Django Reinhardt – Avec Django À Montmartre (2024)
FLAC (tracks) 24 bit/48 kHz | Time – 53:55 minutes | 299 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Jube Legends
The history of Django, Stéphane Grappelli, and the Hot Club de France, are intimately linked to that of Montmartre.
This district known as the stronghold of the artists-painters of the beginning of the century is also that of the places which welcomed Django, Stéphane and all the gotha of jazz until the fifties.
The two friends stayed and worked there, since the places among the most emblematic of jazz of the pre-war years were not far away…
The gypsy master had created his own club there “the Trailer” just below Pigalle, the violinist, he lived in the rue d’orchampt, then the rue de Dunkirk until the end of his life.
Today, a unique atmosphere persists there which still reminds us of the village that it was then and it is only natural that a musician wishing to recreate in this style makes a passage there to seize the inspiration…
It is therefore an honor to direct this first edition of Django in Montmartre, or should I say, Django and Stéphane in Montmartre!
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Django Reinhardt – All that Jazz, Vol. 127: Django Reinhardt & Friends: “Hot Club Memories” (2020 Remaster) (2020)
FLAC (tracks) 24 bit/48 kHz | Time – 01:11:26 minutes | 705 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Jube Legends
Reinhardt’s most popular compositions have become standards within gypsy jazz, including “Minor Swing”, “Daphne”, “Belleville”, “Djangology”, “Swing ’42”, and “Nuages”. Jazz guitarist Frank Vignola claims that nearly every major popular-music guitarist in the world has been influenced by Reinhardt. Over the last few decades, annual Django festivals have been held throughout Europe and the U.S., and a biography has been written about his life. In February 2017, the Berlin International Film Festival held the world premiere of the French film Django.
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Django Reinhardt – Django Reinhardt Volume II (1969)
FLAC (tracks) 24 bit/96 kHz | Time – 28:18 minutes | 435 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Archive of Folk & Jazz Music
Jean Reinhardt (23 January 1910 – 16 May 1953), known to all by his Romani nickname Django (French: [dʒãŋɡo ʁɛjnaʁt] or [dʒɑ̃ɡo ʁenɑʁt]), was a Belgian-born Romani-French jazz guitarist and composer. He was the first major jazz talent to emerge from Europe and remains the most significant.
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Django Reinhardt – Django Reinhardt (1967)
FLAC (tracks) 24 bit/44,1 kHz | Time – 39:29 minutes | 387 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Archive of Folk & Jazz
Django Reinhardt was the first hugely influential jazz figure to emerge from Europe – and he remains the most influential European to this day, with possible competition from Joe Zawinul, George Shearing, John McLaughlin, his old cohort Stephane Grappelli and a bare handful of others. A free-spirited gypsy, Reinhardt wasn’t the most reliable person in the world, frequently wandering off into the countryside on a whim. Yet Reinhardt came up with a unique way of propelling the humble acoustic guitar into the front line of a jazz combo in the days before amplification became widespread. He would spin joyous, arcing, marvelously inflected solos above the thrumming base of two rhythm guitars and a bass, with Grappelli’s elegantly gliding violin serving as the perfect foil. His harmonic concepts were startling for their time – making a direct impression upon Charlie Christian and Les Paul, among others – and he was an energizing rhythm guitarist behind Grappelli, pushing their groups into a higher gear. Not only did Reinhardt put his stamp upon jazz, his string band music also had an impact upon the parallel development of Western swing, which eventually fed into the wellspring of what is now called country music. Although he could not read music, with Grappelli and on his own, Reinhardt composed several winsome, highly original tunes like “Daphne,” “Nuages” and “Manoir de Mes Reves,” as well as mad swingers like “Minor Swing” and the ode to his record label of the ’30s, “Stomping at Decca.” As the late Ralph Gleason said about Django’s recordings, “They were European and they were French and they were still jazz.” A violinist first and a guitarist later, Jean Baptiste “Django” Reinhardt grew up in a gypsy camp near Paris where he absorbed the gypsy strain into his music. A disastrous caravan fire in 1928 badly burned his left hand, depriving him of the use of the fourth and fifth fingers, but the resourceful Reinhardt figured out a novel fingering system to get around the problem that probably accounts for some of the originality of his style. According to one story, during his recovery period, Reinhardt was introduced to American jazz when he found a 78 RPM disc of Louis Armstrong’s “Dallas Blues” at an Orleans flea market. He then resumed his career playing in Parisian cafes until one day in 1934 when Hot Club chief Pierre Nourry proposed the idea of an all-string band to Reinhardt and Grappelli. Thus was born the Quintet of the Hot Club of France, which quickly became an international draw thanks to a long, splendid series of Ultraphone, Decca and HMV recordings. The outbreak of war in 1939 broke up the Quintette, with Grappelli remaining in London where the group was playing and Reinhardt returning to France. During the war years, he led a big band, another quintet with clarinetist Hubert Rostaing in place of Grappelli, and after the liberation of Paris, recorded with such visiting American jazzmen as Mel Powell, Peanuts Hucko and Ray McKinley. In 1946, Reinhardt took up the electric guitar and toured America as a soloist with the Duke Ellington band but his appearances were poorly received. Some of his recordings on electric guitar late in his life are bop escapades where his playing sounds frantic and jagged, a world apart from the jubilant swing of old. However, starting in Jan. 1946, Reinhardt and Grappelli held several sporadic reunions where the bop influences are more subtly integrated into the old, still-fizzing swing format. In the 1950s, Reinhardt became more reclusive, remaining in Europe, playing and recording now and then until his death from a stroke in 1953. His Hot Club recordings from the `30s are his most irresistible legacy; their spirit and sound can be felt in current groups like Holland’s Rosenberg Trio. – Richard S. Ginell
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Django Reinhardt – 100 Essentials of Django Reinhardt (Mono Version) (2014)
FLAC (tracks) 24 bit/96 kHz | Time – 04:58:02 minutes | 2,59 GB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © BnF Collection
Django Reinhardt was the first hugely influential jazz figure to emerge from Europe and he remains the most influential European to this day, with possible competition from Joe Zawinul, George Shearing, John McLaughlin, his old cohort Stephane Grappelli and a bare handful of others. A free-spirited gypsy, Reinhardt wasn’t the most reliable person in the world, frequently wandering off into the countryside on a whim. Yet Reinhardt came up with a unique way of propelling the humble acoustic guitar into the front line of a jazz combo in the days before amplification became widespread. He would spin joyous, arcing, marvelously inflected solos above the thrumming base of two rhythm guitars and a bass, with Grappelli’s elegantly gliding violin serving as the perfect foil. His harmonic concepts were startling for their time making a direct impression upon Charlie Christian and Les Paul, among others and he was an energizing rhythm guitarist behind Grappelli, pushing their groups into a higher gear. Not only did Reinhardt put his stamp upon jazz, his string band music also had an impact upon the parallel development of Western swing, which eventually fed into the wellspring of what is now called country music. Although he could not read music, with Grappelli and on his own, Reinhardt composed several winsome, highly original tunes like “Daphne,” “Nuages” and “Manoir de Mes Reves,” as well as mad swingers like “Minor Swing” and the ode to his record label of the ’30s, “Stomping at Decca.” As the late Ralph Gleason said about Django’s recordings, “They were European and they were French and they were still jazz.”
Read more