCE: Persotinc’l as last session above Paris—May 4, 1936 OLA 1060-1 After you’ve gone-i OLA 1061-i Are you in the mood OLA 1062-i Limehouse blues Louis Vola (bs) replaces Simoens ParIs Octcbcr 15, 1936 OLA 1290-1 Nagasaki-i OLA 1291-i Swing guitars OLA 1292-i Georgia on my mind-i OLA 1293-i Shine-I OLA 1295-1 Sweet chorus Paris—April 21, 1937 OLA 1702- 1 Exactly like you OLA 1703-1 Charleston OLA I 704- 1 You’re driving me crazy OLA 1705-i Tears OLA 1706-1 Solitude Pathe (F) C 054-16002 (2.25) (39 mins.) DJANGOLOGIE 3—1937: QUINTETTE DUHOTCLUB DEFRANCE: Personnel as last session above Paris—April 22, 1937 Paris—April 27, 1937 OLA 1737-i The sheik ofAraby Paris—April 27, 1937 DJA NGO REINHA R DT(g) OLA 1739-1 improvisation Pathe (F) C 054-16003 (82.25) (411 mins.) DJANGOLOG1E 4—1937: DJANGO REINHARDT (g) Paris—April 27, 1937 OLA 1740-1 Parfum STEI5HANE GRAPPELLY(vin) ace Django Reinhardt(g) same date OLA 1741-i Alabamy bound COLEMA N HA WKINS A ND 1115 ALL STAR JAM BAND: Benny Carter (tpt-i, alt-2); Coleman Hawkins (ten); Alix Combelle (clt-1, ten-2); Andre Ekyan (alt); Stephane Grappelly (p) ; Django Reinhardt (g) ; Eugene d’Hellemes (bs); Tommy Benford (d) Paris—April 28, 1937 OLA 1742-i Honeysuckle rose-2 OLA 1743-1 Crazy rhythm-2 OLA 1744-1 Out of nowhere-i OLA 1745-1 Sweet Georgia Brown-i DICKY WELLS AND HIS ORCHESTRA: Bill Coleman (tpt, vcl-i); Bill Dillard, Lester “Shad”Collins (ipi); Dickie Wells (ibn); Django Reinhardt (g); Richard 1— ullbrighi (bs) : Bill Ilcisoii (d) Paris—July 7, 1937 OLA 1884- I Bugle call rag OLA 1885-1 Between the devil unit the deep blue sea OLA 1886-1 Igotrythrn Dillard and Collins out same date OLA 1887-i Sweet Sue OLA 1888-I Hangin’ around Boudon-l OLA 1889-1 Japanese samidman ANDREEKYAN(alt) ace Django Reinhardt (g) same date OLA 1890-i Penniesfrom heaven OLA 1891-I Tiger rag Pathe (F) C 054-16004 (2.25) (39 mins.) DJANGOLOGIE 5—1937: DJANGO REINHARDT (g) ace Louis Gaste (g); Eugene d’Hellemes (bs) Paris—September 9, 1937 OLA 1952-1 St. Louis blues OLA 1953-1 Bouncin’ around EDDIESOUTH (yIn) ace Django Reinhardt (g); Wilson Myers (bs-i) Paris—October 29, 193 OLA 2145-1 Eddie’sblues OLA 2146-i Sweet Georgia Brown-I TRIO DE VIOLONS Eddie South, Stephane Grappelly, Michet Warlop (yin); Django Reinhardt, Roger Chaput (g); Wilson Myers (bs) same date OLA 2147-1 Luilybeguvil EDDIE SOUTH, STEPHANE GRAPPELLY (yIn) ace 2g; bs as above 0LA2148-l Dinah 0LA2149-i Daphne Michel Warlop (vln) replaces South; Myers out same date same date OLA 2150-i You took advantage 0/me STEPHANE GRAPPELLY(vln) ace Django Reinhardt (g) same date OLA 1738-2 I’ve joundanc’whaby BILL COLEMA N ETSON ORCHESTRE: Bill Coleman (tpt); Frank “BigBoy” Goudie (ten, cit-i); Christian Wagner (alt, clt); Emil Stern (p); Django Reinhardt (g); Lucien Simoens (bs); Jerry Mengo (d) Paris—November 19, 1937 OLA 1979-I Iain’t got nobody OLA 1980— 1 Baby mvomi’t you plc’asm’ comi’ lio,mti’ OLA 1981-I Big Boy blues-i OLA 1982-1 Swing guitars BILL COLEMAN (Ipt); Django Reinhardt (g) same date OLA 1983-i Bill Coleman blues Pathe (F) C 054-16005 (U.25) (40 mins.) Rcinhardt enthusiasts will hardly know whether to be enraged or elated at the appearance of these L.P.s, the first five of a set of eighteen of which ten have been issued at the time of writing. The snag for many collectors is that somewhere around a half to two-thirds of the titles were previously available on two previous groups of L.Ps., this being the third Pathe Reinhardt set in the space of a few years. In addition buyers of the recently issued “ToutesLes Cordes Dc Django Reinhardt” (Pathe (F) 2C 054-10.395/6) will be displeased to find that apart from two tracks by Jean Vaissade and Jean Sablon the contents are all included in the present series. What all this represents is a classic case of a reissue pro- gramme being started in a half-hearted fashion so that by the time it is finally rationalised collectors are faced with the problem of massive duplication. It is necessary initially to raise this matter, though clearly it is one unrelated to musical values, and the decision on whether one is prepared to get rid of previous releases and start all over again is something that each individual alone can resolve. On its own terms this is a splendid set. Titles are arranged in chronological sequence throughout, full recording information is listed, and a number of titles appear on microgroove for the first time. A high per- centage of that part of Reinhardt’s output available to Pathe is contained on these L.Ps. if the remainder is considered for release at a later date one hopes that it will appear in the form of new issues and that the present set will not be withdrawn to make way for a revised one of about 24 L.Ps.—and it is interesting to hear him in several slightly unusual settings. In contrast to the position in this country where collectors tended in the past to be slightly condescending about local jazz musicians, the French have been more assertive about the qualities of their own stars, sitch loyalty 76 Reinhardt (second from left) at the opening of the Hot Club in Paris, 1939. With him, from left, are Rex Stewart, Duke Ellington, Louis Vola (hidden Pierre Ferret), Joseph Reinhardt and Max Geldray with harmonica. OLA 1707-i OLA 1708-1 OLA 1709-i OLA 1710-i OLA 1711-i OLA 17i2-i OLA 1713-i OLA 1714-i OLA 1715-i OLA 1716-i OLA 17 17-1 OLA 1718-1 Hot lips Ain’t misbehavin’ Rose room Body and soul Wizen day is done Paris—April 26, 1937 Runnin’ wild Chicago Lieb’strauoz, No. 3 Miss Annabelle Lee A little love, a little kiss Mystery Pacific In a sentimnental rmtood
paying ofT handsomely in the case of Reinhardt. hardly seems to matter. Many of Reinhardt’s Big boy features effective broad toned clarinet I once accused a French collector friend of greatest solos occur on these Quintet titles, a from Goudie whose tenor work on other being chauvinistic in his attitude to local few which deserve to be singled out being titles combines a Hawkins-like tone with jump musicians, whereupon he remarked that if After you’ve gone, Nagasaki, In the still of the phrasing as the basis of a rather unusual the British had been capable of producing a night, Hot lips, Body and soul, When day is personal style. Coleman’s mobile solos on Django Reinhardt they might have had less done, A little love, Mystery Pacific and The I ain’t and Swing guitars represent a combination cause to be reticent about their own players, sheik. Reinhardt was a great melodist and a rejoinder that left me only the final ploy of at his finest he had that unique ability shared ness that serve to remind one yet again that insisting that Reinhardt was Belgian in any by only a few major jazz stylists to rework he is a musician whose full stature has still case! There are, I believe, still a few collectors trite material and discover qualities within it to be widely recognised. who declare that Reinhardt was not really a that were not previously apparent. On Nagasaki jazz musician, such a viewpoint being based and I-lot lips, for example, his solos are most obvious of his qualities it would be on the decorative nature of much of his work superbly inventive, that on the latter number wrong to overlook his excellence as a rhythm and the fact that he was not an idiomatic embracing a degree of lyricism that one would guitarist—few virtuoso performers are capable blues player. Jfsuch criteria were to be accepted have thought impossible on such a thread- of playing unselfishly behind others as Rein- throughout jazz there would be few musicians bare theme. Stephane Grappelly, the àther hardt was, and even when he was the sole able to escape censure, for taking the latter quintet soloist, was clearly not Reinhardt’s accompanist there is no feeling of thinness point to its logical conclusion I am sure that equal as an improviser, yet he is a much about the rhythm—or his considerable gifts a purist admirer of Charley Patton or Son maligned musician. On occasions his playing as a composer. The latter indeed is a subject House would be unlikely to find any jazz is too sentimental, and sometimes his solos that calls for further examination as it has been musicians who would measure up to his blues sound commonplace, but his firmly rhythmic treated rather casually in most articles about standards. The guitar is an instrument that has contributions to such performances as Swing Reinhardt. All these records are essential been poorly exploited in jazz—excluding its guitars, ou’re driving me Ycrazy, When day is for Reinhardt admirers, but for the less role in the rhythm section—and in comparison done and Runnin’ wild are really excellent, committed one might summarise them by to blues and fiamenco artists mostjazz guitarists while on the wistful Are you in the mood, commenting that volume four has the highest sound. very limited. I believe that Reinhardt is Sweet chorus and Tears his playing is melodically proportion of outstanding music, volumes two not only the greatest jazz guitarist hut one of sensitive without losing an element of astringency. and there are about equal in having the most the very few who has drawn on the resources of his instrument in a manner comparable to Reinhardt and frequently have to follow him imaginative Reinhardt solos, and volume one that of the outstanding blues and fimaneco in a solo sequence, but on most counts is of greatest historical interest. All L.Ps. offer performers. Reinhardt was the most singular of jazz hardt’s equal is about as senseless as con- who prefer it the set comes over well when musicians, most obviously in his geographical, demning Johnny Dodds for not being the treated as mono recordings. social and economic background. The 1928 equal of Armstrong as a creative genius. Griserie has him playing anonymous banjo in a typical French popular accordion trio of the day, yet three years later we hear him times introspective unaccompanied solo by in a similar setting producing a guitar intro- Reinhardt, culminating in a flamanco like 1934 mo the .ntcitainment 01 mernhers duction that is remarkable not only for its passage, to be followed by a strongly rhythmic individuality but for its remoteness from the Grappelly solo feature on ,4labamy. Little music of his companions. His style appears needs to be said about the Hawkins and Wells giving concerts and. before entering fullyformed by the early years of the ‘thirties,sessions, for these titles are justly famous and the French Ultraphone catalogue, his excellent solo on Si j’ainie Suzy providing have been reviewed frequently over the years rmtde two trial recordings for another all the necessary. aural evidence. With the on various L.P. issues. New readers might care company for commercial 1934 Presentation stomp Reinhardt is firmly in to know that Hawkins and Carter take all the reasons. were rejected! a jazz setting, this big band performance tenor and alto saxophone solos on the April revealing proficient ensemble standards, 28, 1937 date except on Crazy rhythm where tonal and i nstrurnental combination reasonable scoring and solos ranging from the sequence of solos is Ekyan, Combelle, that is unique and has the world of excellent (Reinhardt) to pleasant (Chiboust, Carter, Hawkins, while the order of trumpet jazz talking, it has made a series of Ekyan, Combelle). Hawkins is heard in solos on Wells’s Bugle call and I got rhythm is in attractive lyrical vein on What Dillard, Coleman, Collins, and on Between ‘ecordswhich are having a vast sale difference, Blue moon and Stardust from the devil Coleman as the main soloist with in sving musicsaturated America! the March 1935 date, his tone more self short passages by Dillard (release of chorus . . A complete list of the Quintet’s records indulgently rhapsodic than in later years, but by Coleman) and Collins (final chorus). Avalon is in much more aggressive style and Ekyan’s two solos are pleasant if unmemorable, of “B.M.G.” whilst a new release, he builds a powerful bustling solo. Reinhardt his style on Tiger seemingly a blend of Carter “Clouds “and ‘Believe It, Beloved,” has solos on Stardust and Avalon, the former and Trumhauer. Although Reinhardt has is in the Mid-June Decca supplement imaginative yet disciplined, the latter notable outstanding solos on a number of titles on (F6406). and the first recorded solos for its flamboyance, while Briggs is better in this volume it is as a superb rhythm guitarist by Reinhardt, “Parfum “and “Imp his melodic theme statements of the two ballads that he makes his major impact. than on .Avalon where his contribution is commonplace. The tragic Garnet Clark plays solos, this time with rhytm accompaniment, rovisation,” are obtainable this well on his date, the solos on Rosetta and Bouncin’ being particularly good. Eddie’s month on H.M.V. B8587. Needless to Stardust revealing enough individuality despite and Sweet Georgia have full bodied guitar say, every record is worth buying. Hines and to a lesser degree Wailer influences backings to Eddie South—arguably the finest to suggest that his considerable reputation jazz violinist—whose tzigane influenced style amongst other musicians was justified, but it is less incongruous on the blues than might be is Coleman who impresses most with fluent, expected, while Lady has an excellent guitar rhythmically adventurous playing. The Quintet solo prior to those by the three violinists who Du Hot Club Dc France are present on the are in order Warlop, Grappelly, South. lastthree tracks, Reinhardt having a beautiful Reinhardt has a well conceived chorus on solo with imaginative melodic variations on Daphne, but the featured soloists on this I can’t, while Oriental is a charming Reinhardt number and Dinah are Grappelly and South, number on which he and Grapelly solo both of whom play well. On both tracks admirably. Volumes two and three are by the Quintet with South leading off in the shared third except for Improvisation, a virtuoso solo by chorus of Dinah, and Grappelly in the fourth Reinhardt that combines melodic grace, choruses of both numbers. Warlop replaces remarkable technical facility, and emotional South on You took advantage but as on Lady depth. The Quintet has been criticised on the plays rather wildly, whereas Grappelly’s ground of its rather heavy and inflexible I’ve found is an outstanding performance with rhythm, and indeed this aspect of its playing an individual and imaginative reworking of does sometimes become obtrusive, but when the basic theme. Of the Coleman tracks Bill one sets against this the astonishing brilliance Coleman is the high point the, leader’s con- of most of Reinhardt’s solos and the con- trolled muted solo being accompanied by sistently effective playing of Grappelly it Reinhardt in an unusually sparse manner, while It is no easy role to be matched with Grappelly rose to the challenge admirably an illusion of stereo for those that want it, but and to damn him because he was not Rein- generally the sound is good and for those Volume four commences with a lyrical, at Volume five starts with two Reinhardt Grappelly has the first chorus, South the second, of flawless technique and inventive- If Reinhardt’s brilliance as a solist is the ALBERT MCCARTHY. The Quintet was; first formed in of the HOt Club. but was soon Now. in addition to producing a was given in the March issue I1’AL1AN DATES l)car Sir, I wonder why your reviewer so heartly dislikes André Ekyan’s alto-sax playingin the Django—The Unforgett(il)le HMV album? I think he plays beautifully, with great swing, in the Benny Carter style of the wonderful 30’s and that he is the best partner Django ever had in his Quintcttcs Of The Hot Club Of France (Grappelly excepted). This notwithstanding, I wish to give you the following information about the recording dates of the sessions in this album: The Ekyan session took place in April-May, 1950 and the Grappelly one in January-February, 1949. I can also tell you that you will soon hear more of both sessions on the RCA label. 77 CH. MI. LIVORNESS, Rome, Italy.
78 HAMHL1XG WiTh BACh AND IIEIN11A1LI)I by ERNIE DIX Principal Instructor for the ‘Kay Westworth ‘Modern School of Guitar Music I T IS not my wish to draw odious corn- parisons in this article; it is more in the way of a review. Having Bach represent the classic side, I think you will agree that this composer is noted for his single note compositions. On the other hand we have Reinhardt, noted for single note melodies or cx-tcinporisations of a modern nature. I have taken for the old and new compositions, Bach’s “Courantein G’ (Partia No. 5) as our example of the earlier type of musical rambling, and Reinhardt’s ‘‘BlueDrag” (Second Chorus) as transcribed by my friend, Terry Usher, in the No. 6 February issue of Modern Guitarist (Copies still obtain- able from Messrs. Bcsson Musicraft.) . We will first of all take Bach, (Ex. 1). You will notice Bach uses the modern idea of weaving the melody out of a chord, and this you will see at a glance is the chord of C Major in root position. In the next bar he still uses the chord of C, but goes to the first inversion for it. I should like you to study these examples, not from a point of highly technical single string work, but more in the form of chords. This will simplify not only reading but also the playing. If pupils would only realise the importance of forgetting their instruments for a moment or two before attempting to play a solo of any sort, and glance over the music, visualising such things as chord sequences, the difficulty in trying . to find the best position for playing a certain phrase would solve itself. Now to Reinhardt, (Ex 2). On the second bar of Terrys transcription you will notice tI-iat Reinhardt, • just as Bach did, plays a definite arpeggio on the chord of D Minor, in fact throughout the piece you will discover chords r\layed in this manner, the only differ- ence being time values. You will no doubt see from these two examples the absolute importance of a corn- plete knowledge of arpeggios in all keys and positions. Apart from scales, this is one of the most important branches of guitar study. There is no necessity at all for the pupil to consider the practice of arpeggios “dry”if he plays same to varying rhythms. If students would give a little more attention to the classics in their spare time and spend an evening with tach, they would soon get that ease of playing and confidence which one always associates with an artist. I would suggest that students and teachers arm themselves with the work ‘‘Bach’sCorn- positions,” and really get down to a study of this old Master. I should be very pleased to recommend further compositions of the old Masters that will definitely help modern guitar students. Write t. me rio. Kay Wcstworth’s, 8, Worcester Street, Birmingham, 5. Lx. j. ( jrø.lt ., It W1EL:fIr fff E%..($cupt fo’1 4nhcP4S jZ re) 3 S 4 qp• • . r j f 1
T HERE are manygood jazz warmed up “I Got Rhythm “a n I y European jazzman--to guitarists in the United type of progression. have an original and personal States and Bill Harris, a new one on me, is one of them. Born in Nashville, North Square.” Rather uninteresting. tO his own emotions and tern- Carolina. April 14, 1925, he tventually took a fancy to the piano style. mfluence of other musicians. spanish nylon string finger style guitar and in this record arrangement but halting at Timeless he has achieved the remarkable by playing uninhibited jazz on times. the instrument without any ether accompaniment—-that is Dreaming. In one part of this riique, musical values came first to say, harmonically g o o d. the tremolo is shocking. Why ii hi improvisations—a lyrical rcbast, rhythmic jazz. Too much But n my humble opinion, heard Josh White play better. jazarnen. te Spanish guitar is not meant tcbe flogged and torn apart in Ivanhoe. A 5 t u d y in sus- Django’s jazz is timeless be- this way. At least Laurindo Almieda, ant seventh the day—beyond ‘h1lenot producing jazz, played choid, descend i.’lIllIlIllIlllIIIllIlIllIIIILIIlllllIIlIllIIlIl1IIlIL tlie sestrictioris evergreens on the Spanish in arpeggios, E guitar with a nice tone and add one section quest reviews by and the accombass correct right-hand technique. And for the sleeve notes to say Harris combines the spirit CLING rhythm, o I t e n second- of Segovia with Django Rein- more arpeggios and rate. hardt—thats just too much. The tone is so harsh and and lace with a E His part in forced, with so many fluffs, mis- taxes and bad tremolo that the outside opiiior. iIIIIIlIllIlIlflhIlIIllIIlIIIiIIlIllIilIllIIIIiIiIIIi:. i.iston, f o r in— overall sound is enough to make am’ Spanish g u i t a r player struggle to play it on Spanish phrasing on I Saw Stars “or ‘wince.Neither can I find an connection with Ojango’s bri - guitar when you can do it so to the understanding of passing I Jiant runs. Bill Harris’s right- much better on the plectrum harnonies obvious on all the hn.nd finger technique simply guitar?” tracks in order to realise how dces not run to it. lly impressions of the mdi- is what we’ve been waiting for. contemporaries. viclual tracks were Exciting Stomping At The Savoy. Exctmg but rough. Moonglow. A simple style here which any player with a Spanish guitar could emulate. Cherokee. Drum imitation in 5.rtroduction is done by crossing over 6th string on to 5th string and strumming both strings together. Very agile bass runs with chord melody, but rather forced. Out Of Nowhere. Nice and ent]e arpeggio style followed by more attacked a e c o n d chorus. Ageless Djan.go mWENTY-THREE years ago Django Rein- J_ hardt made his first solo records with the string Quiiitette sponsored by the Hot Club of France. They were issued in this country by Oriole. Now, five years after his death, the same company has reissued these ten ojd tracks on an L1. At the time of their original issue, most of the comment on these discs was focussed on Django’s fantastic technique, on the unorthodox fingering enforced by his injured hand, on the romantic background of his gypsy life and possibly on the fact that he spent the entire recording fee on one white stetson hat. Surely it l.a now time to realise that these things, though of Intorest, are of minor Importance in comparison with the man’s music. What really matters Is that Django ha. b e e n belatedly recognised as one of the true jazz greats, a man who is now accepted a a genius, what- ever way this may be defined. He wa.s one of the very few Ethyl. M e d I U m tempo, jazz musicians—and almost the Possessed. Reminiscent of style that is immediately recog“ Nightingale In B e i k e I e y nisa.ble, a style that owed more Perdido. Shuffle rhythm and perament than it owed to the I Can’t Get Started. Nice Despite his phenomenal tech- put on record a major technical meledic line and a tremendous fault? swing. Lapses of t a a t e were K. C. Shuffle. A blues In sort rarer with Django than with of boogie style which I have any of the technically-advanced pended chords reminiscent of cause it was always in advance Shearing’s “4th Deuce.” of its time, because it reached Lover. Recipe: Take a dornin- beyond the Lads and fashions of n of the material note with P a n i m e n t 5, chord. OOM— i4 IVOR MAIRANT which were few fluffs. KEN SYKORA h these early discs One section of n does n 0 t. date. says: ‘Whystance, to the Tte other section says: This far Django was ahead of his This is the way a guitar should Every guitarist will try to be played, without the addition afford this disc. and only a very of electric sparks!” narrow-minded jazz-fan will lail to appreciate the great jazz (Ernarcy l2iii. EJLI2G7. Mid- giitai on these historic reissues. 1956. [Am. EniArcyj). DJANGO REINHARDT LP Lafy Be GoGd (a’: Dinah (al; Conles&(n’ (V) (h. : I Saw Stars (a Tiger Flag (a); The Continental (VI b); B(ue Drag (c1 Sweet Sue, Just You (V i (b); The Suisshine Of Your Smite (C) ; Swanee Riser (C). (Oriole MOlOOlti) (F) Stenhane Grappelly Dangce Peinhardt, Joseph Reiishardt, Roger Ohaput (gtrs.); Louis Vola (bas.sI ; Jerry Mengo (voc.). Dccember 11,34. Pane. (b) Mhrch 1935. ParIs. (C’ MIv 935. ParIs. DJANGO REINHARDT: (Xtra 1092). An in- expensive album presenting tha late great gipsy guitarist, mostly on amplified guitar, in brilliant 1947 Paris- made performance5 with varied Ilneups. ,‘ Fly Fishing,” Danse Norveglenne ‘a n d ,‘ Night And Day (with Rex Stewart) are some highspots. /111. 7/.:21AI.1’7O DJANGQ REINHARDT QUINTET ILPI ‘MinorBlues (al; Fantasy (Cl; Hsuse Of Dreams (bi : Babik (a Swing 39 (a): Twilight Melody (Cl ; Enchantment ‘SI:Dinette (C I . (All Reinhardt I Fi’rnch VC)guI( MS247, MS248 I. (Vogue LDE.048—275. 4th) (a)—lteinhardt (gtr.) ; Marice Meunier (cit.) ; Eddie Bernard (pno.) Eugene Vees (gtr.(; Emmanuel Soudreux (bass) ; Jacques Martinon (drs.(. August, 1947. Paris. (b)—Reinhardt (gtr.(; Hubert Rsstaing (cit. j ; Vees (gtr.( ; Soudieux (bass); Andre Jourdan (drs.(. Septeniber 1947. Paris. (C)—Rejnharj (gtr.) : Gerard Lévèquo (cti ; Vees (gtr.) ; Soudieux (bass) ; Jourdars (drs.). November, 1947. Paris. THESE Items were originally recorded for a Radzo-djf7st- SW?i Françai,ce series In 1947. All are Rcinhardt originals; most of them are most attractive— especially Swing 39,’ ‘Twilight Melody “and the lovely .‘ House Of Dreams.” Nevertheless, this LP is disappointing, —For one thing, the accompanin1ents are anything but ideal for Django; the clarinet players are for the most l)art competent musicians, But they do not fit with Reinhardt’s character, and are at best superfluous. Maybe it Is partly due to this and partly clue to the fact that he plays amplified guitar, but Django is not at his best. His best solos are probably those In “House Of Dreams’S and ‘Dinette,” though few will deny that in the fast ‘Babik” his playing Is completely integrated and, technically, well-nigh flawless, Page 6—MELODY MAKER. January 18, 1958 79 . . . but Harris doesn’t quite make it . Segovia
A I 80;1] “JOJANGO R[IMIARDT personality By CHARLE4. DELAUNAY ________ S;0]
strangest of them all. Catapulted from soon obvious that no other guitarist can tour, asked him what pieces and the fringe society of the Romanies into had ever achieved such an infinite in what key he wanted to play, Django the jungle of the Twentieth Century, range of effects. Sometimes he played replied, “Don’tworry about me, you his odd behavior could not help but the guitar with the delicacy of a harp, play and I’ll follow.” reflect two completely different ways sometimes with the feline subtlety of of life. Jean “Django”Reinhardt was a bass fiddle, or even with the violence public heard was a guitarist improvising born January 23, 1910, in Liverchies, Belgium, which the family caravan visited every year to give tightrope IN 1934, DJANGO formed his own or- performances in the cafes of the region. chestra known as the “Quintetof the It’s impossible to trace the on- Hot Club of France.” It was the recordings his original compositions he would gins of the Reinhardts—the family lived in Alsace toward the middle of won him world-wide fame. I shall as a talented composer rather than the nineteenth century, another of the never forget the first recording session just an improviser. bands of Romany gypsies that roamed that took place in a large shed on the middle western Europe. Incapable of outskirts of Paris. When it was over rope fully aware that his American settling down or accepting the customs and the musicians were paid, Django premiere had been a failure. From or laws of the countries in which they disappeared for a while and came back then on, he neglected his music more travel, these nomads wander from wearing a large white Stetson which and more in favor of painting and the town to town, earning their living by he had dreamed of owning for years.. seclusion of his caravan. From time to basket-work , knife-sharpening, for- on it he had spent everything he had time, musicians succeeded in tearing tune telling . . . or pilferage. Djangos early childhood was spent back to Paris and his hotel room. on the roads of France, Italy, Corsica, and North Africa. When he was ten, shadowy existence, playing cnly small the Club Saint-Germair where he he became passionately fond of music club dates and occasional recording started to play again with a new-found and learned to play the banjo-guitar. sessions until the opening of the 1937 pleasure. He rented a house on the He turned professional at 13 when he Paris World Exhibition Fair when banks of the Seine, near Fontaine- won first prize in the annual contest of they got their first steady job at the . bleau, and led a quiet existence split Parisian dance hail (Musette) mu- “BigApple” on the Rue Pigalle. between his guitar, fishing, and the sicians. Django played more oi less regularly tiacted to this astonishing combo were been neglected too long and on May for some of the best known BalsMusette composers Cole Porter and Constant 15, 1953, the day after his return from in Paris until one night his Lambert. Lambeit later wrote: “With-a tour in Switzerland, he died of a caravan took fire and he was so badly out a doubt, Django is the most inter- stroke. He was 43 years old. burned it was feared it would be nec- esting figure in the jazz world since essary to amputate his left arm and Duke Ellington, and like the Duke, he flow IMPORTANT was Django? What leg. After more than a year of suffer- is rnoie composer than arranger.” ing, Django recovered partial use of his injured arm and forced himself to terrific success and went on many play again. By 20, Django, broad shouldered dinavia. During this time, Django lived and taller than average, was a man of according to the caprices of Dame For- ica. Many of the top American musicians superb bearing whose strength and tune—when the money was iolling in, skill were uncommon and whose coordination he led an opulent existence in the most him and were originally inspired by made him very good at expensive hotels and restaurants. his style.” Ralph J. Gleason, whose games of skill, though he himself pie- When the flow of money dried up, he syndicated jazz column appears in the fenred games of chance. Later in life went back to the gypsy caravan. he was to throw away whole fortunes at exclusive casino tables and in private gambling clubs. For some years Django and his brother pieced out a living playing in broke out and at the sound o the first Parisian courtyards or on cafe ten- air raid siren he rushed out of his races. In 1931 his luck changed and he hotel and left for Paris without stop- recoided a special session for Norman was hired to play at the Palm Beach ping to pick up his bags or guitar. in Cannes, one of the most chic spots occupied Frince. When the wai was in Europe. When Django returned to Paris, famotis singer Jean Sablon over, he decided he was through with leased after Django’s death, was to acquaint signed him on as accompanist. (To Europe and all the disillusionments he make sure Django would show up, had suffered there. In 1946 he set sail issued a two-record set of Django and Sablon sent his chauffeur every morn- for America without either suitcase or ing to fetch Django from the gypsy guitar, convinced the Americans would recently a French company brought caravan parked in the muddy zone of welcome him with open arms and vie out eight LPs of Django’s. the Porte de Choisy.) Django proved not only an incomparable instrument. Sad to say, nobody offered ows of yesterdays jz world, Django’s accompanist but an unmatchable him anything. improviser as well. There was a was endowed with an extraordinary gambler in the guitaiist—Django took eat, and when Duke Ellington, with great pride in overcoming the handicap whom he was to make his first Amen- of two paralyzed fingers and it was 60 of a brass section. of this group that eventually have gained wild acclaim in the U. S. earned and had to walk all the way him away for a broadcast oi a short For a long time the Quintet led a advantage of an opportunity to play An’ong the numerous personalities at- billiard table. But Django’s health had From 1938 on, the Quintet was a can jazz? According to Leonard Feathen’s tow’s to England, Holland, and Scan- first overseas musician evei to influence Django was a brave man, but unfortunately San Francisco Chronicle, has wni ttcn, ian when he came up against “DjangoReinhardt is still the only a crisis with which he couldn’t cope. European jazz man who is accorded He was in London when World War II He spentthe entire war in German States for a second tour pith the “Jazzfor the privilege of offering him a new Django could not iead music, but growing. A m ild-ma nnered, kindly The result was that all the American solos on well known themes. This was an .npardunable psychological eii’or. If Django had piesented his unprovisations within the framework of As it was, Django returned to Eu- concert series. Then, in 1951, he took kind of a mark did he leave on Amen- Encyclopaedia of Jazz, “hewas the his jazz contemporaries in Amen- have acknowledged their debt to New York Journal American and the major league status in jazz by musicians and fans alike.” Two months before his death Django Granz, who invited him to come to the at the Philharmonic.” This album, ic- the American public with Django’s artistry. Since then Capitol has Far from disappearing into the shad- reputatior and stature are constantly man, he loved to play guitar. And the love showed. 81
STEPHANE GRAPPELLI THE opening date of Stephane J- Grappelli’s unique Mid- lands folk club tour began as a session by the ace violinist with the Diz Disley Trio and ended up as a kind of Quintet du Hot Club de floggery! For Stephane was joined at the close of his set at the Boggery Folk CLub, Solihul I, last week by a local virtuoso of IS Lhat brilliant guitarist DJANGO IN the jazz Iidd!e, Nigel Kennedy. The way this 16-year-old student of Yehudi Menuin bowed his way through Lady Be Good” had Stephane and the packed crowd agog with admiration. It was the climax of a remarkable evening in which Grappelli, accompanied by gui- tarists Diz Disley and Denny Wright and bassist Johnny Hawkesworth, produced shades 01 the famous Hot Club Quintet. There was no Django Reinhardt, of course, but it was still an experience to see Stephane working with a guitar- based unit for the first time in 20 years. It was all very spontaneous due to lack of rehearsa’, with the ultra cool Grappelli, playing as well as ever, steering the group through “After You’ve Gone,” “Honeysuckle Rose” and other standards, with typical aplomb. —DENNIS DETHERIDGE. DJANGO1OY TAPE-RECORDED EVELYN BRGGS, Ralciqh Road, Norton, Stockton- on-Tees, Cleveland, asks: Djaflgo Reil-iha1c1t still alive ? He was a member of tite Quintet of The Hot Club of France, i: am fifty-six. but can still remember the impact ,‘ Souvenirs of Django R,enhardt.” I felt when hearifl tins The French radio collaborated in superb rnusiciafl play. * That’s a privilege we were taken from tape recordings wish we could have made during various Django con- shared, E v e I y U —We’ve heard bin’ only (III record. quintet. A curiosity awaiting Sad to say that 1)jango, featuie Django with his post-war the Belgiafl-1)Orfl ‘g y p s y who dvcl0pCd a unique Reiiihardt admirers IS a series and brilliant guitar tech- Django himself taped in Blue— flitlile Wheli lie lost the use lery,” “Mike,” “Boleio,” “Cadilac ol: two finters his Left hafl(l ill a lire, died froin ii l)rain (Ol1t1iti()ii at 1’ OIl— “Man Of Swing.” il-’fr j?s-4 tainehleaU III 1953. He was only fOlLY - three and his Gypsy iUtSS was about to be 1)IIf()IiflCd it a gItlierili of iYliUe Jazz hut get Jerry talking bouncing around having a guitar. arid he comes up with great time. ‘I don’t give a the iiame ot one of the greatest jazz guitarists of all time —Django Reinhardt. (We won’t get into an argument The only comparison I can at this stage as to whether or not Django was a ‘jazz “player in the jurist Disney’s creations. You think sense. But if jazz may be of Walt Disney and you think defined in essence as the art of rhythmical and creative im- provisation, then Django still Django’s life was; I couldn’t has no equal). I must have been about 16 the first time I heard Django,” says Jerry. When I SOUVENIR ALBUM )ARIS, uesday.—SWiflg Re— cords liave just sii€d the cutting of these discs, which certs. They comprise three LPs, and sels In 11)48. Nuintxr.s nc1ude heavy Arti]— Slim,” Cloud,” ‘The Norwegian I)anceS Of Gicig,” ‘Improvisation Of A Rhythm “and Aig - (11 put the needle down on that I would go out on a thing, ‘Mystery Pacific,’ and he ripped off one of those cut quite a few established chromatic jewels of his all the way from the bottom E string jazz guitarists in right on up —well, I haven’t come down off the wall yet. Gypsy “The reason I know there won’t be another Django is that there won’t be another expression like Django. That gypsy soul of his, that co-or- made jazz my bag. I don’t dination On those hands and his flair for jazz —well, I don’t call his playing jazz like today’s jazz. ,, Today’s jazz seems more mechanical and contrived. The musicians are playing for ticularly make it for other themselves; they’re not play- ing for anybody. I rule that out. I don’t like that. ,‘ But Django. That was different. Django’s playing makes me think of a little kid damn —that’s the way I feel. wham —hit it.’ He playec licks that were O exciting. give is that his playing reminds me of the beauty of of happy things. Pretty things. “I don’t know how care less. What I related to were the notes and the sounds. And I think he Was happiest when he had a guitar in his hands. He had to be. “Glen Campbell feels the same way about Django. We would have a record sessun with Django’s discs. Fw() guitar players sitting and listening to Django is the fun- niest sight in the world. We were just rollin’ on the floor —going out of our mind. “For the next three days we would try and imitate Django. And it was a pretty poor imitation, too.” 82 Reed on Reinhardt J ERRY REED , the guitarist-singer-Song- writer who penned “Guitar Man “and “U.S. Male “for Elvis, might be classified as a “country guitar man “—that’s if one must stick labels on musicians. Certainly he wouldn’t classify himself as a jazz player, though having heard his breathtaking version of the folk-blues standard “House Of The Rising Sun “on his “Alabama Wild Man “album, limb and say he could their specialised field. But though Jerry played extensively as a session man before he launched out on his present successful sfilo career, he says: “I’ve never plyed a date with a jazz orchestra. I haven’t understand it “(Really? Listen to “Rising Sun “and form your own judgement). “My music is people music. That’s all t make my music for —people. I don’t par- musicians.” JERRY REED: My music is people music . Diango Reinhardt
“DJANGO is Dead.” The Melody Maker out with a phrase of breath- ER, March 24, 1973—Page 39 carried the stark taking imagination —even in headline on its front one felt that Django was one case, here’s what Steve page on May 23, 1953. tending to let his technique Rowe, guitarist with Yes, has I pi’ovisations of Rcinhardt’s, it is The MM’s Paris corresporident override his taste, he would. to say: What do I feel about Henry Kahn wrote: pull forth a phrase that would Django Reinhardt? Many, “It was exactly 9.30 when illumine the whole passage many things. He is a terrific they carried the coffin out with a dazzling brilliance. of the little house standing on the bank of the River ahead of his time; and far guitarists to impress on me Seine at Samois-sur-Seine, backing him on record. That the melodic side of jazz. . I some 40 miles from Paris. “Everyone who could be so often epitomised all that 1960 (seven years after he there was present. His vast was wrong with “European” died), when a friend gave me gypsy family, 200 of them at least, and another 300 friends and musicians who had loved him and had played with him. surname that way then, not 4’ Unhappily, only two of as now, Grappelli) truly heard people like Barney the original Quintette Of The Hot Club of France followed his body to its last resting place on a little hill over- IQoking the deep and tranquil River Seine. They vere his own elegance. Joseph Reinhardt, his brother, and Roger Chaput, both guitarists.” But millions in spirit followed that funeral cortege. Jazz lovers throughout the world, and a vast army of amateur and professional gui- tarists who had vainly tried to emulate the style of the guitar player whose impact on the music world can only be equated with that of a Louis Armstrong, Duke Ellington or replies. Charlie Parker. Most improbable of all, Reinhardt did it from Europe —.a continent not noted for its contributions to the jazz repertoi re The word genius is often loosely applied. But Django was truly a genius: both musically and technically. His many compositions revealed a lyrical beauty that transcends the mere word jazz, technical- ly, he displayed a mastery of today, be made to sound his instrument that had never before —or since —been equalled. And the bizarre fact is that he could do with two fingers he lived to play alongside of his left hand —badly today’s great jazz exponents. mutilated by a caravan fire —what no other guitarist could do with four. Probably the only two other guitarists who have ever come near to matching his technique are Wes Mont- gomery and Joe Pass. And Joe Pass acknowledged his appreciation of Reinhardt by recording an album simply titled “Django,” on which Pass played his own composition, “For Django “—a piece in which he beautifully captured the feeling of jazz, and on the evidence of Django’s own creativity. Django was semi-illiterate, and as far as musical notation went, totally so. But he had an intuitive harmonic sense, and his flowing single-string phrasing could transform even tire most trite ballad into a work of art. But his gift for melodic improvisation found total expression on such sophisticated melodies as Cole Porter’s “Night And Day.” His intro- duction to his chorus on the Quintette’s Decca recording Lang or Teddy Bunn —and remains a tour de force. He could suddenly burst numbers taken at a ridiculously Charlie Christian —revere fast tempo. Even when the name of Reinhardt. The truth is, he was far consolation to me. superior to the musicians chug-chugging rhythm section first heard of him in about jazz. Only violinist Stephane ‘Tiger Rag ‘and ‘Lady Be Grappelly (he spelled his seemed to share a full musical rapport with the gypsy whose Kessel, Howard Roberts and somewhat uncouth appearance Jim Hall. The thing that most parallel in the history of swing contrasted so strangely with was very little reflection of The contrast was emphasised the blues, or the Charlie when I met Django and Christian bebop influence Grappelly after a stage appearance (though I now know Django solos are never cloyingly sentimental at the old Wood Green Empire before the war. before Charlie Christian). Django was slumped in a record down, you find that is given full expression: now in a chair, his guitar on his knee. The bridge of his battered Macaferri was wedged with a Each note is carefully phrased and inspired flight of fancy, facilitated matchbox cover. Stephane ——you realise the feeling that charmingly translated my questions; Django, though friendly, grunted monosyllabic Django is a gramophone being useless through paralysis. Meanwhile he kept on needle, but his work is playing. It is inevitable that some aspects of Reinhardt’s playing ‘Begin The Beguine,’ and contrast magnificently with those of may seem “old-fashioned” when one spins the albums culled from old 78s. But in part this is due to the poor Every recording he has made tached, compact phi-axes, seldom er clualit3’ of the recordings. Studio techniques have made such an advance that even performers of only moderate capabilities can, better than they really are. Btft there is little doubt that Reinhardt would still have kept well in advance of contemporary trends —- had For, as British guitariEt and broaclcas ter 1< en Sykora .5(1 rightly observes in his sleeve For instance, to take just “He was one of the first a lOin long-player which included ‘The Continental,’ Good.’ “Until then I had only interested me is that there came on the scene long “When you slow the those fast chromatic runs are almost note-for-note trills. is put into them. “My only contact with unforgettable. Tracks that stand out in my mind are ‘I’ve Had My Moments.’ ‘Nuages,’ which he has recorded so many times. of this is impressive. “Even Julian Bream seems to play Django’s style of each one of Reinhardt’s phrases in- music at times, and Stephane Grappelli carries on as if evitably leads up to, and merges Django was playing next to with, the following. Listen to his him. “All contemporary guitar- records of “Dinah“and “Blue Drag ists should listen to Django. Yfllflfl(’l in vhich OflO l)lIse flows Not for the technical thing, but for his artistry. If I had iiLtO lfl(l iS i1vxtticably bound up to name my favoumites of all with th( next ‘anbe heai’d. time, Django would just have to he ai1(O1(I th(’lfl FortulAa(Iy, there ire st ill Son e al b U I 11 S a vii i 1 a le to recall the g000is of Reinhamdt. I can recnnni:end Parisian Swing “(Dec:a Ace of Clubs), one e -npact unit behind the violin Django Reinhardt, Stephane playin, s()iO, gcnelatcs tl’emendo.ls Quintette Of The Hot Club Of Grappelly with the Quintette swing, whilst when Reinhardt takes of the Hot Club of France (Decca Ace of Clubs Treasury 1 the lead, Roger Chaput and Django’s style (can) only be compared Series), and “Swing ‘35-39(Decca Treasury Series). with the playing of Charlie Inclu(led are such jewels as “Night And Day,” “Nuages,” ltss playii° fits in vell with the style For 20 years, Django was “Moonglow,’ “Chasing of the Quintet; making itself felt Shadows “tiiu ‘it Was S(. Beautiful “—an exquisite rather than heard. melody that retresented ——if at those rnaseil (‘l(’S(’CfldOS on three I remember rightly —The playing has never dated. The Quintette’s bow on the Decca 1 guitars it, the 00(1 (If an (igh 1—bar groups with whom he played label in this Country. The 1 ph rase ; i n 1-11j d1: lXtSil R1X 01 i n date? 1935. Nearly 40 years on, it still sounds as fresh as ever. —; I.f you enjoy music; if ou lderive pleasure from hearing amazing guitar playing; if you appreciate true genius; nothing could have kept you from your loudspeaker on JVTay 29th last, so there is nO need for mc to give the )I0g11mme in detail (apai’t from those truly inspired im— mostly obtainable on records), but I Wotlid likC to tell ‘OUabOtlt the Quintet. The personnel. \vhich, by the way, is I’eCl’tlitCd fi-or-n groups playing in Pai’is night club , is as follows: Django Reinhaidt (guitar) , Stéphanc Grapelly (violin), Joseph Reinhardt (guitar), Roger Chaput (guitar) and Louis Vola (bass), an instrumentation which gives a distinctive tone colour as a vho1e which is without music. Django Reinhardt is that uncommon phenomenon, a guitarist whose but, show a melodic invention which graceful line; flOW rn a magnificent by an unusually brilliant tech- nique, ifl spite of the severe handicap of two fingers on his left hand Flis improvisations and phrr’ing the violinist Gi’apel.ly. Whereas tb1 latter invariably plays short, d1 barking Ofl a mole flowing styk. (on Oriole), sevei’al examples of th ‘Theho(’kr.Iound to ( apelly’s anti lein11;L1(i [S solos is iieaI. ‘l’lclynari— isrn of the thiee guitars, working a brother .Toceph provide a background jin exemptiv fashion. Louis Vola’s Can anyone lOil to be thrilled in1i’odiutions? THE LEGEND OF DJANGO 83 note to one of the Decca albums featuring the original France: “Django’s unique journey towards a modern for technique and conception Parker. always at least one pace ahead of the current styles of all his records, his own may now sound old fashioned, but all of them redall the piquant gift of that profound guitar.” Perhaps the test of genius is the influence and respect it commands long after it has made its initial shattering impact. Young guitarists today who have never heard of Eddie who may not be too familiar with the electric guitaristry of LAURIE HENSHAW
84 Django brilliant TRIBUTE TO DJANGO JAZZ : • . PARIS, TUESDAY. FORTY - NINE • musicians gave their services last Sunday . at a special broad- cast concert to the memory of Django Relnhar4t (writes flenry Kahn). Technicians working on the broadcast also handed over their pay-packets to Charles Delaunay, the organiser, who collected about £300 for Madame Reinhardt. On stage were the bands of Tony Proteau and Michael Attroux, with guests Including Buck Clayton, Don Byas, Bernard Peiffer, Jean Bonal, Arthur Briggs and Bill Coleman Only one of the original QuIntet was present, however— guitarist Roger Chaput, who took us back to those great days by playing Django’s “Daphne.” Five guitarists—Jean Susson. Henri Prolla. Jean Bonal, Sacha Distel and Jimmy Gourley—gave us Djangology,” “Twilight,” “Swing Guitar,” etc. Ralph Berton, standing behind me ‘backstageat the Alhanibra, whispered, “That sounds like Django,” as Sacha Distel played. After 30 minutes of swing, Leo Chapullac sat down at the organ and played one of Djangos straight compositions, “A Gypsy Mass.” There was no jazz In it, It was pure spirit enriched by a depth of religious feeling. The man who could write “Swing Guitar “and “Mass “—both of them great—was surely blessed with greater gifts than most men possess. We were not sad, really; but happy that Django had lived to give us so much by. D ,J A N G 0 REINHARDT: “With Stephane Grappelly and the Quintet of the Hot Club of France “(Ace of Clubs ACL1IS8). Unforgettable examples by the great gypsy guitarist who truly warrants the overworked word genius. These tracks, which include one post-war session, prove there will never he another Django. QUINTETTE DU HOT CLUB DE FRANCE (EP). “Django.” Oh, Lady Be Good; Dinah; I Saw Stars; Swanee River. —(OrioleEP7045—12s. 3ld.) Stephane Grappelly (vln.); Django Reinhardt (gtr.); Joseph Reinhardt, , Roger Chaput (gtrs.); Loui5 Vole (bass).—Parls 1934/5. rj’MIEsE four track—re— .1. lSSUC(l front an Oriole Li’ (M( 1001’.)) iv Ii I c IL al)pearcd Jiere three and a half years ago —contain SOHIC of tile Iirt solos Django ever recor(le(l. Ills buoyant swing and t r e m (‘ n ii 0 U S musical strength are very niucli in evidence tlmrouliout the petforimiances. Lvery truck IlOi(lS sommictlmilig ilImecl)(cte(l In tue way of Inventiveness or slicer virtuosity, 011(1 the Ei Is required study for guitar belL. “Dinah,” perilaps tile bOOSt remimarkable of all for I)jango’s gui tar, oilers two fan tastic choruses at tIle begi iiiilimg ill ViliClL lie UI— WllHl.4 a series of Inelodic i(leas rich e1100glL to sustain Ilbost I) I a y e r s tilrouglk iiiif all Li’. Later, we hear 111111 (ill l’iIlg and sen(ling (1 ral— PCIIY, Vil() responds with sweepi ig, Ii lgll ly rib)’ thinly j)llIaseS of his owii. ‘,.SIVLlle(’,” U IllgIl—s[)ee(l affair, is ainiost like a cats— iogte of favourite L)J;LIlg() (leVl(es, most of tlieiii ,‘ lllli)OS5il)ie “to guitarists to this (lay, These are early, freshSOU II(lIl)g C X a Iii I) 1 e s of t; urope’s first original .J4LZZ gro UI). on every track L1II1(? ) c1 i’cf REINHARDT played these 14 numbers in the latter part. of ‘47for varIous editions of “SurpriseParty,” French broadcasts which were heard in Britain.’ The performances, by quintets and a sextet, are built around the extraordinary Django, and his brilliant solo playing can be enjoyed on every track. I’ Broukere “Is a brisk Reinhardt composition feat- DISC DETAI LS uring, besddes Levêque’s DJANGO REINHARDT (LP). “DjangoReinhardt clarinet, nimble amplified Meiiiorial.” Porto Cabello; Blues Clair; Swing guitar solos in a crisp, attacking style. Drinamiciue; Lover Man; Symphony; Melociie au Django, who got a pretty Crepuscule; Swing Guitar; Place cZe Broukere; good sound from the ampli- Improvisation; ‘St. Louis Blues; Belleville; Viper’s fled instrument, Is heard at Dream; Les Yeux Noirs; Minor Swing. —(Vogue the peak of imaginative 12 fl. LAE1225136s. 8cL) form on “Improvisation “(based on a Grieg melody), Ing—In rhythm as well as solo Of the rest, “Porbo Cabello” which is filled with long work. Is a wistful Reinhardt melody— phrases of exquisite shape. Viper’s,” also an old friend, before It is speeded up—which “St. Louis “is another new is played on acoustic guitar, as sounds ripe for revival’ “Lover version, on electric guitar, of are “Swing Guitar “(a pre- Man ‘is played slowly nd with an old Reinhardt favourite: ‘viously issued track) and exceptional grace; th romantic “B.elleville,” one of several Blues Clair.” Crepuscule “has also been tracks which have been re- This last up-tempo blues by known as Love’s Melody.” leased here before, shows the Django and rhythm, contains FI’Om beginning to end of the tremendous punch of his play- very dashing breaks. DiZI record, Django never falters or seems short of an idea. The album will be a further revelation to guitarists. —MAX JONES. 49 ‘MU$iCIAN$’PLAY ‘IDjango Reinhardt onEP Three of the American stars who )Oinc(i , Frenchmen in j)l(LJIi?lQ tribute to Djanpo RCiflhi(lTdt at a special con— cert in Paris last week-end, L. to r. : Buck Clayton, Don Bas Ufld Bobs Gonsales.
THE AGELESS dura bility of the legendary •iazz greats is almost a legend in itself. Duke Ellington, fl, Louis Arm- stiong, 70, and Count Basie, (34, still continue their powerhouse way after a twilight lifetime on the road, playing one- night stands in smoky clubs, bars and cabarets. And they retain their 0 Wfl individualistic en- thusiasm for life. Wit- ness Ellington who on occasion rises late in the afternoon, breakfasts on vodka and then moves of! for an evening concert. Linked This Imperishable q u a 1 i t y of greatness linked with a severe working schedule is not the prerogative of the coloured American musician. In London now is Stephane (ra!)pelli, at still a master of the jaz2 violin. And the best- known survivor of the famed Quintet clu hot Club de France which once featured the late and great guitarist Django Reinhardt. Dressed Like the t r u e profes sional he is, Grappelli, where a good iiistrument when Inside Page tools him to London’s Han- over-square to h a v e his picture taken, dressed with young musicians, for the part. In casual sports C 0 a t, scarf, and Sinatra-type hat. Grappelli is appearing with Sacha Distel at the London Palladium, where he last performed 32 years ago (taking second billing to c o W b 0 y Tom Mix and his horse Tony). He regards his stint at the Palladium as something of a holiday. A break from his six- nights - a - week at the Paris Hilton, where he plays with his group until the small hours; strolls out for a meal or to listen to j a z z; and then wanders back to his flat at about five a.ni. His only regret is never owning a very good violin. “I never got one because I played in dark clubs and crowded places could be ruined in a moment,” he says. “Ilike to play jazz not older ones who are fed up. The young are keen and give that little bit extra.” These daddies of jazz are a special lot. REINHARDTGRIiPPELLY DJANGO REINHARDTSTEPHANE CRAPPELLY “ParisianSwing.” Chasing Shadows; The Man I Love; Ultrafox; Improvisation Un- decided; Please Be Kind; Djangology; Nocturne; I’ve Got My Love To Keep Me Warm; Louise; Don’t Worry ‘BoutMe; I’ve Had My Moments (Ace of Clubs ACL1 189). SOME of the earlier Hot Club Quintet sides are included here, and every- thing on the album is from pre-War singles made either for Ultraphone or Decca. “Ultrafox”,dedicated to the French company which recorded it in April 1935, is a familiar 32-bar song attributed to Django and Steph. It struts along brightly in the way of early quintet tracks but is not outstanding. Also Paris-made, in Sep tember ‘35,were “Shadows’(straight, rather commercia1) ‘‘Moments”and “Djangology”The last, for years the group’S theme tune, is a highspol of quintetery, original in con ceptiOn and containing a gooc part for fiddle. The popular song perform ances are mixed affairs— many dull places, flashes o: rare and glittering guitar, anc odd surprises such as Bery Davis’ Ella imitation on “Undecided”. All solo, admirabl3 sustained, is “Improvisation”On “Nocturne”(London February, 1938), the principals duet in the expected manner on “Warm”and “Louise”.I had remembered traces of Eddie Lang in Django’s first years—as in “Shadows’—hut was surprised b’ touches of super-Lang in “ManI Love” (39) an “Louise” (38), to name two. Not the finest Django, this but Ace of Clubs value.—M.J 85 DAILY MiRROR, Friday, Ocfóbei16, 197O PAGE i5 He’s still stringing along.. Djaflg() l{einiiardl SnAPPELLI. VIOLINIST. WITH ARTHUR ROAST, AUDIENCE. PICTURE : DOREEN SPOONER.
Page 1 0— MELODY MAKER. December 24, 1960 11 ERE comes another instal. ment in the great series of Django LPs being issued by HMIT. Recorded around 1950-51, these numbers provide a good sample of Django’s playing in the postwar period, both acoustic and electric. Side 1 sees Django partnered With André Ekyan on alto sax and clarinet and accompanied here make it hard to believe by a French rhythm section. This side is all electric that he only used two fingers guitar, and in places there is In his solo playing. some bad distortion from the on “Nuages,” and How High amplifier. The alto playing is The Moon,” which ends up very reminiscent of Pete with an exciting two-chorus Brown, and contrasts greatly ride-out from guitar, violin and with Reinhardt’s semi-modern the Mel Poweil-ish piano of conceptions. “St James’ Infirmary “is singular in that it has no solo of the Goodman Trio tear-ups. guitar, Django contenting him- self with chording behind the beautiful accompaniment in clarinet’s almost straight state- the first chorus of “Begin the ment of the melody. The second side is by far the end of “I Cari’ Get the better and has some of Started.” Some peculiar noises the best Reinhardt ever reeorded. All tracks here are of acoustic guitar and all feature very fine violin by Stephane Grappelly. Django’s staggering tech- nique and fantastic fluency WHAT was the scale length of the Maccaferri guitar played by Django Reinhardt, did he use light or heavy gauge strings, did the guitar have some kind of built-in resonator and is the model still available? —Thomas Hall, Wandsworth. . The scale length was normal, which means approximately 25 inches. As far as ‘Ican remember, the bass strings were on the heavy side, and the pro- bability therefore Is that the treble strings were matched, but in any case, he could not have obtained that thick, rich sound with the ultra light gauge strings that are used today. The guitar was fitted with a concave shell-shaped reflector under the soundhole which had the effect of projecting the sound. But not all models were made in this way. The availability of the Maccaferri today depends on someone wanting to sell, because thy haven’t been made since 1939. —IVOR MAIRANTS. OJANGO REINHARDT (LP). I’ Django the Unforgettable.” Sweet Georgia Brown; Minor Swing Double Whisky; Artillerie Lourde; St. James’ Infirmary; C Jam Blues; Honeysuckle Rose; Dream of You; Begin the Beguine; How High the Moon; Nuages; I Can’t Get Started; I Can’t Give You Anything But Love; Manoire de Mes Reves.—(HMV CLP 1389—Price 348. ljd.) Outstanding are the choruses Italian Gianni Safred. This is reminiscent of some Notable, too, is Reinhardt’s Beguine,” and the chords at crop UI) here and there. The first four bars of “C Jam Blues “sound exactly like dogs barking, and in the middle of a very romantic guitar chorus in I’ I Can’t Get Started” comes what I would swear is a belch. In his sleeve notes, Alexis Korner states that Manoir de Mes Réves “is the only duet ever recorded by Reinhardt and Grappelly. But off-hand I can think of several others— “Nocturne, •““ Stephens Blues,” “Sugar,” “Alabamy Bound,” “I’ve Found a New Baby.” In fact, these last two were reissued on a previous HMV LP, wi th sleeve notes by Alexis Korner! iF YOU WANT FIRST- RATE JAZZ GUiTAR. YOU HAVE SOME ON THIS RE- CORD. ThERE WILL NEVER BE ANOTHER I)JANGO, NOT IN A MILLION YEARS. S0 many records have been issued lately featuring the work of guitar- ist Reinhardt that it seems improbable that many can be left to release. Most of the titles here have been reissued on micro- groove records before. The Dicky Wells numbers —the last six on the album —appeared on an LP under his name, and “Crazy”,“Honey-suckle”, and Hawk’s “Star-dust’, “Nowhere”and “Georgia”all came out on a ten-inch LP. Two tracks which I have seen only on a 78 disc are is impressive on “Avalon”,“Rosetta”and ‘‘ObjectOf My Affection’ by Garnett Clark’s Hot Club Four, made tracks. Benny Carter, a man in 1935 with Bill Coleman playing and singing most B”. “Crazy”and “Honey-agreeably. These, on French HMV, suckle”, much reissued classics, were regarded as collectors’ items at One time and much coveted for the quality of Coleman’s trumpet. “Stardust”,by the same group, has a muted trumpet solo and much Wailer-in- spired piano. Django restricts himself to rhythm work on these, but his presence is constantly made known to us There is music here which sounds old-fashioned in the dull sense —parts of “AvaIon”lyrical trombone, and by the and “DayMade” for created by the melodious instance. Hawkins delivers the goods though, swinging with a fine surge on the former, roman- ticising with ripe tone and DJANCO REINHARDT: “DjangoAnd His Amencan Friends.” Avaon; What A Difference A Day Made; Stardust; Rosetta; Stardust; The Object Of My Affection; Honeysuckle Rose; Crazy Rhythm; Out Of No- where; Sweet Georgia Brown; Bugle Call Rag; Between The Devil And The Deep Blue Sea; I Got Rhythm; Sweet Sue; Hangin’ Around Boudon; Japanese Sand- man. (HMV CLP189O.) legato phrasing on the latter and “Stardust”(number one). Django improvises deli- cately on this “Stardust”and also on several of the Wells of parts indeed, blows excellent trumpet on “Georgiafeature Carter’s reed arranging and handsome alto, plus Hawk in grand form and, on “Crazy”,the Con- tiaentaFs And,ie Ekyan and Alex Combelie. I’ve left myself little space for “BugleCall’, “Devil”and the rest of the 1937 wonder- works by the Coleman - Wells groups. This is marvellous music for any age, enriched b3 some of Dicky Wells’ most greatest body of playing evex Coleman. A lovely, fresh, invigorating set filled with warmth and originality, this is his toric Paris-made jazz. —M.J 86 DIZ DISLEY reviews ... The fantastic Rein ha rdt Django . warmth and originality in Paris F’ DJANGO Django’s left hand How did Dango do it? DJANGO REINHARDT: has a thick, rich sound
lookIng uI discs cit 1LA\7Z FDR CDLLECTDRS by DAVE LANNING DJANCO REINHARDT: “Theincom,arable Django Rein- hardt. ‘love you: III never smile again; Folie a Amphion; Anniversary song; Blues primitif; Topsy; New York City; Mano; Moppin’ the bride; Gypsy with a song; Night and day; Con- fessin’ (Realm RM184). A SSUMING, as we must, that Reinhardt was some sort of natural genius, we must accept that any record- ing on which he played a solo is well worth hearing. These records, dating from 47, are certainly worth a listen, and the last two tracks are notable additions to the Django discography. It should go with. out saying that guitarists will knock themselves out over the album, and be discouraged by it at the same time. , At the material time, Django had been touring and broadcast- ing with a quintet which had clarinettist Hubert Rostaing in place of fiddle. The rhythm guitar and bass men change, but these two are the nucleus of the groups here, which have, for the most part, an innocuous charm. Django was using amplified guitar and interesting himself in the then modern idiom, and we hear boppish influences on the theme statement of “Moppin’the bride”, a Django original. On this speedy track, the quickness of Reinhardt’s musical thought and execution can be appreciated, even on the electric instrument which didn’t respond perfectly to his extra- ordinary technique. I am not sure that amplified guitar really allowed him, at this time, to express himself with all the delicacy he was capable of, but the album is nevertheless filled w i t h felicitous phrases and singing guitar improvisations. —Max Jones. DJAN GO AT HIS BEST [HEHot Club of France Quintet was the first Euro- pean jazz group to win an international reputation. Its music, some on this album going back 26 years, still sounds attractive though indisputably of another age. Ace of Clubs offer, for just over a pound, fourteen it1es recorded in London by various Reinhardt-Grappelly quintets between January 38 and February 46. On this post-war session, the duo were accompanied by Jack Llewellyn and Alan Hodgkiss (gtrs) and Coleridge Goode (bass), and the recordings are some of the last on which Django used acoustic guitar. The four tracks from this chamber jazz. The strength and quintet reunion are “Belleville”heat of Django’s support, as and “Liza”,which both go with well as his solo playing, can exceptional fervour, and be heard on the exuberant “My“Nuages”(a different master sweet”. —Max Jones. from the original 78 release) and “Love’smelody—delicate creations which have a really European musical sound. If the older performances have the quintessential flavour of this French string jazz—the Chicago-based rhythm, the soft approach, the directly swinging and fairly simple violin phrasing and the sudden bursts of melodic invention from Rein- hardt—the 46 tracks are not radically altered. Grappelly’s technique and harmonic range are greater and the whole group has a more incisive attack. Django was always coming up with new ideas, and he does so here— beautifully recorded in the bar- gain. From the easy-tempo opening of “Honeysuckle”(1938) to the coda of “HCQstrut” (1939), we fall under the gentle spell of this imaginatively conceived DJANGO REINHARDT: dazzling runs Django Reinhardt was one of those master musiclans, like Art Tatum in some respects, whose playing always proved rewarding on the technical level. And his imagination kept pace with his fingers. On DJANGO REINHARDT ET LE QUINTETTE DU HOT CLUB DE FRANCE (Barclay 920 366) he whip5 out SOlO after solo fillled with dazzling runs, graceful melodic twists and joyous rhythmic ideas. The contents range over a six-year period. Eight titles come from three dates in ‘47,on all of which clarinettist Hubert Rostaing partners Django in front of a g u i t a r-bass-drums section. This is the “modern” Reinhardt, if you like, on his amplified instrument, and he is still the superb craftsman. Outstanding among many beautiful improvisations are the long one On “Mano,” with its effective blues inflections; the old Basic favourite, “Topsy “(a real swinger); “Moppin’ The Bride “and “FolieA Am- phion.” The remaining eight titles were cut in Paris during March, ‘53(with piano-bass- drums accompaniment), only a couple of months before Django’s death. Again the guitar playing is marvellous; still unexpected, still enthusiastic and packed with. feel- ing. “September Song,” “Con- fessin’,” the inevitable “Nuages,” all have their amazing moments, and on no track is the guitar ordinary. There have been many Reinhardt tribute discs since his death, and this is another worthwhile memorial to Europe’s number one jazz talent. —M.J. 87 career. Sadly, Django died shortly after the war. But, the gypsy guitarist who thanks to first-class collectors’ pieces like this album, his when his family parked their undoubted virtuosity will live forever. DJANGO REINHARDT, became a Parisian caravan outside the city during the First World War, is unquestionably one of the giants of jazz music. Just listen to Djangology (MFP, 1054). Ten numbers, all but two from Reinhardt’s pen, performed with taste, swing and tremendous adroitness. And the stature of the man increases even more when you realise two fingers of his left hand were virtually useless, after a caravan fire which came perilously close to ending his DJANGO REINHARDT DJANGO REINHARDT —STEPHANE GRAPPELLY: “TheQuintet of the Hot Club of France.” Honeysuckle Rose: Night and day; Black and white; Sweet Georgia Brown: Balleville; Souvenirs; My sweet: Liza; Stomping at Decca: Loves melody; Daphne: Lambeth Walk: Nuages; HCQ strut (Ace of Clubs ACL1 158). DJANGO REINHARDT ‘. Toutes Les Cordes Dc Djanqo Reinhardi ‘(Pathe 2CO5a-1O.395/9b). This French compiled two-LP set makes available a mass of material (much of it rare) recorded by the great guitarist be- Iween ‘28and ‘46.Such strdnge gems as the 1938 tracks with Larry Adler and those with Charles Trenet and Jean Sablon reveal again Django’s transcendent god
REINHARDT DJANGO REINHARDT: •‘ Django In Rome 1949-50.” Micro (Mike); Stormy Weather; Blue Skies; The Man I Love; The Peanut Vendor; It Might As Well Be Spring; Micro (Mike); Danse Norvegienne; Dinette; Reverie; Place De Brouckere; Black Night; Boogie Woogie (Farlophone PCS 7146). Reinhardt (guitar). Stephane Grappelti (violin), G. Safred (piano), C. Pecori (bass), A. de Carolis (drums) on first six titles. Rome, January and February, 1949. Reinhardt (guitar), Andre Ekyan (alto, clarinet), Roger Paraboschi (drums), R, Schecroun (piano), A. Masselier (bass) on remaining titles. Rome, April and May, 1950. REINHARDT was, from firsi to last in his career or records, a brilliant virtuoso His playing astonished jaz listeners when they firs; encountered it and continue to astonish now that somt examples are nearly 40 year old. Parlophone’s new collectior of Reinhardt rarities from ‘4and ‘50should delight ever guitarist and Django fan. Th titles were made during twc of his working visits to RomE —with Grappelli and thre Italian players in ‘49and wit) his own quintet the followin) year. None of the former ha been previously issued to m knowledge, and at most a fey of the latter. Some guitat gems are included, along witt mediocre tracks. Several Reinhardt originals (or conversions “)are here —“Micro “(twice), “Black Night” and new versions of “Dinette “and “Place Dc Brouckere” —as well as Django arrangements of Grieg’s “DanseNorvegienne and Debussy’s Reverie.” “Brouckere “is a fast swinger with fleet guitar and quite good Ekyan clarinet, and there is more graceful guitar on Night.” Boogie” is a hit of a mess but Reinhardt blows up a storm, unamplified so far as I can near, and Ekyan manages sax md clarinet at once. of the rest on side one, ‘Man I Love “is best —‘Uledwith beautiful improvi;ation, poetry written on ;trings; and Skies “offers lrm, swinging violin and airly rewarding guitar, espe;ially in support. Although the guitarist’s nterest in the then modern ;ounds made his later record- ngs peculiarly valuable to ans, it would be a brave man vho claimed that these per- ormances matched his clasics of the Thirties. —M.J. D ISCOVERIES and rediscoveries of Reinhardt music are being made in quantities acceptable, no doubt, only to guitarists and extraordinary Djangophiles. Nevertheless, the g u i t a r playing on all these albums —ason other records lately released —is sufficiently remarkable to make fascinating listening whenever the late Master was holding the stage. The first of these sets— recorded in Brussels in April and May of ‘42—hasunusual recorded “Nuages”(three different ing. Django’s virtuosity found features which should make it a must for the hardened Rein- hardt collector. To begin with, Django plays violin on two numbers— “VousEt Moi” and “BluesEn Mineur” —and though they are not jazz performances you’d gallop up the road to get hold of, they have a melt- ing charm (Django clearly listened to Steph), and more when guitar takes over again. Then you have Django and Fud Candrix’s big band play- ing the guitarist’s own arrangements; (previously issued) by Django 4’ h o s w e e p S masterfully also Django with Stan Brenders’ orchestra. Much of the music here is dull to middling, a bit heavy and rhythmically unrewarding, and is especially impressive in ported by Andre Reweliotty on but there are virtues, guitarwise, on every track. Points to note, among many, are the fantastic standing samples of his work offers a deal of superbly expressive examples of Django attack on “Studio24”, the bluesy sweet- QUINTET OF THE FRENCH HOT CLUB-with Django Reinhardt and Stephano Grappetty (LP). U Swing From Paris.” *** e Swing From Paris (Reinhardt, he had to give this up after los- ing for, you will find it in his Grappetly) (f) ; My Sweet ing almost completely, at the slow, ad lib, solo, “Improvisation.” (Reinhardt, Grappelly) (ci; age of 18, the use of the third insprovisation (Reinhardt) (a); and fourth fingers on his left Sweet Georgia Brown (Bernie, hand, when a spirit stove he wa-s Pinkard, Casey) (b); Three working blew up. Little Words (Ruby, Kalmar) (5) ; Nocturne (Reinhardt, despite his infirmity developed a Grappeily) (e) ; Daphne (Rein- technique second to none. hardt, Grappetly) (d) ; H.C,Q. Strut (Reiniiardt, Grappelly) (0). (Decca DRL-1656, DRL16 single-string work, or reeling off 7.) (Decca LF1139—20s. 4d.) (a) (Decca DR2908)—Reinhardt facility. (gtr., solo). 10 ‘9/37.London. (N) (Decca DTB3524), (c) (Decca style which, although its rhythm DTI.t3526 I , (d) (Decca DI’133528 I —was sometimes rather snore Grappelly (yin.) ; Reinhardt, Roger latin-European than American, Chaput, Eugene Vees )gtrs.) ; Louis always had the jazz “feel “and Vola (bass). 31/1/33. London. (e) (Decca D’S’B3534)—Grappeily (viii.) ; Reinhardt (gtr.). 1/2/38. conspicuous for two Dianne London. (I) (French Polydor HTP42IO), (g) choruses which prove not only (French Polydor HTP4212)—.Probably that he could play with a l’(’aI as for (b). Probably circa March! swing, but also that he had April, 1938. Paris. (h) (Decca DR3862(—As for (b). pie of his agility at single-string 25 13 39. London. THIS LP mixes with 1937 and ‘38recordings by the French notable for his ilair for devising Hot Club Quintet, of which Silfll)id’ but captivating phrases—-- Django Reinhardt and Stephane and if it is charm you are look- Cirappc’lly were the Lading lights sides by the two of theirs p aying as solos and duets some of the sunny tuisc’ful numbers written by Reinhardt. All have bad previous standard 78 1’(’L’LdS(s (s(’e details above), and if their release Ls meant a.’ a memorial to Django (who died in May this yost’, in France) it CJ1I5C,S as a vary happy—if some- what b”latcd—-one. Inctoed, while the collection et. its foi,ti’ stat’s partly for Gral)l)(’lly’s rather repetitive, but no ye rtheles.s svelte, playing, It diOi’S .50 lsiaillly (‘or gui tar work by Django that still sounds won- dlerlul. Django was Loin of gipsy stock in 191(J its Ouche, 13(’lgiuin—in, t I is to ‘Ii Ovid, a caravan. ness of his improvisation on ideas may surprise listeners “SuelCe Soir” and the much versions on these albums), and the unexpected directions in which his harmonic fancy takes him in some wonderfully m e 1 o d i c “Brouckere”and others. Quite a few of these numhers are old Reinhardt favourites, but the solos, on acoustic guitar, are fresh and impeccable. The second set consists of four tracks by a Grappelly quintet, with Pierre Cavalli on amplified guitar, and eight (also amplified) with piano, bass and drums, recorded in ‘53.Steph plays most sensitively Fleur”, his “Nuages”—sup- a thoughtful interpretation of John Lewis’ “Django”.The Reinhardts are not out- but brilliant notions abound, and the modern harmonic As a boy he played violin. But He then turned to guitar, and No matter whether it was fast, sequences of chords, he took it all in his stride wIth equal Furthermore, he developed a seldom failed to swing. “Sweet Georgia Brown “is plenty of original ideas. “My Sweet “is a good exam- style at fa.ster tempo. “Three Little Words “is unfamiliar with his later play greater play when he had an ordinary guitar in his hands. The third set again presents guitar music by Reinhardt with various French bands and quintets including Gerard Leveque or Hubert Rostaing (clt), Eugene Vees, Emmanuel Soudieux and so on. Most, if not all, of these have been released here before. The other giant, justly described, is Sidney Bechet through some good, tuneful standards —a 1 s o “Petitefive tracks, Claude Luter’s band on one. On Golden Guinea, this LP playing at a very low price.—M.J. Django’s axe2 , EVERAL months ago I read in the MM about a new guitar based on the one Django Reinhardt used to play and a book about it, but I never managed ‘totrack these down. —Alan Small Bolton. ‘I’heguitar is called the Gypsy, aptly enough, since it is a close replica of the one played by famous gypsy fuzZ guitadst Djar’go 11cm- hardt. It has been designed and supervised by the ori giual maker Mario Mac- caferri, whose guitars made in Paris in the Thirties were used by top players. When he stopped production, they became collectors’ items available only at prohibitive prices. Mas’io has now re- vived the guitar or Sum- merfield Brothers, of Gates- head, who have published an eight page booklet about the instrument, Mario Maccafferi and Django Reinh drdt, which is available free from Sum- merfield, Saltmeadow Road, Gateshead, N[5 3A.J. STRICTLY FOR DJANGOPHILES P’ DJANGO REINHARDT: “Europe’sGreatest Contribution To Jazz.” Vous Et Mol; Distraction; Blues En Mineur; Studio 24; Place De Brouckere; Seul Ce Soir; Mixture; Bei Dir War Es Immer So Schon; Divine Beguine; Nuages; Djangology; Eclats De Cuivres; Diango Rag; Dynamisme; Tons DEbene; Chez Mol A Six Heures. (Polydor 46451). DJANGO REINHARDT —STEPHANE GRAPPELLY: “RequiemFor A Jazzman”. Django; Nuages; Night And Day; Insensible- ment; Makin’ Whoopee; Blues Ror Ike; Brazil; September Song Minor Swing; Confessin’ ; Daphne; Manoir De Mes Reves. (Ember CJS 810). SIDNEY BECHET —DJANGO REINHARDT: “TwoGiants Ot Jazz.” Petite Fleer; Swing Dc Paris; Songe D’Automme; September Song; Willow Weep For Me; Folie A Amphion; Nuages; Rose De Picardie; Dinette; Laura; Blues En Mineur; Dardanella. (Pye Golden Guinea GGLO3O6). SWING . 0 • by Edgar Jackson .‘: ‘. ‘• ://:. ‘“,/,Dj,i , t’i)—lSili
THERE IS a lot of looking hack in music these days to past performances and with a newly-released album (through RCA) I am happy to drift back over the years and get oil on Cloud 47. For the LP bears those musically magic w o r d s Django Reinhardt, and the music is of Django playing with several small o’:’tfits in 1947. The recordings, made with the usual casual approach of the guitarist, were arranged by French records chief ddie Barclay who risely felt it was time Django put down for posterity some more of his own particular brand of beauty. The withdrawn, often anti-social Reinhardt . agreed and whether or not these takes are as good as, better, or a littde below the stan- dard he set with the original Quinteb of the Hot Club of France is, to me, academic. For here is Django play- ng . . . magnificently, in- credibly, in the way that made him a legend after his untimely early death in 1953. Numbers on this Barclay LP (920.417) range from Minor Blues and September Song to Brazil and Con- fessin’. And 20 years after his death Django Reinhardt can still hold me in the very nicest musical spell. Gipsy. hud magic m his fingers T1JANGO Rein- 1_, hardt, magic-fin- gered gipsy jazz guitarist, has died. Django, 43, born in . a Paris slum, was a night club attraction at fifteen. Two years later, an accident left two of his fingers paralysed. But after eighteen months’ practice with his eight good fingers Django staged a sea- sational come-back. Critics said he was the world’s best jazz guitarist. t - PiJ:r’ 1JiiOi. Django lives oil “DJANGO is Dead.” That simple MM headline shattered the music world jazz is too narrow a term to use in the embracing context of Django’s talent —back in Ma’y, 1953. Today’s guitarists may debate the merits of the many players who have emerged since Eddie Lang put the plectrum guitar on the world map; few would deny that Django was not only a genius but the first Euro- pean musician to eclipse the Americans at their own nat- lye game. Fortunately, the record companies have not neglected the works of Django. And of special interest is the release, on Decca’s Eclipse label, of “Swing ‘35—‘39—The Quintet Of The Rot Club Of France” (ECM2O51). At the modest price of 99np, this Is Indeed a bar- gain. It features those titles originally issued on Decca many a person has been that made as much impact on guitarists as Bird Parker made on saxists. Technically, he did the impossible; In an improvisational sense, he opened a vista that had never been explored. At the time of his death, I wrote an appreciation which said: “Like many still marvels at Django’s FRENCH violinist Stephane Grappelli flew into London on Monday to join guitarist Diz Disley in a short tour which opened this week. On most of his recent club and concert appearances Grap. pelli has Worked with piano, bass and drumsr but here he reverts to something like the old French Hot Club formula. With Steph and Diz are Denny Wright (guitar) and Johnny Hawkesworth (bass). Yesterday (Wednesday) Grappelli and the Disley Trio played their only London area date, at Surbiton Assembly Rooms, and tonight and tomorrow (Friday) they are at the Jacquard Club, ‘Norwich.They also record for Anglia TV today. Other appearances are at the Cambridge Folk Festival (28 and 29), Centre Hotel, Ports- mouth (30), a recorded concert for Radio Sheffield (2), and the Warren Bulkeley Hotel, Stock- port (August 4 and 5). great artists, he was prone clean articulation, phenomenal at times to let the urgent enthusiasm of a fast-paced phrasing even when the chorus momentarily dominate tempo is frankly ridiculous. his innate sense of good taste. But, in more refiective mood, he created phrases of such beauty that Django was playing on a moved to tears.” Just two titles that represent Django at his rhapodic his crippled left hand —best are on this album. They are “It Was So Beautiful “and “Moonglow” Some of the faster-paced items Ists around today who can like “I Got Rhythm “and match Django’s speed. Joe “Limehouse Blues “inevlt. ably sound dated, but one . Most Django Reinhardt fans will have some of the tracks featuring the guitar genIus on THE LEGENDARY DJANGO (World Record Club T 821). If not, get It. The sIdes were made between 1937 and 1940 and the various combInations feature Django with such musicians as Stephane Grappelly, Eddie South, Roger Chaput, Joseph Reinhardt, Hubert Rostalng, and Louis Vola among others. Django was at the peak of hIs Improvisatlonary powers durIng this period and he dominates the tracks like the colossus he was. Among the numbers “You Took Advantage Of Me,” and “Sweet Georgia Brown.” —J.H. attack and creative All the more ridiculous when one realises that battered Macaferri acoustic guitar with an action that required fingers of steel. In Django’s case —because of just two. Technically —using ten fingers —there are guitar- Pass, for one. None can surpass his artistry. —LAURIE HENSHAW. iJ’ OC7 ‘7ri LAST DJANGO IN PARIS 89 Grappe 11i ies. liii DJANGO REINHAROT
90 R . Americans in Paris-pIus great Django DJANCO REINHARDT: “DjangoAnd His American Friends, Vol. 2.” Eddie South: Eddie’s Blues; Sweet Georgia Brown; Somebody Loves Me; I Can’t Believe That You’re In Love With Me. Bill Coleman: Baby Won’t You Please Come Home; Big Boy Blues; I Ain’t Got Nobody; Bill Coleman Blues. . Benrfl’ Carter: I’m Coming Virginia; Farewell Blues; Blue Light Blues. Rex Stewart: Montmartre; Low Cot— ton; Finesse; I Know That You Know; Solid Old Man. (HMV CLP19O7). }4ORE of the Thirties recordings made in Paris .1VL by Reinhardt and resident or visiting Amencans have been assembled on this set. Like volume one, it contains performances essential to the thoroughgoing collector, and some that are dispensible; also some that have appeared on LP and a few (such as “BillColeman Blues’ ‘)which are pretty rare. It would be hard to guide readers through these riches if I had twice the space; as it is, brief notes will have to hint at the outstanding features of each session. South, duetting with Django on “Eddie’s”and “Somebody,”was a brilliant and influential jazz fiddler with traces of gipsy in his soul (“Eddie’s”) and an attack rivalling Stuff Smith’s. His easy swing and flow of ideas are demonstrated on “SweetGeorgia’ ‘and “Can’tBelieve,” on which string bass is added. Throughout, the guitar parts are uniquely full, lifty and inspiring. Coleman’s clear, stylish trumpet shares the honours with Reinhardt on his four 1937 tracks, playing smooth muted solos on “BigBoy” arid “BillColeman.” Big Boy Goodie is fairly impressive on clarinet on the former; the latter is a trumpet- guitar duet. Tasty, though not top-flight Coleman. Carter’s skilled hand is at once evident in the elegant scoring for “Virginia”,notable besides for his liquid alto solo. “Farewell”has solos by Fletcher Allen (alto), Alix Combelle (tnr), Carter (alto), and Django in that order, while “BlueLight” features Carter’s trumpet plus Bertie King (clt), Combelle (tnr), Django and another sax (King or Allen). The final five tracks are Franco-American —should I say Belgo-American? —classics from ‘39,when Duke’s men visited Paris arid Stewart, Bigard and Billy Taylor team- ed up with Django. All five are attractive, with Rex’s cornet shining on “Montmartre,”“Finesse”(“Night Wind”) and “Solid,”Reinhart performs like a giant.—M.J. DICKY WELLS DJANGO REINHARDT: truly a genius
Memorable “Whatever the reason, that’s tree and wrecked it completely. r1( he (lid. ‘,He was very good to me and Paris for enough money to take encouia12,ed me in my playing. the train back. One of his most memorable characteristics was his permanent grin while playing. It was always there, but if someone come out of a railway station played something he really dug, into the main square 0 a it would widen ever so slightly. French town. “In the same way, if he brought off something extra to stay was directly opposite special himself, his grin would across the square, but Django change expressively as if to say: hired a horse-drawn carriage, ‘Did YOU hear me that time ? “There were plenty of jazz loaded his luggage, and drove conceits about this time and in solemn state around the Django and I used to play in square to the hotel door. one every week. “Stories about him are legion, was something I will never for- but I can tell you two of my get.” “So despite the goons, you own knowledge which express, find the London scene dull now- PerhaLs better than anything adays ? “I asked. else, this musical genius’s child- like CaI)aCity for enjoyment. Supercilious “One time. after playing the Seamen and all the others, can IOfl don Pa I 1 ad ium, he foii fl (I never be dulL” 11 iiiiS(l I back in 1aiis wi I ii a consi(leiable pile of francs. ‘,:rn showroom window lie saw a most luxurious and cx- tiemely expensive car. He entered and demanded the price. I always saw Django either dressed in the sharp, zoot suit fashion, or literally like a tramp . . . and this happened to be one of his tramp days. The salesman eyed him superciliously and named the astronomical price. Djano proceeded to spray francs all Sl)Ciid CVC1Y waking se{’Ofl(l OV(’l’ the shoy) afl(l diove the car playing, listening to, or talking away. “He travelled into the country, entertaining his man v blends lavishly as lie went. Finally he ran the car into a He had to wire to the office in Big smile “Another time I saw him “The hotel In which he was “His smile on this occasion Max shook his head. “Not at all,” he said. “A scene which (‘OfltAuhllS Johnny I)onkworthi, Kenny Baker, Alan Glare, Nor- man Stenfalt, Bob Burns Phil L 91 . MAX GELDRAY has six new tracks out on Parlophone0 I NEVER expected to enjoy Max Geidray’s new EP, “Goon With The Wind,” on Parlophone GEP8764. Six tracks of harmonica solos ? Hardly. Yet when I heard the pure jazz phrasing, 1 just had to ask him where he learnt it. “Paris,”he told me, as I sank into a deep armchair. “Those prewar days were certainly exciting—so much jazz seemed to be happening all the time. “I was working for Ray Ventura then, and Ventura’s was a strictly commercial outfit. But he loved jazz, and a small band within the baud supplied it. “Lulu Gaste was on guitar—with Louis Vola, who played bass on most of the Hot Club of France recordings, the late, great Danny Polo on clarinet, and myself on harmonica. Circuit of the jazz clubs “My biggest kicks used to come from about two in the morning on. Around that time I would start my circuit of the jazz clubs. “I had got to know Django Reinhardt and his brother, Joseph, very well, for they too would do the rounds. And, sooner or later, we would meet. . “Django always had his guitar and T always had my instrument in my pocket, so anywhere we met we’d play.” The goon with the wind “—paused and his face lit up with affect ion. “Django was a most stimulating and lovable person. He n(n thingSUrne talks to Ken Couper about (‘iV ljttle time even for that. • “He was a true Gypsy, of jango em ar course. And, who knows? he may have had an inkling that time was precious and he must j’izz. Josevit Reinliardt, guitarist brother of the famous Djan.qo. made his debut on Britisli TV last weekend wlie’ii he starr(’d in ABC’s “Tile SiIlld(Lj/ Break” He is seen after the slww with. felloiz, çjuitarist Diz Dhlcy, whO backed limn on liz c tii r minute spot. JOS(PlL 25 (iLrT(’?itly appearinq in cabaret Ut tiLe ——L?l(i(/( 5/ICC,3 Clttb, Mujfair. 0 DIango STEPHAN E GRAPPELLI: REINHARDT
Reinhurdt Django Reinhardt. respected and admired by musicians the brother, Joseph Reinhardt, that had been set up in the world over, was insulted by his walked on carrying Django’s played “La Messe Gitane “—theown countrymen. But Frenchmen were not ,Just a shabby old guitar. the only miscreants. Three In his pockets and selected his himself. No one stirred. And on loud mouthed Americans plectrurn. Then, regardless of the stage, the blue light reflected crashed into their seats just towering microphones which were eerily from the battery of micro- after the start of the guitarists’ homage. “What’s this crummy stuff?” French radio listeners, proceeded side the piano. Cymbals gleamed moaned one, and the others replied with foul expletives. “We came to hear jazz . . . not all this cowboy stuff . . I thought Tex Beneke or someone would he here. . . . ‘Fortunately their Insensitive was something touching about and ignorant minds could stand the thin. metallic notes that he no more of it, and they left before struck from the master’s instrument, two numbers had passed. The noises from on stage were his foot on a chair, disdainful of a contrast of melodic beauty. the noises from the crowd. One by One the guitarists came to the fore for an interpretation of man of about 35 sneaked in the Django’s best-known solos. best music of the evening. His “Swing Guitars “. . . “Nuages” name is Henri Crolla, and his . . . ‘.Minor Swing “. . Jean Bonal, whose features acoustic guitar solos were beauti. have a surprising Reinhardt fully conceived and executed. He stamp, led off with a sensitive Hubert Rostaing’s pleasant lltle mrri ti:1e most solemn and delicate performance. Sacha group. moment of the whole Distel, who can’t yet be twenty, followed confidently. Roger the clarinet—stayed on to accompany The Homage To Django Chaput, an older man with grey- Reinhardt concert started ing hair, picked up an electric flew over from England to pay with a succession of guitar guitar, tried a few notes on it. and homage to his late and lamented played a beautiful version of partner. solos by the best plectrists in “Swing Guitars.” He was with France, interspersed, inter- the old Hot Club Quintet in like a man po.ssessed, and the ruptecj and accompanied by Django’s day. Jimmy Gourley, the American crowd quieted. Then came what noisy bellows from the guitarist who has been in Paris was to me the most impressive for three years now, was corn- moment Of the Third Salon du pletely out of character with his try-too-hard technique and boppy an empty stage turned a blue rhythm section. But we returned to the sensitive Chauliac mounted a large organ world of Django when his theatre. guitar. No leads, no amplifiers. Gypsy Mass—composed by Django He shuffled through the coins relaying the concert direct to the chairs, A bass rested along- to tune up. Rostaing—the Alec Guiness of Stephane Grappelly, who Stephane, in fine form, played Jazz. The lights dimmed, and on to SPOt. Out to the right, Leo Then, In the still silence. he phones. Guitars lay discarded on In the half light. And as the stirring chords reverberated through the hall, one almost expected to see Django walk on stage. It wa a solemn and touching moment. His “Minor Swing “was not As the lights went up the audience remained tense and Quiet, not sure whether or not to can, And Django’s widow sat up- as he stood there proudly, right in her seat, clasping the i.L1U Oi her snhad son, Babilt 92 F RENCH audiences are Mike Nevard, who flew buck certainly unpredictable. They blow hot and cold with more frequency than an English summer. On the opening night of the Paris Fair they gave indifferent music a warm reception. The next day their rowdyism all but week. audience. to on Friday, comments on Days 1, 2 and 3 , Gruppelly the best solo by far. But there A balding, scholarly looking Played solo, and also swung with D2ango W?Lf to A,/tro,’a in 1946 to play on concerts with the Duke Ell’tngton Orchestra, Here lie is at tiLe cocktail party which. Ijreeted him on his arrival, jlanhecj Loi Duke anti Ambrose MADAME IlEINHARDT, WIDOW OF THE GREAT DJANGU, WAS PRESENT AT THE CONCERT GIVEN iN MEMORY OF HER hUSBAND DURING THE PARIS JAZZ FAIR LAST WEEK. HERE SHE IS WITH HER SON, BAIIIK. AFTER THE SOLEMN PERFORMANCE OF DJANGO’S GYPSY MASS.
SIDE 2 1. I GOT RHYTHM I 2. MY MELANCHOLY BABY PARIS has for a long time been one of the world’s artistic crossroads, a creative centre, a city benign in At that time the Quintette of the Hot Club of France was its attitude towards experiment and new combinations. at the height of its flime. !ts two soloists, guitarist Especially in the Springtime. These recording were made there in the Spring of 1938. Django Reinhardt and violinist Stephane Grappelly, were everywhere recognized as jazz virtuosi of the first order. Django, in fact, was almost the firsi European to exert any real influence on the Stylistic development of jazz, and all American musicians visiting Paris were anxious to meet and record with him. To this unique, all-string jazz combination, another outstanding talent was added in the person of Larry Adler, a musician internationally famous as the supreme virtuoso of the harmonica. Larry played all kinds of material with such artistry as had immeasurably raised the status of his instrument. It was an instrument by no means unfamiliar to the world of jazz and, more especially, to that of the blues. If his approach was rather more sophisticated than tltt of the folk artists in the latter field, this record session nevertheless testifies to his under— standing of the jazz idioi. ‘Illenumbers chosen are four of the most popular standards in the jazz renertoire.;1] (hCOLUMBIAN c::_ EXTENDED PLAY 45 r.p.m. RECf4;0] 93 LARRY ADLER with QUINTETTE OF THE HOT CLUB OF FRANCE SIDE I. BODY AND SOUL 2. LOVER COME BACK TO ME Larry Adler, harmonica: Django Reinhardt, solo guitar; Stephane Grappelly, violi,,; Joseph Reinhardt, Eugene Vees, gultcsrs; Roger Grasset bass. Recorded Paris, Spring, 938
Sidc No. 1 Ultrafox ( Rein/iard!, Grappe/!’) i’ve had my monients (Kahn, Don(IIdson) Side No. 2 Lirnehouse l)IUCS (Bia/iaiii) I got rhythm ( Gershwin) Stéphane Grappelly received a good grounding in classical music fion his father on both the violin and the piano. 11e started his musical career by playing second violin in a theatre orchestra and kept this job for two years. He thcii switched to piano, inspired by the playing of Stephen Mougin, and played with the orchestras of Philippe BrUn, Michel Erner, Fiesbach and others. Eventually he joined Gregor. He was the pianist for three years in this group, and then Gregor discovered that Stephane had also played the violin. 1-Ic persuaded him to take a chorus, and Stephane acquitted himselfso well that Gregor put him amongst his violins and appointed another pianist. A motor accident eventually broke up Gregors band, and Stephane took his violin into the Croix du Sod”. It was at this venue that he first met Django Reinhardt when the latter sat in with the band one evening soon after Stephane had started there. Django Reinhardt was a gipsy by nature, tempera- nent and blood although of French nationality. 1-Ic loved the nomadic, carefree gips existence, and would never agree to take a regular job or conform to a definite routine. At the age of eighteen he was injured in a caravan fire, and lost the use of two fingers of his left hand. Despite this handicap he evolved an amazing guitar technique which was fully equal to the demands of his brilliant musical ideas and imagination. 1-Ic was a favourite amongst Parisian musicians before he met Stephane Grappelly, and André Ekyan of the “Boeufsur Ic Toit’’ used to locate bii every day to ensure that [)jango played at the club during the course of each evening. When Stcphane and [)jango were hooked into the, “Hot Club de France”, they started producing some oP the greatest jazz ever to come out of Europe. Their group achieved world-wide fame and popularity after only six months of existence, and this record is an excellent example of their accomplishments. 1)jango’s sa(l, untiniely (leath in I 953 at the early age of forty-three left a great gap in the European j zz scene which will never be tilled. 94 DFE 6366 STEPHANE AND DJANGO STEPHANE GRAPPELLY AND HIS HOT FOUR featuring DJANGO REIN HARDT DFE 6366 -.0 w 4: U U Lii El 0 Li- H 0 I I U z 4: >- -J -J LU 0 0 4: LU z 4: I 0 LU F-
* LJUC LItIIALLT TIU 4%.* 95 Improvisation Micro IDJA434D Side One Improvisation LFI%I ALIT Side Two Festival 48 Micro
96 DJANGO HEIINHAHDT ...........••• ..............•........ ET LE QUINTETTE DU HOT CLUB DE FRANCE 1 - NUAGES ( D. Reinhordt) 2 - MINOR SWING (D. Reinhordt) 3 - SWING GUIrARS ( D. Reinhardt - S. Grappelly) 4 - SAINT LOUIS BIUES Handy) Cette nouvelle série vous permettro d’opprécer vos ortistes préférés dons leurs plus grands succès. Chaque vedette sélectionnera pour vous es quotre airs es plus populores de son repertoire. Cette collection nouvelle des Disques d’Or scm pour les urnoteurs de voriètCs un gage do succès. 14(n ,, . ,c , • . . . ‘‘1si’•UES fr’&ibUi’A’z z
a \ ‘r•‘‘‘]r I!I t •J \% Q4) RA 30 EP 97 Django Reinhardt with Duke Ellington and his Orchestra RARITIES RECORDS 2, Alexandra Close, South Harrow, Middlesex, A i j. R. Laneur A2 F. Day & Hunter England Civic Opera House Chicago, Nov. 10, 1946 * Improvisation No. ,5 Acetates B 1 Honeysuckle Rose B 2 We hope to present in this series, sessions and not just ron- dom selections as has been done in many specialist series, it Is realised that sometimes this may not be possible as the other tune required may allready be out on a microgroove and duplication is not desired. It Is our policy not to put notes on our sleeves as we feel that In the main the artists represented in our series are better documented in wellknown magazines and books. RARITIES is a limited edition of 99. After stocks have been exhausted no further pressing will be matter how popular the particular item may be. B 1 Peter Morris B 2 C. Connelly Shelton Hemphill, Harold Baker, Francis Williams, Cat Anderson (tpts. Lawrence Brown, Wilbur de Paris, Claude Jones (tbns.) Russell Procope, Johnny Hodyes C alti) Jimmy Hamilton, Al Scars (ten.) Harry Carney (bar.) Duke Ellinglon ( pno.) Diango Reinhardt (ytr. ) solo Oscar Pettiford I sbs.) Sonny Greer ( dms.) Ride, Red, Ride A 1 Blues Riff Private A2 Acknowledgements to Carl Harlstrom for his assistance in the production of this record.
98 Pa rfu in Iflii3rovjsatjoi, DJANGO’S GUITAR DJANGO REINHARDT St. Louis Blues Tea for Two I 1TI
Band I —St. Louis Blues (wfth Louis Gasté, guitar and Eugene . . d’Hellemmes, bass) Band 2— lmprovsation , Recorded 9th September, 937 Recorded 22nd April, 937 Band2—Tea for Two Recorded 27th Decemher, 937 @©@@@@@@ @@€@@@@®@@@© @©@@@@@ @@@@@@@ Django Reinhordt Photo : Vandomme . . Wtth the death of Django Reinhardt on 16th May, 1953, Europe lost its greatest jazz musician and the world lost its greatest jazz guitarist. Although generally accepted as a I’renchinan, Jean “Django “Reinhardt was actually born of a tipsy faiiily on January 23rd, 1910, at Liverchics in Belgium, although he was later tspend the greater part of his life in the France that lie loved. his first tnusical instrument was the banjo on which he proved to have amazing ability, and at a very early age was playing with the Musette orchestras on the left bank of Paris. lie soon changed to the guitar and his technique and brilliance was being acclaimed when lie met with a catastrophe. On November 28th, 1928, the caravan in which he was living caught fire and he was so badly burnt that two fingers of his left hand became crippled. his terrific determination, however, led him to produce his os’n style of fingering, using the remaining two fingers and thumb, and within eighteen iiionthsof an accident that would have deterred any othcr from attempting to continue with a niusical career, he was back again working in a sidewalk cafe. ‘l’hegroup that was to bring 1)jango world-wide fame was the Quintet at the “hot Club “of France which made its debut at the “Ecole Normale Musique “in December, 1934. The Quintet made a series of broadcasts which were relayed to Great Britain and the rhythmic drive of the group and the outstanding capabilities of Django Reinhardt made a deep impression on the British public. His records met with outstanding success and by 1937 the Quintet made a tour of the music halls of Great Britain. The four titles on this EP are an outstanding example of the technique, ability, thought and feeling of this outstanding jazz guitarist. In fact Parfunt and Improvisation have become classics. These two numbers were, in fact, recorded with twenty-four others in seven days and during the sessions I)jango also recorded with Coleman hawkins and Benny Carter. St. Louis Blues, the only number on this EP with any accompaniment, has one interesting feature, inasmuch as the second guitarist Louio Gasté is more well known today for his composition ‘Pam-pou-day The remaining number, Tea for Two, was yet another example of the rate at which l)jango could record, this being part of a session during which lie recorded seventeen si(les in two days. Possibly the most outstanding feature of Reinhardt’s playing is that he was a modernist before the term was thought of, yet in all his music there isas great swing and a wealth of feeling. his ability to improvise was unique. There is no one at the moment who can fill the vacant chair. Note by JACK HIGGINS 45 r.p.m. EXTENDED [ PLAY RECORD Distributing Organitation for Great Britain THE GRAMOPHONE COMPANY LIMITED . RECORD DIVISION 8.11 GREAT CASTLE STREET, LONDON,W.1 _____________ The use of “EMITEX “cleaning material (available from Record Dealers) will preserve this record anti keep it free from dust 99 I ©®@@@ @@@@©©@@©@ ©@@@© ©@@@c@@@ 7EG8132 DJANGO’S GUITAR SIDE I SIDE 2 Band I —ParfumRecorded 22nd April, 937 © © © © © © © Export Distributing Organisation E.M.I. INTERNATIONAL LIMITED HAYES • MIDDLESEX • ENGLAND Made and Printed in Great Britain
100 Inc wcr:i orizz ouiiür by Maurice J Summerfield Django Reinhardt Born —Liverchies, Belgium. January 23, 1910 Died—Samois, France, May 15. 1953 Django did more than any other guitarist to create an acceptance for a solo virtuosic guitar (in jazz), and to destroy the concept of the instrument as a device purely for rhythm.’ BillSimon, Jazz Critic A legend in his own time and even a greater legend today, there are (louble bass. Their sound is emulated even today. Throughout his few guitarists (either jazz or classical) throughout the world, who career, Django used, almost exclusively, several of the French-made have not heard of Django and who do not have at least one of his Macaferri guitars, easily recognizable by their distinctive shape and records in their collection. Jean ‘Django’Reinhardt was born into a gypsy family and as a sound, although in his latter years when presented by the makers child roamed through Belgium and France as a member of a with various American electric guitars, he used these also. From caravan, gaining a great knowledge ofthe guitar, banjo and violin. 1935 as the popularity of the ‘HotClub’ became world-wide the On November 2, 1928, he was caught in a terrible fire in his caravan group made recording after recording and toured throughout which had been camped on the outskirts of Paris. Although he and Europe afld to Biitain. Almost every leading American jazzman of his first wife succeeded in escaping the fire, Django suffered severe the time made a point, when visiting Paris, to seek out and play burns on his hands and body. After hospital treatment he was left with the legendary Django, one of the few great and original jazz with two withered fingers on his left hand. To most guitarists this musicians that Europe had ever produced. Among these were vould have spelt doom to any further thoughts of a musical career. Coleman Hawkins, Benny Carter and Bill Coleman. The ‘HotClub’ But flOt to Django, who, with the combination of great deter- has been regarded by many as the most important pioneering mination and physical strength, succeeded in developing the influence in British and European jazz up to 1945. techniques which established him as the most outstanding jazz jazz and music generally, played with various new combinations of guitarist ofhis time. Although Django could use his withered third and fourth fingers small and big groups which have been as well recorded as the toi some very simple chords on the first two strings, he could never earlier ‘HotClub’ quintet. One ofhis many compositions, ‘Nuages’,use them for his brilliant single-string runs. For his solos, often reached the hit parade in many countries and today is still a played at astonishing speed. he used only the first two fingers of his favourite solo piece for the jazz guitarist. left hand. A guitar booklet published in England in I 944 by Billy Neill and Army in France in 1945. He said of Django: ‘Reinhardthad an E. Gates explains Reinhardt’s method. Django uses the first and second left-hand fingers most of the tillating passages of single notes . . . it would take ten years of time in single-note work. In chord work he can make use of the coiicentiated study to play like Reinhardt. . . . The tragedy of third and fourth fingers to a limited extent on the first two strings. surroundings. When I heard him play live, it was always 98 times He plays his famous octave passages on any two strings, with a better than anything he evei recorded. ‘Barney Kessel has said, ‘damped’string in between, i.e. on first and third, second and ‘ruemain thing I get out of Django’s playing is the intensity, the fourth, third and fifth, etc. avoiding the frenzied rushing up and eiiiotioii. He had a real fire in his playing. He was one of the real down the fingerboard which would otherwise be necessary. His originals.’ lfDjangohad wanted to stay in the USA and learn the famous chromatic runs, if played in the first position, are fingered; language (referring to Django’s tour ofthe States in the mid 1940s), if played up the fingerboaid, they are glissed with one finger. He I am convinced he would have altered the course of contemporary plays unusual chord shapes because of his handicap —Reinhardt’s jazz-guitar playing - perhaps even the course ofthe music itself. right hand is phenomenal. He does not rest any part of it on the guitar; it pivots from the elbow but principally swings from the suffered a stroke after an afternoon of fishing on the bank of the wrist. He employs down strokes most of the time except for extremely River Seine and within a few hours was dead. The world had lost a rapid passages and notes played tremolo.’ Django developed a unique and seemingly impossible cross- musical partner for many years, Stephane Grapelly: linger technique. He would move the second finger on his left hand over the first, playing a note behind, and on a lower string than the found expression through the guitar. . . . As soon as he had note which the first finger was holding. His early jazz playing has been described as ‘Provencale,flaming of music. Because I know he only had one ambition in this world - in colourful decoration’ yet in his later years his music was most to iik music. How tragic that a man like that should die at the definitely influenced by the great post-war top musicians that age o143.’ Django heaid on recordings and during his concert tour of America. A most fascinating personality, Django was a true gypsy. the guitar-playing of Django featured as leader or main soloist. A He could be at the same time a charming and an awkward series ofeighteen records has recently been released in France, now character and although often unreliable in his attendances at available in England, which spans Django’s complete career. concerts and recording sessions, he was able to reach momentous Recommended records (ifthey are still available) are: heights ofgreatness in his musical inventions and artistry. He was a natural musician and even if he could have read music, he would still probably have preferred to improvise. He loved not only jazz but all good music. He also loved colour, which he used liberally in both his oil paintings and his often garish and flamboyant dress. After playing with various musicians, Django joined Stephane Charles Delaunay’s wonderful biography of Django, which was Grapelly in I 934 and they formed the ‘QuintetteDu Hot Club De 1)lbli5led by Cassell & Co. Ltd, London, in 1961 but is now out of France’ , a group which consisted of three guitars, one violin, one print. After the war, Django. constantly aware ofthe new movements in Charlie Byrd played with Reinhardt while stationed with the US inhillible ear. He was famous for his explosive attack and scm- Reinhardt is that he so seldom got to play in sympathetic Unfbrtunately, death came early to Django. In May 1953 he great jazz guitarist and musician. In the words of his friend and ‘Djangowas a genius in the proper sense of the word. He had discovered the way to do it, Django would have written a great deal There are nearly one hundred long-playing records available with TIicArt o/Django(1937 recording) HMV CLIP 1340 D/l!l’() I?(’ilIIl(Ir(lI Memorial(1947 recording) Vogue Lae I 2251 I)/(I!lg() R(’illIl(Irdt ( I 953 recording) Felsted EDL 87005 Also ilyou are lucky enough you may be able to pick up a copy of 29
‘Theguitar with a human voice’ 101 Django Reinhardt’s dizzying style captured on 10-CD set B GEOFF CHAPMAN JAZZ CRITIC A lot of unpleasant sounds mand of technique and big am- have been generated since Les bitions for harmony. Paul and Charlie Christian be- pioneering guitar-violin duos of gan the musical reign of the Eddie Lang and Joe Venuti —electric guitar, but is there real- and found jazz. He could play ly anyone who doesn’t like the any style (and the violin) but sounds conjured from it by gave up general accompaniment Django Reinhardt? He was the mainspring of the he went to Paris in 1932, work- Hot Club of France quintet, ing first with crooner Jean Sablon. which revolutionized the new music that was developing in the 1930s and perhaps is best was early in 1934, and by the remembered now for his collaborations end of the year it was a real, with violinist Stephane all-strings band with delicate Grappelil. An all-string quintet wasn’t balance. Their performances the usual formation for any- were slagged by some critics thing but Euro-classical compositions, and it was tough to make a liv- but when given a driving, ing, but the public and visiting swinging beat it was to quality of what they were hear- become an irresistible musical ing —apparently Reinhardt and force that sounds incredibly Coleman Hawkins had once improvised fresh today. You should really go whole utes on “SweetSue”! hog, Hogtowners, and get hold of Djangolog, a 10-CD collection quality to his life and work In on the Blue Note label that person a gentle dreamer, the covers almost the entire career sounds he makes seethe with of the master guitarist, culled spontaneous freshness and from more than 250 recordings imaginative lightness. A remarkable DJANGO REINHARDT: Even though guitarist’s left hand on 78 rpm discs from the Pathé, Swing, Gramophone and HMV his artistic contribution was apt- was partially paralyzed, he was “remarkablemusical labels. They cover the years ly described by poet Jean Cç)cteau 1936-1948 in chronological or- der, an aid to discography maniacs. The first CD has him with 243 tracks here. Each CD notes ta of excitement and discovery, “Swing41” and “Swing42” and Grappelli (and including some tunes and lineups, while the accompanying whether it’s fiery like “Mysterydabbling with material for big of the insufferable vocal stuff of the period) then goes on to experiments French productions, has lots of stabs at complex composition, “Djangology”over a brass section. with larger groups sweeping prose and corresponding like “Bolero”,adaptations of and ends with more small unit sides. Reinhardt’s style was dizzy- guess they assume all basic classics by the likes of J. S. ing, intense and dynamic, always suffused with searing lyricism terial, Hot Club emphasized vi- returned to France when World formats and growing European to counteract the tality in its solos, original arrangements War II started. Forming a new music and American bebop sweetness of it all. How he reached this state of from two rhythm guitars played quintet a la Benny Goodman meant that his appeal was cli- veneration from the public by brother Joseph and Barro with clarinettist Hubert Rostaing, rninishing. He died in 1953. seems obvious now if not then. Ferré (later from Roger Chaput, bands during the music-starved shows, Reinhardt’s work is in- He spent an early, vagabond life Marce Bianchi and Django’s German occupation, a time that exhaustibly alive, his music on the outskirts of Paris as one cousin Eugene Vées) plus basic produced the famed “Nuages”seeming to contain the secret of of the “manouches”,the gypsies bassist Louis Vola and Grappelli. in 1941, a less ornamental style eternal youth. of northern France and Belgiuni. His parents were travel- ling entertainers and he was pla1ng the banjo-guitar (a six- string banjo with guitar tuning) at age 9. Before that he’d won talent contests. His left hand partially paralyzed in a caravan fire in 1928, he was quickly transformed from dextrous fairground at- traction into a pro musician and solid improviser, with total corn- He met Grappeffi, heard the chores and dance music when The hot club’s first concert American jazzmen knew the non-stop for 90 mm- There was already a mythic musical impressionist, as “theguitar with a human voice.” You can take your pick from booklet, as with all lack of precision. I facts are known. No matter. Whatever the ma- “MinorSwing”. and relaxed swing Pick a tune. Each has its quo- with tiff effects as heard in Pacffic” or sensual and nostalgic bands —hear him wail on like “Tears”.There’s his Bach, the extraordinary 1937 hit with Grappelli, which was fine, He made foreign tours, but taste for New Orleans revival he also played in other After the war he was reunited but new tours, including one with Duke Ellington, new band Yet, as this compilation well impressionist.”
THE FIRST QU1NTETTE This photograph from Grappellys collection shows how the very first Hot Club Quintette looked. Hi front (1. to r.) ,are Stephane himself, Roger Chaput Django and JOSePh Reinhardt. Standing behind are bassist Lo,is Vola and singer Bert Marshall, from Vola’s band who joined them for the picture which was taken behind the stage at the Claridge Hotel in Paris.;1] MUSIC;0] 102 I JOE’S TRIBUTE TO DJANGO j SK any jazz authority, or better still, I guitar student, to name the top five __________________ guitarists over the past four decades and it’s evens their list —even though by Mark Carlyle I I the priorities may vary —will include I these names : I . followed in the footsteps of the late I Eddie Lang, Teddy Bunn, D;ango Charlie Christian, to whom he pays I I Reinhardt, Charlie Christian and Wes acknowledgement for having stimulated ‘Montgomery. his interest in the guitar. I I i.ang, a ciistant figure of the Golden Wiich leaves Django Reinhardt, a I IAge of jazz, is now forgotten by all but towering genius of the guitar whose unjazz aficionados and record collectors. orthodox technique —dictated by a 1 IBut one man who always speaks of him mutilated left hand—and melodic con- with true affection is Bing Crosby, whom ception can never be equalled. I ILang accompanied on many early sessions, Yet one man has come along recently until the guitarist’s premature death after who has made guitarists and jazzmen sit I I a tonsillectomy in 1933. up . and blink. Already his name is being Forgotten, too, by all but the most bracketed with that of Wes Montgomery, I I dlisceming students of jazz guitar is and some argue that his astonishing I h American Negro Teddy Bunn—one time technical command even surpasses I member of the Five Spirits of Rhythm Montgomery’s. . I and prolific sessioneer with many jazz— Joe Passaloqua is the guitarist’s name— t I Charlie Christian, sometimes erroneously Joe Pass. Voted first place in the “NewOne’s musical mind boggles at his I - and at times, non-jazz —groups. • to fellow American jazzmen as ‘considered the “pioneer”of the electric Star” category of the U.S. jazz magazine technique, at the long, flowing melodic I I plectrum guitar, was a pioneer in the sense Down Beat’s International Jazz Critics lines that pour from his fingers with that he freed the guitar from its primary Poll, Pass has now rightly stepped into never a suggestion of hesitancy. If 1 I function as a rhythm-section instrument, the spotlight of jazz acclaim. Django’s playing touched the heart, then and gave it a new dimension as a “front-And it is fitting that his most corn- Pass’s touches the mind. I line” instrument capable of taking solos manding album to date is the recently He is never guilty of exposing his h Ialongside saxophone, trumpet, trombone issued “ForDjango”—an album which, astonishing technique for its own sake; or darinet. as the title suggests, is a tribute to the he merely uses it to express a fund of I I Latterly, Wes Montgomery has broadly greatest guitarist that ever lived. ideas that pour out in a never-ending Django Reinhardt died in 1953, but I have yet to hear Pass perpetrate I -1 _ __ _ __ ————was priviliged to meet him on several of Charlie Christian—or even the great I a musical cliche. Which could not be said occasions. There will never be another I Django. That goes without saying. But Django. those who were rocked back on their heels jo Lewis’s “Djazigo”,as performed I 1 by the playing of Wes Montgomery —by his Modern Jazz Quartet, is now some- Ithe most significant guitar talent to thing of a standard. To hear Joe Pass I emerge since Reinhardt—wil find that play this as a guitar piece is an education in itself. I Pass runs Montgomery pretty dose. But each of the other nine tracks on In many respects, his playing is even this album —on the Fontana label —I more arresting. is a musical gem. And none more so I For Pass performs with the almost than Pass’s own composition, “ForI clinical periection of a computer. He Django”, from which the LP takes its never puts a finger wrong, and he title. 1 piirases with a fluency that even Mont- So let this album be an introduction to I Igomery fails to match. j Passaloqua, guitarist extraordinary —Montgomery is a slightly “hotter”and one who has rightly earned his place I player whose roots are nearer to the basic in the Hall of Fame. 1 blues idiom of Negro jazz. But if Along with Lang, Bunn, Christian, 1 Montgomery is the King of Hot, then Montgomery. And Django—the greatest I 1 Pass is the Prince of Cool. of them all. ,_ ——————————————————————•1 Close-up of a handicap over- come—the Reinharcit le/t.
It was midnight at the Club St. Germain in Paris. Bernard Peiller was on piano—delighting the jazz fans—when suddenly someone crossed the floor and whispered in his car. There was a brief pause and then, to the strain of ‘.Nuages “played in funeral tempo, came the news that Django Reinhardt— greatest of jazz guitarists—was dead. Jean ‘Django ‘Reinhardt was horn of a gypsy family, on January 23, l9tO, at Liverchies in Belgium. From an early age he showed a great interest in music and by the time he was twelve it was obvious that he had exceptional talent. Very soon after he was playing his first engagements—banjo with the musette orchestra on t he I .eft Bank i n Ii ris. Later he left to play at [tellevilie with the orchestra of Elexander. BADLY BURNED There it was thUt Jack Hylton came to hear him play in October 1928, at the ‘Ia Java,’ and was SO impressed with his technique and hri Itianee tha t he otlered hint an engagement with his famous orchestra. Alas Django could not accept for—on, November; 28 the caravan in which he lived caught lire and he was badly burned. So badly burned that he was an invalid for moic than a year and left with two lingers of his left hand permanently crippled. Indomitable spirit and determination urged him on to produce his own style of fingering using the remaining two tIn- gers and thumb. Within 18 months he was playing in front of the sidewalk cals and it was there that pianist Stephan Moujin heard him and engaged him to play in his orchestra at the , Acacias.’ Then followed numerous café and club engagements —the ‘Palm Beach ‘in Cannes, the ‘Bôite a Matelots ‘in Paris, the ‘Casanova,’ ‘Scheherade, l)on J uan. and the ( ruix de Sud ‘on the Basque coast. At the latter he met Jearr Sablon for whom he was soon to play at the famous -— a,ii a i p i ( c i a t ion by jack higgins ‘Rococco ‘and with whom he made numerous records during this period. Soon Django was playing in concerts for the newly organised ‘Hot Club de France.’ The organiser, Pierre Nourry, soon realised what tremendous interest could he aroused by a new jazz group centred around Django. And so it was that the famous quintet was formed— Stephan Grapelly, Louis Vola, Joseph Reinhardt (Django’s brother), Roger Chabut and of course Django. The group made their debut at the ‘Ecole Normale de Musique’ in December 1934 and met with immediate success. The demand was for more and more concerts. ln 1935 they were engaged to play at the ‘Nuits I3leu ‘and then at the ‘Brick- tops ‘and the ‘Monico.’ Their records were immensely successful. Concerts followed in Switzerland, Holland and Spain and Django played with such visiting Americans as Coleman Hawkins, Bill Coleman, Benny Carter, Dicky Wells, Eddie South etc. In 1937 they undertook long tours— Great Britain, Scandinavia—even doning broadcasts for the U.S.A. By the lime the quintet was vorld— famous and sales of their records (many of which were issued in this country by Decca and H.M.V.) were reaching amazing figures. hUBERT ROSTAINC, The outbreak of the second world- war found the quintet in England and whilst Stephan Grapelly decided to stay in London, Django and the rest of the group hurried hack to Paris. This caused the first change in the style of their music for Django signed up a young clarinettist called Hubert Rostaing in place of Grapelly, and altered his ideas to suit the new instrument. During the Occupation the quintet be- came the most popular group in France. They topped the bill in the big theatres in Paris and the Provinces. It was then thaf Django realised One of his greatest ambitions. He joined the Duke Ellington Orchestra in a long tour across America but unfortunately he was not to he a success, for without the Quintet, his music did not make the same impression. Returning to France, he went into rcrement—playing engagements only now and again. Then he undertook . a Swiss tour and had only just returned to his caravan home at Samois when he was taken ill with cerebral congestion. He was rushed to hospital at Fontainhleu but died within a few hours. TilE GYPSY MASS It is the more tragic that this man—-a true gypsy—should have died at a time when all the gypsies of France were headed for their annual reunion. The first car:ivans had in fact encamped. On this occasion there was to be a performance of the Gypsy Mass which Django had recently compose(l. The last recording session that Django made was for ‘Blue Star ‘about a month before his death. He recorded an L.P. of his old hits, “Night and Day,” “Insensihilement,” Brazil,” “September Song,” “Confessin’,” “Nuages,” “Blues for Ike,” and “Manoir de mes Réves,’ the last three being his own compositions. The French programme “Jazz Var- ietiés “on Monday, 25 May was devoted to Django Reinhardt and many of the musicians with whom he played in the past, presented a programme of his own corn posi (ions. So passed another great figure from the world of jazz; he leaves behind a gap that wilt be far from easy to fill. For here was a man who played from the heart, not from the head, an originator not a copyist, who put his life into jazz, not jazz into his life. 103 DJANGO (AND BROTHER JOSEPH: IN ACTION.’
D JAILNGO • the last years CHRIS EVANS J ¶)7 sees ( lie ( VCLu1iC( h a tin ivetsa I)’ ot the (LCil(l1 ol 1) jdflg() i&CiflIUhI(lL . 1() flhllk I hc occasion , I want to on 11 nc here sOO1C of: his activities doring tlic ycars 1950-53; itl also to (liscuss 50111C of Ilic iccoidings 1SSI1C(l fiüiii tliit 1)C1iod 1)jaiigo’s list )CiLiS havc icccivcd littlc aticn( ion from crit cs and Ii is misc o[• the clectric git i tar (a Imimost cxci nsivcly (Itili ng I his pcriod) has (.)1U1’F. lie also recoroied 151(1 eXtetmOle(l solo never been reissne(i Oil ill icrOgrO)OVe Si Iii i I a i-I y I )CCO ovcrlookccL . I I moj )C I Ii is (ilitlilic i’ill scrvc to ICIIiili(l )COf)IC of time gicat Hi ilSic 1) 1(1 ngo f)mori iice(1 throughon ii is (:nccr (111(1, nlayl)C, iiI I focus am temi— tioli on thc ii mmnoticed l)nt very reward i mg I hat iimstrnntent (11111 ng i 950—53 - rccor(lings from his last years. I mm the Spring (If I ()r30, 1)jimigo pli )‘cd aim engagcnieimt at I lie Open c;i ci iii) ivi tli a (flu ntet iImclii(iing Ekyan on alto Sa>Of)li0nC and chiii net . Flie ci ill) %i15 fieq iiCi)te(1 l)y time Rotime a rislocracy 111(1 Ekvan has recalled that even a in imsici an of I)ja ngo’s SI a ( ii rc SeeIiie(l (0 go mnimmoticed there. Christia n Livorness, i’l1o) a rra nged time eiigagenicnl , (I 51)11 (Cs Lkvaii ‘sittitcit yomtttmger tiiati imittmseif (he si’as toa opinion amid has said Umat time (1iiinlCt u-as ei’ icl I received by nia ny v isi (ors to time Cliii). ‘iVhiiiii i_omne, 1)jango’s olitilitel I lie stait I lie) ga e hitmi a latoi t i time tow tmt;t(ic 1)tiSate tecotolitigs (if 29 1 ties, f)to)i)ili)l) foi- Livotimess. NIOSt of these recorolitmgs have SItl)Se(fttClll i) i)eett releaseol tttot•e, that sie’re iitmisitcd ! Bitt one (ha) I l)V RCA or k-NI I - 1’fme music is generally 0)1 high quality (hro)(tgilott( . time 1)IiIi(i1)al coniolti’t loliosi time ! itmd I gave titcimi soloists l)eitmg 1)jango itiol Ikyati. lime (1ttittlet, vimicim has it (ttnsitiotmal Svitmg— 1)l) 5(111001, 1)o)’c0i time tistimi 1)jiimgo SC1CC(iOtl of s(an(lards atid his istm cotmtl)( 1 iO)I1S. I tmmotmg the ott tst a nol i tig perfo)r— o’set’, t itat 1)j;itmgo felt telicvcd to ilt’ at tn(ttm(.Cs tco:o)rdeoi aie ‘C’1(1111 I?lIU’c, imis I tiVti i rijilcije i)tLt(1C, ttmoi 1)oublc I Vii is1)’, I ime lat let i)Ci mg I me lost record- itIg of t i(ml)i)iSim tithe ie2 lla(i liSt ( otim)OSC(i - )im im is te(tt tim mont Route, 1)jttmg() imea id ti)ot.e, lJerimtps, i)eca ttse of time I ii)Crt iCS lie ei(tric gttitai, this technique reaches time t hut Beim my (oodtitan was d tic to artive i im a il(ave(l ii ittmsei I (oi t a ke——attd on I)’ he 1miis for a concert in time Paiais (IC Cimaiilol. (oodtiiatm had in(ii(ate(l (hat lie visimed to) l)C ititt0(litce(i (0 1))ango, So 1)ja ngm ivelcotmmed ii ito a t I lie sL a mu amid also al)i)cate(l at (lie band tehearsti time following tftC(imo)Oti. (;dmmai askcd him i i: lie WitS i ii terested I a goi mg back to time USA ss’iiii time i)iiiiOl anol itoiteci lion to l)ia)’ itt time concert tltit evening. Djatmg() was w(mrriecL lmowcvcr al)Oit( (lie (rCatnleitt he ‘otilt1receive and SO finally never even isent (0 time coimcert hiimmsei I. 1) jango was rarely seen iii 1itis at this I itmme and seldotmi PlaYed Ii is guitar. Gerard t hat Ime had grown it l at iast : a 1)it nctnal I CCque, fortimerl)’ hi i (;iari mettiSt , has described his difTicnity iii discovering Django’s whercabonts (0 engage him for a Jttiy I 950) Ra(li() Lnxeinhourg broadcast 55_aS a 5O)tt rce of i)icasrtrt and aimmazetmmctmt to 1iiearattce with time AitnC Bareili s?i I Ii J tcq ties I1ciia a ‘sorcimes( i•a . (1’hc 1)crsonnel incinoicd, inci(lenlaiiy, trtinmpeter Ernie Ro)yai who was then in Paris ms a mnetui)Cr of I)nke Eliington’s orchestra). Little was, in fact, heard of Djatmgo Niiagc’s gives sotiie idea of his level of for time tettliuiii(it of time year. Iii •Jatmittry i()5 I , 1)jatmgom petlotmned his 0)51ii cottmi)nsition Iroublanl liolëro, aocotmmpaimied by a large orchestra itmcimidi mg St ri tigs aii(l (I i rected by \Til 1- Berg, lot a Rad iO) 1 iixetmm hon rg i)roadcast; and I or a fnrtimer broa(Icast svitli time saute accotmi— Fuhuii mnent a fes sseeks later, his tinme for i mm r( a isa ( ioims, I mm I ()5() or i ()r t , I ot tie S0(ttm(L( Ia(:k of a lii mm; these ame tttittstiai iii timat l)jaitgo 1)ki)e(I acoatsi ic gmtit;tr, tue bit, tue gtO)it) rcco)rdcot three Djatmgo only kimown occasioim svimeim lie recoroled Ott COifll)Osi tiotis DOUble Whisky, ‘°“i’and FC1)tita i) t 95 1 saw 1) amigo ‘scotmmci)ack as adohitio)n to) I)ango, were trutli1)eter t lie stat attract 10)11 itt the Citli) Saint— Getittain iii Paris. i-he was scorking sihim yoiitmg ittitsicia ms ivhmo felt st 101mg1 y ti)01t I he isess tien(ls i mm jaii, even i I t itey thcnmselves la(:kc(l wide experience. 1)jttmgo may have felt a I ittie omit of it is eieimtetH hot SO) nmncii fioimm ( ime ittitsical point (if l)ttt 1)ecattse tIme mntisiclaims soere so 4 I yea rs 01(1). 1)jango itmmarked to l’ierre lona(i, a former (irn mt titer o it is, t mat at anol ag;titm . . . t itese lit t Ic kiois sVit() I ltittk it’s all itap)ettntg, that si’e’te ito g00l iii)’— got atmgry; I hega it to Pit)’ SO) fmst I lie) so)tmme tmesv tmtt ttml)etS to play, svitim d illicit It secfttetmces. And there aga iii t itey were a Ii it I st I l’hey’ve got sotmte resi)ect for mite tiOsi I P iatm ist Paytmtotid lol rcttmetmt hcis, 10)55- time (1 01) : ‘Jti(1 I lie cit id lessotm we icartied irotmi hint . . . 111(1 tO olo sviih the total lteedottm siiit SVlIi(it it eXi)teSseoi imitit— sd I. Soitte e5’eti i ttgs lie si’is rca i I ‘Ia it t tstic; haia mmcc. l.ftatmks to tite P0)WC of the conl(I have got tsva w’itii timenm——-timaii because oil time ideas ite ii i t tti)Ott , Agreed, Ime iViiS tiC) l)ati(1-let(let, anol his atitpii(ier Slits alvays goitig w’ro)iig, l)ttt lie was a i)ersmitiitY. lie had his ossim isay oi P11)’ ing ii is OWl) changes . . - CVCI1 for time Anmericaim tim ties Ii e (I i(i a ‘t ktmosv atid ltiiC(itiCiOitSl)’ fit ted tip svi tim a imarimmoim ic sequence after It is OW!) lights’. llmc period at time Cliii) gave 1)jango a new iest [or hi Ic iti(l nmitsic; he ssas dis((iVCL’i mg mmcii f)055i i)i I i t ics itid (otitetil )ia( - to tio(e the iii time group of bassist itmg new cotmiposi tioiis. I t imas been Sil i(l iiti(i di iigeimt perlorntcr, lie sas tea I i happy tO i)e WO)rkitig for an ai)i)re(;Itti5’e anol ience again , Every (might t Ii is playitmg etmthttsiists and tu(tsiciaiiS alike, iwo itctitS have hceti released by Vogne I rotti radio l°g’ tmi nmes enmatiating [moth time ci ttl) I Can’t Give You A mtytltiog lJut JOV(’ itt(i )layit)g at this tithe. I-i is ret(:( i5’1te(l carcer l)rO(tglt t ii i iii a 1)eca rec(mr(liimg co)imtract; it Seems aimtazitmg, i)ttt 1)jatigo hmadti’t recorded c(itiiitmerciaihy since 1948. 0mm ay i t i9t, Django anol his (lriii)tet 5%-c; to) time Decca stnciios to) record four sides; none were ever issnc(l iii Britain and, iii fac, have teo;Ot(hs atmywliere. in addition tom time oiol I i t tt itt ic I t t tmccfor(L mm it in i)er I)tca in Of Imitpromitptu. lime principal soloists in Bernar(1 Fitilli a amid alto saxoi)imolmist h-I it bert 1O)i. ( J’aiiip was, incidetitally, nsed Oti tue sotttidtrack of tIme i q8 Patmi Piviot (ibm entitleci ‘Django1eiii1iardt’). Wheim time engageilient at the Club Sa i ti -Gerimia i ii eri(ied in ,J une or J uly 11)5 t , Django went to play the Sit ntimmcr seasoit at time fatuous Casino in Knokke Le /ottte, Beigititri. Foiiosving that engage netit, ite rettirtied to his little house at Satimois, isear Fotitaitiebleati, on time batmks 0)1 time Seine. l-lere lie passe(l tii titmie pla)’ill 14 l)iiiiat’(iS or fislmitmg atiti Oni)’ ivetmt (0) ltris for time occtsiotial broadcast or rccor(littg sessiort. Ott Jatittary 20) i()52, lie played a coimoert ss’itii his (1ttititet iii Brussels. Despite seeming (iel)resse(i by time poor audience, itt gave au excelleimt 1)erfortmma tmo:c. A t.ev iesv of t lie co)ncett tioted thmt t : I t is ai)ovc ihi in the harmonic sphere that time 1)0(1Cm s(:lmool has itmllitet)cCd Dja tigo’s s’le. Reinimardt his always i)eeii a liar-. tmiotmist oil genius. Fle knows exactly how to ( itoose tue tnost audacious note iii time 0 imotol Wi I toot sacrilicing correotticSs aimol i st etter’s ‘ery5l)itit 1 cord, i iwl tici rig sensatiotis timat lie i)C)’Ond time realm of music P roper ‘- ‘l’etitiays hater, Djaimgo recorded at 1)ccoa , ( ii is ti mite using a composition by ins Purist Raytmiond Fol (Keep Cool) amid t ii tee of it is 0)55th COfltI)Osi tions : Flèclte (10), ?‘;oublaiit Bolero amid Nails de Sai,tt-Cer,oaio des Pies. Most of his group took solos over the four sides recorded, particularly Hubert Fol and (rnmimi)eter Roger GtmCrimm. (it is interesting Barney Spicier, who had previously recorded with the Stiri Donahue, Benny Goodtnati anti 1V[el Poss’clI bands.) No other eng;tgcttments of note have been reporte(l for I()52, except for Django’s orchestra in November on time ORTF Jazz VariCCs radio programme; l)ri’ate recordings exist of mis performance. lii jatittary t()53, lie 1)layed an engage- itment at the Ritigside in Paris, probably
incIu(Iing VII)Laj)). tiiSL 1’;i(s’ SIL Ia)IcLIaz1(1 11 us gi ullj). I Ic also IHCL I tic jizz at the liiilIiiiiiioiiic 1oumflt(, Nüiijiiii GILIiL, liacksiage at. I lie Allli1uil)ra uIi(t i 1)111 iUS Pluh1(l foi ilie A ii I U [liii vli (Ii vas to i tic! ii(le I lie USA, Jd1)LI1 , 1 I’L(l 1Liro1)c. (Cha ries 1)elaii iay 1)laCCS liis niecting at Jaiiiiaiy, hut it is likely that it: actually 10(1k 1)lI(’e i ii I’i’Ia cli I 953). Jaiiuary 3(1 SaW aiioUiei 1)ccca SeSsiOn jii: which 1)jaiigo and his (litililel recorded two standards all(l 1)jaiigo (irigi[iaIs (1). R . Blues and ‘1iiOiiiii(iIi). ‘I’liesi)loisls were l)jaiigo, Roger (iiéiiii, I-I ii l)ei1 lol iiid piaiiisi Maurice \‘lli(lCI. 1V() clays later, i)jango took in another OR’FF J azz Variétés 1i(l ii.) l)iogI L in lie , Eli is 1• i tile ac(;i)nipa [I ed I y ‘l’nn v Piot CL1I ‘Sorchest ra . (Agai ii , pilva t C ICC()i(I ings XiS( ol I Ii is per founance). I)ja I igo a )PC ccl a L a L)al 1 vi t I i I i is quintet i n Biiissels (>11 cl)i’tia1’y a8 i 953. I’lie lnll(i%’ing (Ia)’, i)izLy C illespie was (1 (IC ( o appear i H a (‘Oncert there, so it ‘asl)laE11C(l 1(1 1)IesCIit I)jango i5 i guest there (00. \‘licn )juuugo lueau(l I Ii us, lie Iea(l ily agreed : ‘I nutustuu ‘1in 55 thai ‘, lie sai(l, ‘I’ve idnuiied DILLy 1>L ages’ . I Ic aj)1)eated on stage, with IIuul)ciL Iol, (lii ring the concert and , aC(O1(l i Hg to t he conceit review at the U toe, was i ii hui I I ant ulosi tug his lingers P1P1l)’. lie ret nSc(I to form and (lelighted evelyl)ody iuuClii(Iiulg Dil/)’, who seemed to have a great rcgar(l for hinu. Ii: is a pity thai (his luistOIi(: Innsi(:al event was not recorded lot posterity- 1)jango recorded his first 011(1 OOl I,1 (ill \Iaiclu in i953. ‘.Ihissas a(:tuually i(’( ( ut(le(L Ii ii N OiIt1t It ( ia uiz to sct’• C US 1 1 iuuu u(i(luuCi (iii I or i he jitit uunuuu I nut u il cu(t v uuueuu( iuuuued . ‘I’Iuceight t itits uC((uu(l(l iiC uuuaiuuly gutital solos uccouuupanied by t lie Itylluiui sc(li(uuu. 1)jtngn’s p1)’g is ucla XC(I aul(I Ii is utuf)tO\’iSat i(uIis ate is i 11 ien t he ate ever, yet I I etc is a (Cii 1 in Sa(luiCsS ul)(uuul. S(uIitC (it his iuttscs ( ;( a (I I .évèq tic Ii as cot it net i teti t I at I ieilu a 1) Ia uug’s ( i ‘)ackgtuul 11(1 gave hint a 1)ICuuiOuuil.inti (ii death (‘hicIu vas (iii!)’ ts(i uuunuutlus avay) uuutI maybe this is ucflectc(I ill the uuuuisic_ i\pui I t (151 saw’ l)jauugo’s tiuual uC((uu(I. hug sC551(ili (again or 1)cca) viilu nutty one origi ia 1 this i i ne : 1)ecca/luouuuu-. Solos no I lit- l(uuii sides iC((ut(IC(I dIC IiiiuIuIV l)y I)jauign, ‘lats’Sauli 111(1 ts’Iat’tial Sofa!. 1 1 u e (ill gi ii 1 I I ut tie is Pt iyC(I ‘Cl’)I ast a 0(1 lei’s (iuiC i’itlu an intriguing Pthtttt to I I te III t ii [C (I i Ccl ii )E5 (if the electric gui i 01 1. Sonic nt the tunics and j))1ri5CS l)puuugo )liyS iii the exchange of louts at the cn(I iii’ (lie f)eu’fOi’uuiauuCC arc uutcist utuuuisuual ;uui(L :uu.e aluuu(>St ill the (:ategory Of ‘S(>ttui(Itatluer tItan tututSi(’uI hOleS. 1’)juiugo’s last t(uur tools. luliut to Sivitierland autci while there lie (:otnf)IaiIIe(I of scvcu•e Iieudaclucs and lie 10110(1 1 rout ble iii see a doctor, luoi’cvcr, uhu(l at tcr the t our t’et ii ItiC(l to Sainois. On t lie moth i isg of Sit uir(lay ?vlay i (I i he suffered a St oke uuucl a! let being nioved to I lie 110S1)ital at 1oIituihiCl)lCtuI, he died ilicie at 4. Pttt tlnit thiy. 11(1111 listcuuuuig to u lie i’Ci’u)i’(liuIgs uuiadc at lie i():5i051 SCS5iiihiS, it: seeuuis 1(1 tiC tliui l)jauuguu utas )laviuig’ an(l iuuu)u’(u’ing at u lie saute lcel ol uuusjuiuat ito as in his unuiie liuiR)uus (htVs us siuugle suuiuug lines, his iiiii(liie liiuu’(liuig toget lieu vi1lu t hat sl)t(ial l)j:uuugu suuuuuutl tutu lie cle(’uui(: guuiiii’ utuike i hicse SCSSi(ihis essential lusteuu tug ku anyone uiu(eucste(l iii his unuusui. ‘Iheuuituuuhci of ticv couuul)ositions lie ‘iotc(Lining this l)i’i0(h ils() shiov that huis I alcuut iii t ui u area ‘asahs 00(1 i iii I uuishucd One caui (uhil’’ suiI’uiuise huov l’)jatig(u5 (‘ii icCi’ O’u)i I Id I a cc i levelOpC(l lu au Ii e 1 Ii ii (liC(I it 13 Y(Li’S ol age. \\‘oitld the N out ia ii C; uuz t ou t u hi ave uuua t cli e(l I i i it ii’illu hitui5i(’iiuiS luke 1_ester Youuig (ii Oscar Pciersouu? \\“liat I’e(’()u’(hihig’S vouuhl have teen huii(hC thuuring the inftuux 01 /\uuueii(’ahi tuiuisiciuns (u lutis in the tgos? \‘hua t ever I I ic i iii t :otuic , i I scents (:hea r I luit l’)jnug(u Ouuhd hiaS’C (‘out inuue(h to iuufluhLui(’C guuitauists (if all styhes_ It has (‘Cl’tuihu1)’ bieeuu uh)h)ai’(hit in the uventy yCii’s Sihice his (hLui Ii thai his inlluieuuce a ui! iuutisn: irc si 1 I al ive ail a(:t as un inspita— I iOn to iii iiSi(’l i I is I if iiia ii ‘‘iu’ietl st’les a 0(1 lickguouuuuuhs. ACKNOVl.KD(ENINl’ . I)ja iu,g() 1? (1 0 I1(i u•uIl ‘((;(isc(-1I, I.ouu(lon i gIl i ) (uuu(i ‘I)jauugo iIoui iueuc’ (luuc IAI.SJcl(l. I’uu u-is 1 9(38) , 1101 )i I) V Cou ules J)ehu it hO) Iu(IVc /)uOik(1 (‘.SSCOII(iI SOUu’(:e.c of uuufouuuuu - I ion iii iou tied ion uvil Ii lIt i.c (I i’t’1i’. 105
106 Page 22—MELODY MAKER January 24, 1970 Historic Django DJANGO REINHARDT: Toutes Los Cordos De Django Rein- hardt. Ma RegiiIiert Carinosa; Si JAime Suzy; RendezVous Sous La Pluie; My Melancholy Baby; I Got Rhythm; Out Of Nowhere; Baby; Jumpin At The Woodside; Tears; Begin The Beguine; Indecision; Quatre Tickets; Noel Blues. (EMI-Pathe C054-1O. 395). Petite Lily; Ninouche; La Cigate Et La Fourmi; Feerie; Nympheas; Premiere dee D’ddie; Improvisation Number 3; Artillerie Lourde; I Cant Give You Anything But Love: Manoir De Mes Reves; Are You In The Mood; Yours And Mine; I Won’t Dance; On The Sunny Side Of The Street. (EMIPathe C054-1O. 396). Reinhardt (bjo. cjtr) with various lineups. 1928 to 1946. Records in double album 395/96. -- DJANGO REINHARDT : Moppin’ Thci Bride; Brazil; Danse Norvegienne; I’ll Never Smile Again; Night And Day; Babik; Feerie; Heavy Artillery; Fly Fishing; Crepuscule. (Xtra 1092) Reinhardt (gtr) with various tineups. Paris. 1947. WITHOUT much doubt, Django was one of the greatest Adler’s 1938 “Melancholy guitar players, and one guitar (how he invented!), and of the greatest natural on his “Rhythm “there are musicians, jazz has brilliant passages featuring known. The three LPs covered here —one is Wes Montgomery. a double album —are sides of recordings that I can further proof of his only pick at random. “Baby supremacy. Fm’ technique on acoustic guitar, and for individuality and lyrical imagination, he still has riot been matched. Between them, these records give us a look at his career from 1928 —he was 18 then, and plays banjo on a typical French accordion-powered band —to 1947, jwhen he had turned to amplified guitar. Some of the music is boring; some is bad enough to be amusing. Almost every track contains a redeeming contribution by Reinhardt, playing still with vast melodic and those that don’t can . perhaps be excused because of their historical significance. ,‘ Night And Day.” Oddly, 14 “Ma Reguliere,” made in March, ‘28at one of Django’s Again,” which must be about ‘firstknown sessions, is such a performance. Jean Vaissade (acc) is accompanied by with Rex Stewart (cornet), Django’s banjo and an unknown whistle player, The second and third tracks, from ‘31and ‘33,offer minor demonstrations of his guitar music, and the fourth restores to circulation a once well-known item (from ‘35)by January and early February singer Jean Sablon which has delightful guitar touches, After this, the ‘realjazz improvising begins. Larry Baby “has fine Reinhardt the octave device later em- ployed almost to excess by So much happens on four (‘39) is a duet a Ia VenutiLang; “Indecision “is Charlie Shavers’ “Undecided,” featuring Hubert Rostaing’s fruity tenor; “Ninouche “is another jewel in which Reinhardt utilises artificial harmonics. Then there are such deli- cacies as “Improvisation,” a lovely 1943 guitar solo; Are You ln The .. Mood,” by Django’s American Swing Band of ‘45;a too-fast ‘I Won’t Dance “which shows off the guitarist’s mastery; and, last but most of all, a formidable “Sunny Side “by the ‘46Hot Club Quintet. Xtra’s low-priced collection lets us hear the virtuoso on the amplified instrument, grace, cspecially on Norvegienne,” “Crepuscule “and plays sharp on Never Smile the only time I’ve noticed him out of tune. “Night And Day,” made Rostaing (alto), Ted Curry (drs) and L. Czabanyck (bass), is said ‘todate from Decenlber, ‘47although the Nice Festival (at which Rex’s band appeared) took place in late the following year. U- ‘- —-. DJANGO— new ideas r14 ____ 0 CRAPPELLY —solt approach
TERRY USHER r.f HERE’S no preamble to this review, for the simple reason that there’s nothing to talk about this month. As usual, friend Reinhardt supplied the pick of the issues of guitar records, and I can’t do better than start with his two latest discs. H.M.V. B861 4. Miss Annabelle , Lee : Runnin’ Wild.—Quintette of Hot Club of France with Django Reinhardt. I do not exaggerate by saying that this is the best record at swing tempo ever made by the Quintettc. Grapelly’s first chorus follows my injunction in last month’s review ( pure coincidence, needless to say!) and follows the tune sufficiently to make his occasional departure rather interesting instead of 1)urelY monotonous as is the Oriole LV1O4. Sunshine of your of rhythm, and now that he has recognised case where he plays streams of meaningless phrases. Django’s choruses are the acme of perfection in phrasing, and I count them ]3einhardt disc, which I haven’t hardt is unbelievable : his choruses defy amongst the highest things in jazz, reviewed before, and to compare it criticism on both sides, and for pure phrasing alongside Wilson’s best piano, with present issues. It takes its at jig tempo, I have never heard anything on Bigard’s most inspired clarinette, or place with the rest as a lovely inter- any instrument to excel his choruses in Eldridge’s trumpet—not to men- tion Choo’s tenorisms, which to my mind are preferable to Hawkins’ Django’s technique isn’t so sure as ramblings. Hawkins resembles it is to-day. Grapelly, however, is Reinhardt in his less inspired glorious. If only he had the sense moods—too technical and not sufficiently dependent upon sheer shine of your Smile. Ah, well! perfection of phrasing. Coming back to earth, listen to the phrase at the end of the first sixteen bars of the first of Django’s choruses— and be taken right back into the clouds ! The phrases flow like well- oiled machinery. And, thank heavens, no octaves ! The reverse, Runnin’ Wild is as stodgy as the first is exhilarating. H.M.V. B8629. Exactly Like You: In a Sentimental Mood—Quintette of the Hot Club of France, with Django Reinhardt. Again in the first side, Grapelly uses discretion, and succeeds in being more interesting, whilst Django is on good average form. But the things which most fascinated me was the ensemble chorus which occupies the remainder of the record. I wish we were given more of this type of effect by the Quintette. I firmly believe that H.M.V. B8718. Tears and Rose Room— more could be done with a quintette iway from the usual style of the Hot Club. of the high standard of the Hot Club. We could have two duction and a first chorus in chords, all played guitars playing three-part harmony in fingerstyle, and shews his great originality (Django is quite equal to playing and all-round technique. Grapelly is again two of the parts) and Grapelly splendid, and Reinhardt does some tasteful doing pyrotechnics, quietly, in the fill-ins behind the violin. Altogether this is background. . We might have more a wonderful record, and one which gets right of the question-and-answer type of away from the usual style of the Hot Club. orchestration. We might have a The reverse is also pleasant, and Reinhardt rhumba or two, without any great introduces double-stopping in his chorus to harm being done— the rhumba is good effect. not to be despised—listen to Don H.M.V. B8690. Hot Lips and Ain’t Mis- Baretto ! We might have lots of new ideas, if only we had the Q uintette within arm’s reach. The reverse, In. a Sentimental Mood, shewing his fondness, latterly, for double- happens to feature one of these stopping. I have a vague feeling that I have new ideas—an intro. by Django in FINGERSTYLE. Yes, in finger- either heard or reviewed this disc before— style, and beautiful it is. I’m sure if so,, forgive me. In any event this is a disc Django could make a perfect you mustn’t miss. fi ngerstyle record . Django’s chorus is a pearl, just one of those things, Deccd F6616. Night ci:d Day and Stomping and I could listen to Grapelly’s chorus a dozen times without wearying. These two records are to say the very least, right up to top standard, and I sincerely hope date by this outfit. Crapelly is at his polished that every reader who calls himself best, and plays as he really can play when a guitar lover wifl le sure to get he feels the world’s a grand place to live in. them both. Smile and Sweet Sue—Rein- that “hotlicks” are not the only form of hardt and the Hot Club. Interesting to txirn to an earl, only bearable, but definitely pleasing. Rein- pretation of a good old tune, but miss. - to play, to-day, those simple, effective phrases which he uses in Sun- 107 The first side has an electrifying intro- beliavin’—Django Reinhardt and the Hot Club. This also is a fine record, with RcinharL at Decca—Django Reinhardt and the Hot Club. This is one of the very best discs issued to He is a violinist of the first rank in the world improvisation, he is rapidly becoming not &oinping at; D:rc4, This is a d ‘youmusWc
—1Tiqq !AZZ ON THE SCREEN by Reg Cooper Django on film We are indebted to Maurice Malandry, 39 Avenue du Plateau, 78990, Elancourt, France (Phone I 30505062) for marshal- ling some facts concerning Django Rein- hardt appearances on film. (JOTS December ‘91 ) The French Film La Route de Bonheur (M2573) has recently been issued on Rene Chateau Video, and it includes all the original sequences, with Louis Armstrong, Sidney Bechet, Aime Barelli, Hubert Rostaing and the insulting (sic) appearance by Django on a train amongst the passengers whilst Hubert Fol plays a gitan. A very briefglimpse, about 15 seconds, of the wartime quintet with Django and Rostaing was used in the late eighties for a four part, 200 minute French TV history of jazz. Maurice has a tape. A three minutes and fifty seconds film of the pre-war quintet was found by a French collector only last year. The origin is still unknown, but the personnel is Django and Joseph Reinhardt, Pierre ‘Baro’Ferret, Stephane Grappelli and an unidentified bassist. There is a brief comment in English, But Maurice does not believe it is a British film, as Ferret never visited England. The four named musicians were playing together and recorded for Decca just before the 1939 quintet visit. The film has been shown to Grappelli and Emma- nuel Soudieux, who was the usual bassist in 1939, but they do not recall it. Firstly it shows Django and Stephane fooling around on their instruments, while the other three play cards, then all perform together. At the time of Maurice’s writing (December) the film had not been shown publicly, but there is a possibility that it might be included in a new version of a Paul Paviot short on Django. It is a pity this discovery was not made earlier, as it would have been ideal for inclusion in John Jeremey’s Django Leg- acy feature on Channel Four last year. Maurice cannot make a copy of the tape, as he says it would be unfair to the collector, but he can ‘showthe tape and help people to meet’ . The same collector has unearthed the negative of a 1933(?) short featuring the Gregor orchestra, with a very young Grappelli on violin. Maurice adds that the VIP videos are certainly of Italian origin as the New Orleans dialogue is dubbed in Italian (JOTS, Aug ‘91).Left : Leslie Macdonnell shows Django and Mrs. Reinhardt how to get around London with the aid of an Underground map. LL Djgo Rhcinhardt, the famous guitarist of the Quintet of the Hot Club of France , A .- .. :b •‘%.. • ,—,
A new series feattiring your favourites from the past he ntetti%rnets ... 109 DJANGO REINHARDT Django Reinhardt was undoubtedly one of the world’s greatest guitarists and the ‘wildman’ ofjazz. ALLAN WARBURTON remembers the talented musician who still has a legion of loyal fans • THE PRETtY French village of Samois mate, a violinist by the name of Stephane on the banks ofthe Seine is well-loved by anglers and holiday-makers alike. But for one weekend a year it becomes a shrine to one ofthe world’s greatest guitarists - backgrounds, their mutual love of jazz Django Reinhardt. Everyjune legions offans sway to the rhythm ofjazz guitars as they gather by the Riverbank Inn. Gipsies mingle with jazz fans from all over Europe, all there to honour the memory of their idol, Django, the little gipsy boy who became the world’s greatest jazz guitarist and a legend in his own lifetime. They play his music and swap stories about the colourful genius who inspired .guitrit nd jg muician throughout the world. Although Django died in . 1953 his memory is kept alive by his dedicated followers. N BAPTISTE Reinhardt was born in a gipsy caravan at Liverchies, Belgium, on January 23, 1910. He soon acquired the name ofDjango, and was brought up by his gipsy mother in the family van on the outskirts of Paris. Gipsies love their music and the boy Django soon acquired a banjo guitar and set about teaching. himselfto play. At 1 3 he got a job accompanying an accordionist in the Paris cafes, and his skill was such that people would come just to uneducated gipsy formed a quintet with visit his favourite spot on the Seine at enjoy his music. He was becoming a well-known face brother Joseph and Roger Chaput, both Samois. He could pluck a twig from a on the music scene and the famous band- leader Jack Hylton offered to take him on tour. Unfortunately however, fate took a hand. On the night ofNovember 2, 1928 he record society which organised concerts. hastily headed for Paris leaving evLrything knocked over a candle in his caravan which caused it to go up in flames. Trying to put out the fire he was severely burned and there was talk of his leg having to’ be amputated (this he refused). The third and fourth fingers of his left hand were paralysed and it seemed - they began touring, and their first real was arrested by the Germans on suspicion that his guitar-playing days were over. It was over a year before he was able to walk again, but such was his determination that he spent the time in hospital and convalescing developing a two-finger technique, which eventually enabled him to play lightening runs up and down the frets on his guitar, and laid the foundation for the style which was to make him famous. He resumed his musical career in’ 1934, joining a large band at the Hotel Claridge in Paris where he met a soul- Grappelli. Although the two were quite unlike. when they came to London’s Cambridge each other, having come from different . brought them together to improvise on popular tunes and play Django’s own ing commitments and take to the road compositions. The cultured Grappelli and the wild, three other musicians, Django’s younger guitarists, and Louis Vola on double tree and with a bit of string and a bent bass. Their exciting jazz came to the attention ger than those caught by the other of Pierre Nourry, the Secretary General of the Hot Club de France, a The boys were named after the society and became the “LeQuintette du Hot Club do France”, a name that was to become world famous. After a shaky start on the concert scene - their music was considered too modern success came in Barcelona in 1936, where the enthusiasm was such that they gave twice as many concerts as was planned. Unfortunately the organiser absconded with the takings so they returned home penniless. The gipsy temperament resulted in several flare-ups involving band members, and on one occasion they spent the night at the local police station as a result of a fight among themselves! But the original style ofthe Quintette’s music caused a sensation among jazz lovers, and they were fast becoming internationally famous, so much so that Theatre in 1938, the tickets sold out quicker than for concerts by Duke Ellington and Louis Armstrong. GRAPPELLI was the business manager, but had his work cut . * out trying to get his volatile gipsy partner to conform to some sort of ordered existence. This proved quite impossible due to Django’s unpredictability. He v-u1d turn up late for recording sessions and appearances, due to his habit of attend- ing billiardhalls, gambling dens or amusement arcades, where he very often lost all his money. His hotel room was usually an ‘openhouse’ to his gipsy ‘brothers’,who came and went at will, eating, drinking and sleeping ‘onthe house’ the gipsy style. He never really learned how to read or write, and coulci barely sign his name. Contracts meant nothing to him. He loved flashy cars but neve bothered with a driving licce or insurance. In France he would ofteri ignore his play- with his caravan for weeks at a time. He also loved fishing and often he’d pin would soon be hauling out fish big- anglers. During the Quintette’s third British tour war was declared, and Django behind in his room, even his guitar. He also left behind Stephane, who he was not to see again until after the war. On one occasion during the war Django tried to flee into Switzerland, but ofspying and faced execution. 71
4— He was fortunate in that the corn- rnandant was a jazz enthusiast who realised who his distinguished prisoner was and freed hirn. With the end ofthe war Django set about realising one of his drearns which was to visit Arnerica. He toured with Duke Ellington with great success, and after this tour he returned home and re-formed the Quintette with Grappelli. HoWever, the younger generation were listening to new types of music. Rock’n’roll was in and jazz was out. After an Italian tour, Django decided to retire to spend his days fishing and taking things easy. After a while he began complaining ofsevere headaches and depression and one day, while chatting with friends in his favourite cafe in Sarnois, he suffered a stroke. He died aged 43 on February 16, 1953, at a hospital in Fontainebleu. The final word must go to Stephane, who says ofDjango: “Hedid more for the guitar than any other man in jazz. His way ofplaying was unlike anyone else’s, and jazz is different because of him. “Therecan be many other fine gui- tarists, but never can there be another Reinhardt, I am sure of that.” “TheHot Club Quintette” ofFrance with Stephane Grajpelli and Django Reinhardt
This is the excellent drawing of Djarigo by guitarist/artist iiz Disley,referred to in the heading to his article on page 56. 111 1. Lips, L)jango Jusf Knocked Out .j -- - . - - - . , ‘‘- ‘.‘ . . . . ? : • :‘: :.\‘, . \ b••’ .. t . ‘‘.‘-“: .: y’ ____._L’.. A:_i.’J _i Knokke-I,e Zoute, Belgium—hot Lips Page, ho wasn’t too happy about going to a town with a namiike tIii one (“I figured for aure it was going to be one sad clambake.”) Vaa bowled over by the numher of jazz enthusiasts who flocked to the New Orleans dub to hear him play. On the bill with Page wa guitariat Django Reinhardt, ahown with the trumpeter above. lips ,ays: “thatnanie—Knokke-Le Zoute—tiIl kills rue. I put it in a .oiig, it’s ao whacky.” Iii, new bluea, called Knokkui’ 1e Zoute, waa recorded in Belgium. r’. Hubert Rostaing et Django Reinhardt ont accompagrI Line Renaud Loulou Caste •t Pierre Guilemin jusqu’à l’intérieur d. I’aviou oi liz ont donna •n l.ur IIOZIDmIr une amicale auhad. d’adieu (Photo flchard-Twa-)
112 :i: had intended to enci this compilation with Diz Disley’s drawing on the previous page, but I nave just acquired a quantity of cuttings ±romJohn Bajo,arid a fine articlefrom Dave Bennett,writ-ten in 1955 by Hugnes Panassie for Hot News. Some are in bad snape, but I will include the best and most interesting. By Maurke Cullax (Ed. Note: The author of the “So ! I’ll never be able to play following tribute to Django Rein- again . . . my left hand is sort of hardt, noted jazz guitarist who dead!” died near Paris May 15, is a radio as she could and called for a doctoi. reporter who was one of the first members of the Hot Club of walked in the room. He seemed France, as well as a close friend slightly better, but later when he of the late musician.) Paris —From now on, no wanted to cross the street, to greet one will ever hear, in the flesh, some of his friends, he collapsed. Django Reinhardt, one of the One of his neighbors immediately world’s greatest musicians. When Django passed away that was tried, he did not regain he was just back from a very consciousness and died in the night. successful concert tour in Switzerland, so happy to find him- May 19 in the little graveyard of self once more at home in Samois, Samois, near the forest. A large a wonderful old village situated crowd attended his funeral. There about 60 kilometers from Paris, was his family and all his relatives, with Naguine, his beloved wife, Babick, his youngest son, and his than 100 of Samois’ inhabitants old mother. Django liked the village so much and peasants of the neighborhood, he had bought himself a nice cot- as well as most of the French tage some years ago. He would come and rest down there each and American musicians living in time he could, and everyone in too small for this assembly. Samois considered him as a real friend. Active To the Last On the eve of his death, as he expressed their condolences to Jo- came back from Switzerland, he seph Reinhardt (ace guitar player, did not feel any more tired than one of Django’s brothers) and to usual, and he was p’anning con- the family, the world-famous in- certs and tours for this summer. strument, a beautiful guitar that But, when he got up from his bed belonged to Django, was laid on the next day, at about 3 p.m., he the coffin. called anxiously for his wife, for reaved with despair and sorrow he could hardly move the limbs of when they came out of the grave- his left side ! His first words were: yard. Most of the musicians were His wife comforted him as well Django could get up and took him to the Fontainbleau hospital in his car, but in spite of all Large Crowd Django Reinhardt was buried 50-or-more gypsies, and more Paris. The wonderful little medieval church of Samois was much In the graveyard, after the as- sistants had blessed the coffin and Everybody was in tears and be- crying and sobbing. Django dead! That seemed almost unbelievable! He Was a Poet Because Django was not only a most inspired guitar player and a great music composer. He was a poet. I do not mean that he actually wrote poems, but he lived a most poetical life, taking what is the very best in everything, with genuine ability to achieve what he desired to perform. The only. thing he was not able to do was to hurt 01 to hate people. He was too great for that. He was the best of friends and loved, without restrictions, the nicest things of this world—children, flees and flowers, kindness, music, painting (he was an able and in- Sl)ired painter) , liberty—above all, iberty! This sense of liberty that all the zypsies have in them ! That is why Django did not like to stay too long in any place. To him no’thing was better than to start off on the iigh roads of France in a caravan without knowing where he would ramp or where he would stop. That was the gypsy in him. DJANGO JOINING ELLINGTON IN.’ STATES I’ J’VE got a contract in my . pocket to go to America and play a month with the 1)uke Ellington Orchestra!” So says Django Reinhardt, world-famous guitarist, according to a Basle correspondent, who flashed the news across from Switzerland, where Reinhardt has just concluded a sensational tour of the principal cities. Our correspondent heard thi news from Django himself last week-end. Django stated that he would be sail- ing for America next month, or November at latest, after he had returned to Paris and enjoyed a few weeks of complete rest. Django has long cherished an ambition to visit the States, and it is known that before the war he received many attractive offers for his services, including . one from M.-G.-M. Reinhardt says he has no settled plans after his stay with Ellington is completed, but that he intends to make film tests, which, if successful, may keep him in the U.S.A. for a considerable time to come. For the past few weeks, Django (who now plays an electric instrumeat) has been leading his new quintet on a Swiss tour. At the Stadtcasino, Basic, they made their final appearance of the series on Saturday, September 21, and were given a tumultuous reception. Line-up of the quintet is: Reinhardt (guitar) : Michel de Vilier (sax and cit.) ; Edfy Bernard (pno.) ; Alix Bret (bass); and Pierre Brun (drums), World Mourns Reinhardt’s Passing Mourners iass by Django Reinhardt’s casket.
I 14 “DJANGO”REINHART and HARRY VOLPE, world famous guitarist, gefting together for an informal jam session at Harry Volpe’s studios. Reinhart’s mel- odic ideas are sparkling and very pleasing to the ear, his virtuosity is stupefying and his fast technique on jazz passages is most outstanding. HARRY VOLPE has been one of the country’s most outstanding guitarists for many years and like Reinhart, is most versatile when playing difficult passages, either on the classics or on swing. 113 I FINISHED this book at three in the morning, got up, and sat for two hours playing Django’s records. Those unimpressed by or Un- OJANGO REINHARDT, by aware ot the lyrical beauty or Charles Delaunay; Cassell, 25s. this French gipsy guitarist would find the book a dull cue, he gave his opponents “tin- A superb composer (though he catalogue of events, its style possible “points advantages. almost amateurish, with con- tinual references to “our hero” Hot Club de France failed to and sensitive. His technique, and “the reader.” But to those who, like myselr, stabilise him; . Stephane Grappelly. regard Django (we never use the this unique pre-war group, now Club records of the ‘thirtiessecond name) as one of the few a darling of Society, taught him sound fresh and alive. Un- jazz greats, it adds a new dimention to write his own name; but le fortunately, they are the only to his music. It paints, it ham-handedlY, an his word. intimate, flrst.hand picture of a carefree irresponsible nomad who turned every home into a gipsy encampment. His was always ‘open house” engagements and go off to a ferior musicians were at last to for every Romany “cousin ‘who gipsy ‘reunion “or take hiS be augmented by a major series cared to drop In. He demanded salaries that no other French musician would dare ask and, . with Duke Ellingtofl after the when Django died of a stroke. when he got them, gambled . war he turned up for his big them away at poker or billiards. Carnegie Hall concert just as it Proud of his prowess with a jazz guitarist to approach him. Even the famous Quintet du in spite of a hand deformed by the other cornerstone of couldn’t teach him to honour records that really demonstrate Gone fishing.. Django would skip lucrative by thumpy drumming and in- caravan off on a fishing expedition. of hifi albums for a top When he toured America American company in 1953, of jazz The great gipsy was finishing. He let down the friends who tried to help him and, as a result, never got the international stardom his 1 music merited. But there has never been a could never write down a note). his music was bold, passionate a caravan fire, was fantastic.• Even today, Django’s Hot his skilL The post-war recordings on hjch he was usually drowned MIKE NEVARD ñoox A DAY
Django’s Ancient Playmates FRED R. SHARP right : Babik Rcinhardt (r) and Fred R. Sharp Fred Sharp isfrom Cleveland, Ohio in which CU)) he now leads a band. He has been in the music business for a number of years, and played guitar with the orchestras led by Jack Teagarden and Red Norvo. On a recent tour of Europe Mr. Sharp was presented by Django’s son Bahik with the instrument his father played on his American concert tour with Duke Ellington in 1946. He and Babik recorded in Paris whilst he was there, the vocals being handled by his wife Iris. The records will be released later this ‘earby Disques Vogue. Much has been written about Django Rcinhardt; his style, his virtuosity, his infirmity and his contribution to the world of jazz. The purpose of this writing is not to reiterate these things, but instead, to tell you of the whereabouts and whatabouts of some of the musicians and friends who were closely associated with him. On a recent trip to Paris and London, I interviewed presence that can be felt, as well as heard. He speaks only some of these ancient playmates’. Louis Vola, the bass player with the original Quintette Du Hot Club De France, is living in Paris and plays nightly at the He is currcntly actively writing for French films and has two Sheherazade. An affable, Maurice Chevalier type of man, he talks glibly of his fifteen year old granddaughter who plays the his telephone never seems to stop ringing with new work piano and can relate many tales about Django. He really knew assignments. ‘.VhenStephane Grappelli left the quintette, Django the longest, starting at Toulon, where Vola had a band. He heard the two gypsy brotheis, Django and Joseph playing on thebeach one night and inviled them to jam after hours with some of the members of his band. One member of note was Stephane Grappelli. Vola subsequently moved to the Palm Beach Hotel at Cannes and hired Django alone, as an listening in the next room. accompanist for his own accordion. Later, when Vola switched to bass, he hired Eugene ‘Nanine’Vees, Joseph Reinhardt and Stephane Grappelli, in addition to Django—thus the Quintette as the old quintette and is Finally sharing some of his brother’s Du Hot Club Dc France was born. Shortly after it was started on its recording career by Charles Delaunay and Pierre Nourry. glory. He plays extremely well. with a tone and a style akin to Gerard Levecque, clarinettist, is now living in a Paris suburb and writes original music and arranges for many French recording sessions and stage shows. He scored the ‘GuitarsUnlimited’ album for Columbia, which is a remastering of solo Django with four guitars and a new rhythm section. He is very much in demand and is still employed full time in the music business. Gerard is quite perturbed, that the Django Reinhardt Grand Prix of 1962. Michelot went with ‘Voiceof America’ is no longer broadcasting late night jazz overseas. This writer is taking steps to see that this is restored. Gerard speaks both French and English, as does Louis Vola. Emmanuel Sodieux, who played bass with the quintette in the later years, buzzed over to our tileeting on a fine new French motorcycle. He runs his own radio and television sales and repair service now and plays music very little. As with the . other musicians, he is still very much a follower of jazz. He is not at all fond of rock, as are some of the others, but this is only natural inasmuch as he is not in the music business and consequently he has not had occasion to play, listen and absorb but confided to me that he would really like to call London the newer music. Sodieux is the most ‘French’looking Frenchman, with a maximum of Joi De Vivre, a ruddy, shining complexion and a French, as does clarinettist Hubert Rostaing, who lives in a delightful decorator’s dream Paris apartment on the Rue Artois. He now only records and mostly concert music at that. lilins playing in Paris at present. A confirmed chain smoker, Rostaing replaced him. He made many recordings with them and when he finally left, ‘,asreplaced by the then eighteen ear old Gerard Levecque. Gerard, b’ the way, was auditioned without his knowing it. He was invited to jam, backstage, at a club in which Django was playing. Rostaing had Django J oseph Reinhardt, Django’s guitar playing brother, has recorded a new album recently, with the same instrumentation Django’s, but mimore reserved. Maybe cautious is the better word here, because he plays shorter versions of Django’s sweeping phrases. There is, however, a very definite ‘gypsy’feel to his in usic. Pierre Michelot, the final bass player in Django’s lifetime has been selected as the leading bassist by the readers of JAZZ HOT since 1952. The jazz academy of Paris awarded him the Lester Young and Miles Davis on the Birdland tour and also played the Blue Note in New York with Stan Getz and Chet Baker. At present and for the past few years he has been with the Jacques Loussier Trio, playing throughout the United States. Stephane Grappelli. violin. It seems that Stephane is just starting his second career, for following his first success as a part of the Quintctte Du Hot Club De France, he is now l)ecorning even more famous as a freelance jazz violinist. Stephane is of Italian decent, living most of his life in France, his home. He has three apartments. one in Paris, one in 10
Chartics and one in London. it would he incorrect to say that Stephane merely recorded with a variety of musicians, for that could iinpl that he took i soinc’hat secondary roI. Fhis is by no neans true for IllOSt of the iiiusidaiis who have recorded aged 75, started producing an exact copy of the original, with him, speak of it as one ot the iizwst experiences of their lives. The list •is long aic1 iIl(:1LI(ICS Car)’ Burton, Barney Kessel, Sununerlield of England using the same rare rosewoods and Kenny Clark, \‘eh udi ?vlcn ub in, Svcn Asniussen, J oc Venuti, and many others. As a guitarist myself. I treasure the memory as one of ii uincst hours i’hen I P11YCC1 vitl- hiiii one night at the Iaris Hilton Hotel. Grappefli ieccntlv made a tour of the U.S.A. with his own group. including 1)iz Disley on guitar. \“ogue Records in France, he is responsible for re-mastering Dislev was a friend of Django’s and piays somewhat in the Django style. Concerning the gypsies that played with Django, such as Eugene \‘ees and Pierre Ferret. their bereahouts are relatively bOOkS 00 1)jaiigo. ‘fhiswriter was privileged to make a con- unknown—some are in the south. I tiiecl to locate them, but the romantic gypsies are like l)utterfiics; when the flower closes, they fly away. However a word about them is in order here. Most of them claim blood relationship with Django— some probably have. Most are guitarists and play in his style and it is unfortunate not to have more complete information on them. A word now about Django’s son Babik, ‘earsold. He plays excellent guitar, with a flawless technique, hut not in the Django style. After all, he was hut nine years old when his father died. His playing is a mixture of C;eorge Benson and Ves Montgomery anti needless to say, that’s lOt bad. This account would not be complete, without mention of the instrument that Django, aiul all members of the quintette, selected as an outstanding world authority, to read a paper at played. It was, in fact, a French Selmer.Maccaferri designed b Mario Maccaferri, a concert guitarist who developed an unusual art and science who have strongly contributed to American instrument with an internal resonator—a kind of a guitar ‘ithina guitar. In coinpan V W th onie friendis, he proffered his designed to Henry Seliiier of Paris, who set up a plant to manufacture the instrtiment. Within a few years the a(Cafe)1i 1 e:aine the io st P ul ai p ( )feSSiOIi U 15 gLil tar iii Europe. Production on th instrument was halted in the late thirties and none have been made uniil last year, when Mario, l1(’IOZL) (1 tO r) : Einmazuicl SxIicu.”, Ocrard L’ccquc (:1I 1)cla ijc, I ii is \ Ia calling it the ‘CSLGypsy. The guitar is iiow manufactured by spruces. Lastly, the man who had the good sense and vision to ‘givea (lallill’ about all this, my very good friend of twenty years, Monsieur Charles Delaunay. Through his affiliation with and re-issuing much Django, drawing upon a Jot of material from his own iinniense private collection. Delaunay, author of iior nIscocR.PHv, has written many tribution to ‘DjangoMon Frère’—and if anyone knew Django as intimately as a brother that person was certainly Charles. Besides Vogue Records, Dclaunav also pUblishes the leading French jazz magazine JAZZ hOT. A prolific writer, as well as an accomplished artist, the son of Sonva and Robert Delaunay, whose works hang in the Paris museum of niodern art, the Stedelijk niuseum in-Amsterdam, the Guggenheim museum in New York and the Philadelphia museum of art. Monsieur Delaunay has been invited by the United States government to visit Washington D.C. in Septemher, I ()7(), tO participate in the celebration of our bi-centennial year. For his part in the discographical perpetuation of jazz music, much of vhich is .-\merican in origin, he has been these festivities, along with other world notables in the field of and world culture. So there voti have it. Some artists have been left out I’m sure, bUt vhat has been vritten here was long overdue. While Django Reinhardt is legend, all of the ‘ancientpla’’mates men tioned and unrnen tioried, have also con tributed to the legend of the two fingered French gypsy guitarist, who himself contributed euough to change the world of jazz music. iE/- ‘11
May, 1935 HOT NEWS RED-HOT STRINGS . . . . By HUGHUES PANASSIE Anything new in the way of instrumentation and made a good deal of use of his services the middle part of “Sweet Sue “in the first is unusual to-day, though very much while in Paris. In his H.M.V. record of of his two choruses, and to the passage that needed. That, perhaps, is one reason why ‘, Stardust ‘‘he plays tenor accompanied only immediately follows. In Confessin’,” you the string quintet of the Hot Club de Paris by guitar and piano, the latter by Stephane will notice the charming and graceful melodic has aroused so much enthusiasm in France since its formation in November last year. Grappelly, who is also an excellent pianist. invention of his playing. Exquisite improvisation This little outfit is made up of a fiddle, three I have ever heard. He plays in a sober guitars, and a string bass, the instrumentalists style, often reminiscent of the Chicago style, being : Stephane Grappelly, violin ; Django and all his solos have terrific swing. His records : “Dinah “—“Lady be Good,” Reinhardt, Joseph Reinhardt and Roger tone is extraordinarily beautiful, certainly AP1422 ; “I Saw Stars “—“Tiger Rag,” Chaput, guitars ; and Louis Vola, bass. The quintet gave several concerts and was more so than Venuti’s or any other hot AP1423 ; “Confessin’ “—“The Con- heard by the Hot Club do France, which fiddler’s. But this does not prevent him tinental,” AP1443 ; “Sweet Sue “—“Lilly arranged for eight sides to be made by the from using a hot vibrato which has a vicious- Bell May June,” AP1444. I hope that you Ultraphone Company. These were a revelation ness comparable with the dynamic quality will try to get them, for it would be a great to both fans and public alike, who were pf Louis Armstrong’s playing. intrigued by the remarkable and unusual too, improvising the most ravishing phrases tone. it has two remarkable soloists : Stephane without a pause, though always decidedly and Django. The rhythm section is terrific, hot. A know few hot musicians whose solos both on account of its swing and the admirable shine with such melodic richness. He also musicianship of its members, but it is has the gift of being able to phrase in a about the style of the two soloists that I clean and logical manner. You will notice want to talk particularly. France, a country that has rarely produced ‘,i)inah “; in my opinion, two of the most well-organised bands, is by comparison lucky beautiful choruses ever recorded. There is a 4WiA/ -2D ‘i&in the possession of a number of first-class hot wealth of ideas, an inspiration, a vivid soloists : musicians like André Ekyan, alto rendering, that one finds all too rarely. and clarinet ; Noel Chiboust, trumpet ; Alix Stephane is that he never seems to have any Coinbelle, tenor ; Stephane Mougin, piano off moments. Even in a frigid atmosphere ( now in America). I have not mentioned which would discourage most, his playing . is age of 9 learning from his father, who Leo Vauchant and Philip Brun, both of still as enthusiastic and fiery as when he is whom are well known to you in England nlaving in the most favourable circumstances. plays several string instruments, primarily and who have surprised leading American It has been said of him that he is hot from musicians. : Django and Stephane can certainly . head to foot : he just cannot be anything dance band at Virginia Polytechnic in- be classed amongst France’s most but hot. In this he resembles Louis, Bix, stiute and later gained valuable experience outstanding musicians. These two musicians have one great point Frank Teschmaker, Jack Teagarden; Jimmy in common : they admire Louis Armstrong Harrison, and a few others ; musicians who above everybody and are deeply influenced are hot if they only play a single note, by him. You will notice this influence in their records, particularly in ‘‘Confessin’ .“ soloist came nearest to the greatest hot Byrd as “areal good guitar player.” Django’s style is quite opposed to that of musicians, I think I would reply : Stephane Eddie Lang. The two have nothing in Grappelly. He has given me some of the War II, Byrd heard and met Django common, and it is impossible, therefore, to greatest musical thrills of my life. compare them. Django improvises flowery phrases in a passionately artistic style, and shows on many occasions a strange charm to Venuti. I will not argue the point for that is a decided contrast to Eddie Lang’s fear of being accused of prejudice in favour more compact style of playing. In soft and of one of my own countrymen, but I can slow numbers he plays with unbelievable truthfully say that even though Venuti has pick technique of anyone who ever lived, delicacy. Here I must mention what Made- undoubtedly great ability, from the hot point leine Gautier wrote about Django, referring of view he ‘‘sends ‘‘me in very few records. which was the balancing factor against to his playing at a concert given in Paris on I only like “From Monday On “and “My his crippled left hand.” February 24 : “In living simply, cleanly, Baby Came Home, ‘‘with Red McKenzie; and brightly, he expresses himself on the ‘‘Humpty Dumpty, ‘‘with Trumbauer ; and guitar in a style that is powerful and alive, and of extreme ingenuity. His exquisitely polished solos have a remarkable depth of and his melodic ideas either devoid of player,” he continued. “Heplayed hght and shade as vell as excellent con- inspiration or too full of Italian • sentimentality. loud. There was no pussyfooting struction .“ In the records made by this quintet— as being in the same class as such great around. He also had all kinds of speed records that are perhaps the best pure hot soloists as Louis, Hawk, Teagarden, Hines, and always precise speed. His was a records ever made by European musicians— Sullivan, and so on, in the way that others, completely individual approach to jazz, Django is at his best in ‘‘Dinah,” ‘Lady be especially “Mike,” have done. Good,’ ‘‘‘Confessin’ ‘‘and ‘‘Sweet Sue. ‘‘I particularly recommend the first two men- me the same pleasure that these great heard . . . I took part in lots of good tioned. In ‘‘Lady be Good ‘‘he has most musicians do. He is my favourite hot original and tasteful ideas, and his solo— violinist, comparable with Juice Wilson, of sessions in Paris with Django and Nick two single-string choruses—is full of sparkling whom little is known but whose worth is phrases ; full of inspiration that electrifies the listener. From the rhythmic and harmonic point of a little while ago. It is his best, but in added that ‘chordsymbols didn’t mean view, Django is no less exceptional. His , ‘Sweet Sue “and “Lilly Bell “his solos much to Django, but once he went chorus in ‘‘Dinah ‘‘Is terrific. At the beginning of the second fiddle chorus he plays are just astounding. In these two number through a song, he had it.” a series of chords in one movement that give it an irresistible swing, while between the sixth and ninth bars of the same chorus his harmonies are as grand as they are unexpected. Hawkins is a great ac.tmirer 01 i)Jango Listen to the manner in which he embroiders Stephane is one of the finest hot musicians He has a real genius for melodic invention, pity if English musicians were to miss these all these qualities in his two choruses in The most extraordinary thing about If anybody asked me which European I have been asked whether he is superior ,, Jig Saw Puzzle Blues,” with the . Blue Five. In nearly all the other records he made his playing seems to me monotonous I have never looked upon him Stephane, on the other hand, often gives immense. I mentioned Stephane’s solo in ‘‘Dinah” he shows remarkable speed and strength. of the highest quality is also to be found in the first chorus of I Saw Stars.” Here are the titles and numbers of these marvellous soloists. Charlie began playing guitar at the the mandolin. Charlie played in the in an army show band in Europe directed by Marty Faloon, described by While in Paris toward the end of World Reinhardt, whose enormous skill amazed him, then as now. Charlie pointl out that Reinhardt had “aterrific ear” as well as “thebest “Andhe was a real unamplified gui- tar player, an acoustical guitar and he was the only completely identifiable un-American jazz player I ever Travis, then with an army band.” Byrd
DOWN BEAT British Leaders Dig Music Here On Visit New York—Last month’s iiaiden arrival of the Queen Elizabeth as a luxury linei’ brought the first four of what is hoped will be an ever-increasing flow of European anti Ameneati musical interchange. English band leaders Bert Am- brose, Jack Hyltoii, and Gerald Bright (better known as Geraldo) hit these shores for what they termed “vacations”and “look-seebusiness trips”. Along with theni was famed French guitarist Django Reiiihardt, here for a series of con- certs with Duke Ellington. Ilis first appearance was in Cleveland Nov. 4, then the Down Beat-s1)oIIsore(1 concert in Chicago Nov. 10. The flashy stringster will be heard for the first time in New York Cit Nov. 23 and 24 when the Elliiigioii group plays two Carnegie Ilall con- certs. Reinhardt hit the gossip colun-ins here when he asked for Dizzy Gillespie’s whereabouts, being quoted as saying Gillespie was the greatest trumpet player of all time. Jazz Of 1950 Actual incident occurred in the office of Lou Wilson, Morris Agency booker, when Wilson phoned Billy Shaw, Gillespie booker, to ask where the Diz was playing, and Reinhardt said in the background, “C’estle jazz de dix-neuf-cents c i n q u ante” (the jazz of 1950). Ojango playing billiards at Samois, 1952
118 \
IT has been said so often of somebodys death that “itmarks the end of an era,” that I hesitate to make such a claim for the 1)reature of Django Rein- hardt. And yet, something at least has ended with Django, if not an era, at least an attitude. ‘WhatDjango represented was the exotic in jazz: he was a gipsy whose natural habitat was not the covered wagon with s’hich his people roam the open roa(i in Europe but a Paris cave; his left hand was limited to three workable fingers, the others having been burned in an accident; ivith his debonair mustaches and pompadour haircut, he looked like nothing so much as the cellar-dwelling apache late- hour tours set out to hunt each summer night iii Paris. Django brought to jazz something less than the “instrumentaltechnique . superior to that of all other jazz guitarists” and the “stupefying”virtuosity that modern jazz with French boppers, and had Hugues Panassie claimed for him. In his own time, Eddie Lang, Freddie Greene, Billy Bauer, Al Casey, and of course Charlie Christian outplayed hhri at rhythm guitar, solo guitar or any combination of the two. Not even the greatest of these, Christian, was capable of Django’s romantic fillips, however. This isn’t the peak of guitar achievement in jazz, but it is real achieve- ment and it was Django’s. Django produced a sound on the unamplified guitar that was like nothing so much as a mandolin. Mandolins make romantic noises. Mandolinists tb not move as swiftly as Django did, nor do they often reach beyond a simper for their romantic effects: Django eschewed the simper in favor of the beat. It was, for its time, a considerable beat he managed with Stephane (;ral)l)elly’s sweet fiddle ail rhythm sections that were more or less on the sour side. 1 mean the late ‘thirties,when I)jango flourished, in person abroad, on record here. It’s true that in the last year or so he had been playing substantially recorded a few fair examples of his prowess in the last-but-one jazz style, but it isn’t 119 for these efforts that Django will be remembered. Django and the Quintette of the I-lot Club de France (Django and Grappellv anti the aforementioned rhythm section), made a series of records of quality that Decca and Victor have stored away in their vaults. With Eddie South, Django made several that Victor should have too. His death may act as the spur to reissue of the best of these recordings. The best would be Djangology, ?1inor Swing, St. Louis Blues and You’re Driving Me Crazy with the Flot Club, Eddie’s Blues, Sweet Georgia Brown and any of the sides he made with Eddie and Grappelly for Panassie’s Swing label that Victor or Decca could import. Django was born in a caravan on January 23, 1912, in Liberchies, Belgium, and named Jean Baptiste Reinhardt. More or less self-taught, he very early played violin and guitar in public. It was while he was still a child, attached to the caravan, that a fire in the wagon in which lie lived burned two fingers of his left hand. He came to the attention of French musicians when he was playing with gipsies in encampment at the edge of Paris. 1-us first orchestra work was with Andre Ekvans hand in Paris. Shortly afterward, he and Grappelly formed the Quintette which, as the Italian Enciclopedia del Jazz says. ‘siafiermo subito come ii lno ed ii miglior coiriplesso jazz del continente,” immediately showed itself the number one and the best jazz group on the continent. That first year of the Hot Club Quintette, Django drew great superlatives. “Quanta Jungo Reinhardt,” Ranassie said in his celebrated 1934 volume, Le. Jazz Hot, “c’estun guitariste aussi fort, tant au ixnnt de vue soutien qu’au point de vue solo, que les meilleurs speciahistes americains.” In spite of the misspelling of his name, the rating was very high: “Asfor jungo Reinhardt, he is as poTerful a guitarist, as much from the supporting point of view as from the solo, as the best American specialists.” After the var, Django formed a Quintette again, but not SO successfully ;i car- her, and in 1946 came to the United States for a brief tour. In this country, he lacked the sU)porting musicians he necde(I all(1 the right playing atniosplwre. I)jango Reinhardt is-as, after all, a European jazz- man. From gipsy wagon to Paris cellar, his background was strictly of his native con- tinent and the nusic lie pro(Iuced owed its existence almost entirely to that back- ground. His short career proved at the very least that jazz can take roots away from America and even grow to some maturity. The loss to European jazz, which so rarely shows the individuality of a l)jango Reinhardt, which so often is nothnig more than slavish imitation of Amen- can prototypes, is enormous. A django reiiihardt 1912-1953 —BARRYULANOV METRONOME
120 A better picture of Django than the one used on page 1 1 7 , just received from John Bajo.
A PREVIOUSLY UNPUBLISHED PHOTOGRAPH OF DJANGO , BY COURTESY OF FRED R. SHARP 121 Left to right—Willie e:ron,Dnmer with the (.RELLLIi$ 8th US Army Air ‘orceband. Django— Ely Stoke Manager of the GhEWii$ 8th US Army Air Force band. It was often rumoured in tne 30’s that Django could hold a note or notes on the first or second string with his second finger, and. play a note a fret higier up the fingerboard by crossing his first finger over the second finger . Mariy $aid it was impossible to do at tempo, but if you look closely at the pnoto on page 60 you will see Django doing just that. Not, I may add, tie only impossible performance by Django. ,Doing easily what others find difficult is talent; doing what is impossible for talent is genius. Henri4’rederic Amiel. 1821...1881. Django Reinliardt Available from all good music shops... Django Reinhardt (Jazz Masters) Guitar Styles of Django Reinhardt A Treasury of Django Reinhardt Guitar Solos Django Reinhardt: Charles Delauney Biography ...or direct from: Music Sales Limited Distribution Centre: Newmarket Road, Bury St. Edmunds, Suffolk P33 3YB. Telephone: 01284 702600 Fax: 01284 768301 Web: http://wwwmusicsales.CO.Uk e-mail: music@musicsales.co.uk AM73925 AM934285 AMP00254 —IIIlJIE1IQUALITY JAZZ CD’S • Cassettes . Videos • Books Tutors Strings SEND S.A.E. FOR LATEST LIST OF FRET PRODUCTS DJANGO’S GYPSIES THE MYSTIQUE OF DJANGO REINHARDT AND HIS PEOPLE. Compiled by Ian Cruikshank £18.00 inc. P&P in ilK. 31 Grimmer Way Woodcote Reading Berkshire RG8 OSN U.K. ,II & Fox: 01491 681021
122 ACKNOWLEDGEMENTS I have nade every effort to obtain the source of the articles and photos used in this compilation, but some have been impossible to locate owing to the age of the cuttings. Key to abbrevations: B.M.G.—Banjo,Mandolin & Guitar Magazine,courtesy of Music Sales Limited. J.J.I.— Jazz Journal International,courtesy of Jazz Journal Ltd.,—M.M.--The Melody Naker,courtesy of The Melody Maker.A.R.R. —All rights reserved. Page Cover 1 2 2 3 4 5 6 6 6 7 8 9 9 9 10 10 11 11 12 12 12 13 14 14 14 15 15 16 17 18 18 19 19 20 21 22 23 24 25 26 26 27 28 29 30 30 31 32 Publication Unknown I, I. I, B.M.G. I, N.M. M.M. M.M. Time Magazine Bandwagon M.M. M.M. M.M. Gent. B.M.G. B.M.G. Fretted Harmony Terry Usher B.M.G. Fretted Harmony Terry Usher Jazz Express Jazz Express Author Te& Cherrett Henry Kahn Ellis Gruber Max Jones & Sinclair Traill. Editorial Unknown - A.R.R. Unknown - A.R.R. Editorial Malcolm Mitchell Editorial Unknown —A.R.R. Laurie Henshaw Laurie Henshaw Sam Adams Source of photograph Unknown. A.LR. Both unknown..% .R .R. Top-.Unknown A.R.R. Lower—Vern Hansen. A.R.R. Both unknown- A.R.R. ,op— Rex Harris Lower right— Herve Derrien. Others unknown- A.R.R. Photos unknown-A.R.R. Unknown-.A .R.R. Unknown-A .R.R. Top photos unlaiown - A.R.R. Photo unknown —A.R.R. Leonard Halpern Unknown - A.R.R. Photo unknown —A.R.R. Unknown - A.R.R. Unknown - A.R.R. Laurie Henshaw ,j I, Unknown-A .R.R. N.M. M.M. Editorial M.M. James Holloway Swing record label—A.R.R. Oriole record label—A.R.R. Blue Star record label—A.R.R. M.M. Editorial M.M ‘IN.M. II N.M. N.M. N.M. Django with Stephane—Duncan P .Schiedt—Others unknown,A .R .R. h1OWfl Beat” Club- Unknown-A.R.R. Unknown A.R.R. Jack Marshall —N.M.Photo. Chiswick Empire Theatre —Programme Sept 1 2th 1938 Chiswick Empire Programme April 5th 1948 B.M.G. Laurie Henshaw Harry Volpe N.M. Cambridge Theatre Prograrme Django-Tronchet . Stephane—Unlaiown A . R.R. M.M. Cambridge Theatre Programme Unknown—A.R.R. N.M. Cambridge Theatre Programme Unknown-A.R.R. B.M.G. Terry Usher Decca record label, A.R.R. N.M. Laurie Henshaw 3.M.G. John A. Walker B .M.G. II II N.M. N.M. Top—Herve Derien, Lower—Unknown-A .R .R. Unknown-.A .R.R. Top—Unknown A.R.R. Lower—I Bluinenfeld Ivor Mairants Django-Unknown.A.R.R. Trio-M.M.Photo Chorus of “AintNiha” by courte sy of E.M.I. Music Publishing Ltd / Redwood Music Ltd. Hugues Panassie Photos unknown-.A.R.R. Hugues Panassie Lower right-Herve Derrien. Others unknown- A.R.R. Top 4,Herve Derrien.Djahgo—Un-A.R.R. 33 N.M. Henry Kahn
M.M. Unknown-A.R.R. M.M. M.M. M.M. Unknown-A .LR. M.M. M.M. M.M. M. M. M.M. 14. M. M.M. B.M.G. 13 • M.G B.M.G. B.M.G. B.M.G. 13.M.G. 3.M. (. 13.M•G. :B•M•G. )3• M.G. M•M. (uitarist Guitarist M. M• M.M. UnknownA .R•R. Unknown-A .R•R. Unknown-A .R.R. B.M.G. Jazz Journal ]3.M.G. M.M. Unknown..&R.R• ,I 1$ M.M. B.M.G. B.M.G. B.M.G. B.M.G. B.M.G. Fretted Harmony Len Williams Photo unknown-A.R.R. II II Jazz Journal II II ]3.M.G. Fretted Harmony Ernie Dix M.M. M.M. Unknown-A .R•R. I, M.M. M•M• Daily Mirror M•M. B.M.G. M.M. M.M• Daily Mirror M.M. M.M. M.N. Max Jones Henry Kahn Max Jones Henry Kahn Unknown.-A .R.R. Stephane Grappelly Top-.Lower.-Unknown-.A .R.R. Stephane Grappelly Top—From M. M.Piles—Lower-.Unknown- .R .R. Stephane Grappelly Photo unknown- A.R.R. Stephane Grappelly Top-Unknown—A .R .R. Lower-Herve Derrien Stephane Grappelly Unknown-A .R.R. Max Jones Sinclair Traill A.P.Sharpe A. P. Sharpe Jack Duarte Jack Duarte Jack Duarte Allan Hodgkiss Allan Hodgkiss Charlie Scott Roger S.Baxter Roger S.Baxter Diz Disley Ian Cruickshank Ian Cruickshank Ollie Stewart Ollie Stewart Ollie Stewart Douglas Peel Unknown-A .R.R. Douglas Peel Editorial Bob Rovia SI II Ken Sykora Billy Neill & E.Gates ti II II II ,, I, II II I, ti II Editorial Ivor Mairants Ken Sykora Charles Delaunay I, II Jerry Reed Dennis Detheridge Evelyn Briggs Laurie Henshaw Unknown-A .R.R. Max Jones Henry Kahn Editorial Max Jones Diz Disley Max Jones Unknown-A .R.R. Photos unknown-A.R.R. Tronchet Unknown.-A .R .R. Photos unknown-.A.R.R. 123 Top & Lower,Unknowu-A.R.R.—Decca photo. Top & Lower,Unknown—Django—Herve Derrien Top- Herve Derrien. Lower-.Unknown-A .R.R. Herve Derrien. Small Photo—Unknown-A .R.R. William Gottlieb/Redferns Top—Unknown-Lower-Jack Marshall Top-Unknown-Lower-Jack Marshall Top left-Decca-Others unknoxn—A.R.R. Top-Unknown-A.R.R. -LowerJack Marshall Decca Photos unknown-A.R.R. Photo unknown-A.R.R. Illustration-. Michael Corkrey 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 65 66 67 68 68 69 70 71 72 73 74 75 76 77 77 78 79 79 80 81 82 82 82 83 83 84 84 85 85 86 86 Dr Dietrich Schulz—Koehn ‘IIs IS Top-SI . Blumenfeld—Ctr—H.Hartmann—Un—A .R.R. Top-.Unknown--A .R .R. -Lower—I . Blumenfeld Unknown-A .R.R. ft ‘I1? II - Photos uriknown—A.R.R. II If Herve Derrien Albert Mccarthy Unlaiown—A.R.R. ti II Photos wknown-A.R.R. Photos unknown Doreen Spooner Django photos unknown-A.k.R. Top-. Vandamme Centre—Herve Derrien
86 87 87 88 88 89 89 89 90 91 92 93 94 95 96 97 98 99 99 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 113 114 115 116 116 117 118 119 120 Ivor Mairants Dave Lanning Max Jones Max Jones Edgar Jackson Editorial Editorial Laurie Henshaw Max Jones Ken Couper Mike Nevard Unknown-A.R. R. Unknown-A. R. R. Unknown-A . R. R. Unknown.-A . R.R. Unknown..A . R. R. Geoff Chapman Mark Carlyle Jack Higgins Chris Evans Chris Evans Max Jones Terry Usher Reg Cooper Allan Warburton Allan Warburton Diz Disleyçsketch) Maurice Cullaz Unknown-A .R.R. Mike Nevard Fred R.Sharp Fred R.Sharp Hughues Panassie Charlie Byrd Editorial Barry Ulanov Lower.-Unknown-A .R.R. Top—Jack Marshall Unknown-A .R .R. Photos unknown A.R.R. Photo unknown A.R.R. Sketch by Mal Dean Photos unknown-A.R.R. Photos unknown-A .R . R. Photos unknown-A.R.R. Larry Adler—Howard Coster Photos unknown-A.R.R. Sketch unknown-A.R.R. Unknown-A.R.R. Unknown-A .R.R. Photos unknown-A • R. R. Unknown-A • R. R. Unknown-A .R.R. Photos unknown-A.R.R. Photo courtesy of Fred R.Sharp 124 Artwork unknown-A.R.R• Vandarnine M.M. Unknown-A . R. H. M•M• M. 14. M.M. Evening News Daily Mirror M•M. N.M. M.M. N.M. Columbia Decca Vogue Vogue Rarities His Masters Voice His Masters Voice Jack Higgins Rarities record label—A.R.R. Columbia record label—A.R.R. The Guitar Magazine—Maurice J.Summerfield Photo unknown—A.R.R• Unknown-A.R.R. Unknown-A.R.R. Unknown-A. H . H. Top-Vandamme-Centre-Herve Derrien Jazz Journal Unknown-A.R.R. Jazz Journal Jazz Journal N.M. B.M.G. Jazz Journal Yours Magazine Yours Magazine N.M. Unknown-A . H. H. Unknown-A . H. H. N.M. Unknown-A . R . H. Unknown-A . H .R. Hot News Hot News Down Beat Unknown-A. R.R. Metronome Unknown-A H. H. Unknown-A . H. H. Lower right-Jack Marshall—UnknownA.R.R. Photo unknown-A.R.R. Photos unknown-A.R.R. William Gottlieb/Redferns Decca/Max Jones Files—Redferns Photos unknown-A.R.R. Photo unknown-.R.R. Photo-Harry Volpe 121 Quote by Henri—Frederick Amiel