Happy heavenly birthday, Django Reinhardt, born on this day in 1910

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Happy heavenly birthday, Django Reinhardt, born on this day in 1910.

Django Reinhardt: The Gypsy Genius Who Redefined Jazz Guitar.

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Born on January 23, 1910, in Liberchies, Belgium, Jean “Django” Reinhardt would emerge from Roma caravan life to become one of the most revolutionary guitarists in musical history. His unique fusion of Romani musical traditions with American jazz created an entirely new genre—often called “Gypsy jazz” or “jazz manouche”—that continues to inspire musicians nearly seven decades after his death. Despite suffering a devastating hand injury that would have ended most musicians’ careers, Reinhardt developed an entirely novel technique that produced some of the most virtuosic and emotionally compelling guitar work ever recorded.

Early Life and Formative Years (1910-1928)

Django Reinhardt was born into a family of Manouche Roma (French Sinti) travelers. His birthplace was a caravan parked near the Belgian town of Liberchies, where his family had stopped during their perpetual journey across Europe. His mother, Laurence Reinhardt, was a dancer, and his father, Jean Eugene Weiss, was a musician who played multiple instruments. The name “Django” means “I awake” in the Romani language.

From earliest childhood, Reinhardt was immersed in the musical traditions of the Manouche people—a repertoire that included waltzes, mazurkas, and the rhythmic “musette” style popular in French dance halls. The Roma musical tradition emphasized virtuosity, emotional expression, and improvisation—elements that would define Reinhardt’s approach throughout his career.

By age 12, Django was already earning money playing banjo, guitar, and violin in Parisian dance halls and cafes. Though completely illiterate—he never learned to read or write music, nor even his own name with consistent spelling—he possessed an extraordinary musical memory and could replicate any melody after a single hearing. His early influences included the musette accordionists like Emile Vacher and the emerging American jazz records that began reaching France in the 1920s.

The Turning Point: The Fire and Its Aftermath (1928-1934)

On November 2, 1928, a catastrophic event occurred that would simultaneously threaten Reinhardt’s musical career and force the innovation that defined his style. Returning to the caravan he shared with his first wife, Bella, Django knocked over a candle, igniting a bouquet of celluloid artificial flowers. The highly flammable material created an inferno that severely burned his entire right side.

Hospitalized for 18 months, doctors initially considered amputating his right leg. More devastating for a guitarist, the fourth and fifth fingers of his left hand were badly burned and paralyzed. Medical wisdom suggested he would never play guitar again.

During his convalescence, Reinhardt invented an entirely new technique to compensate for his disability. He developed extraordinary strength and dexterity in his first two fingers while using the damaged fingers primarily for chord work on the higher strings. This physical limitation paradoxically led to innovations in fingering and runs that would become hallmarks of his style—lightning-fast arpeggios using primarily the index and middle fingers, and chord voicings that avoided the need for his crippled fourth and fifth fingers on complex shapes.

The Quintette du Hot Club de France (1934-1939)

In 1934, Reinhardt met violinist Stéphane Grappelli, and together with rhythm guitarist Roger Chaput, bassist Louis Vola, and eventually Django’s brother Joseph Reinhardt on second guitar, they formed the most revolutionary ensemble in European jazz history: the Quintette du Hot Club de France.

The instrumentation was unprecedented—an all-string jazz band without drums or horns. The rhythmic drive came from the “la pompe” technique—a percussive strumming style that mimicked the role of drums. This configuration showcased Reinhardt’s genius in unprecedented ways.

Between 1934 and 1939, the Quintette recorded over 200 sides, creating a body of work that remains astonishing in its inventiveness and vitality. Key recordings from this period include “Minor Swing” (1937), which became the anthem of Gypsy jazz; “Djangology” (1935); “Sweet Georgia Brown” (1936); and “Nuages” (1940), which would become Reinhardt’s signature composition and a musical symbol of hope during the Occupation.

World War II and the Occupation Years (1939-1945)

When war broke out in 1939, Grappelli was in London and remained there for the duration. Reinhardt, back in France, continued performing and recording under the Nazi occupation—a complicated chapter in his life. As a Roma, he faced particular danger under Nazi racial policies, yet his fame offered some protection.

During these years, Reinhardt formed new ensembles, experimented with composition, and even attempted—unsuccessfully—to escape to Switzerland. He composed some of his most enduring works during this period, including the hauntingly beautiful “Nuages,” which became an unofficial anthem of hope for occupied Paris. Remarkably, he performed for German officers while simultaneously helping Resistance fighters and fellow Roma avoid capture.

A particularly notable wartime performance occurred in 1943, when Reichsmarschall Hermann Göring demanded a private concert. Reinhardt reportedly played only slow, mournful numbers despite requests for upbeat music, later claiming he could not play joyfully under such circumstances.

Post-War Experiments and American Encounters (1945-1953)

After liberation, Reinhardt’s musical interests expanded. He became fascinated with bebop, particularly the work of Dizzy Gillespie and Charlie Parker. In 1946, he experimented with electric guitar—an instrument he initially disliked but eventually mastered—and formed a big band that incorporated bebop elements. This period produced ambitious compositions like “Babik” (named for his son) and “Echoes of Spain,” which blended his Gypsy jazz foundation with modernist harmonies.

In 1946, Reinhardt finally achieved his dream of touring America as a special guest with Duke Ellington’s orchestra. Though culturally and musically disorienting for him—he reportedly disliked American food and missed French bread—the tour produced remarkable performances, including at Carnegie Hall. However, the collaboration was not entirely successful; communication issues and Django’s unpredictable nature created tensions. Nevertheless, recordings like “Improvisation on the Carnegie Hall Steps” capture magical moments from this period.

Final Years and Death (1953-1953)

In his final years, Reinhardt withdrew somewhat from public life, spending increasing time fishing, painting, and composing. He settled in Samois-sur-Seine, a village south of Paris that has since become a pilgrimage site for Gypsy jazz enthusiasts.

On May 16, 1953, at age 43, Django Reinhardt collapsed from a brain hemorrhage while walking from the Avon train station to his home in Samois. He was pronounced dead upon arrival at the hospital in Fontainebleau. His death certificate listed the cause as “uremia,” but most biographers agree it was a stroke. He left behind his second wife, Naguine, and his son, Babik, who would become a respected guitarist in his own right.

Musical Style and Innovations

Harmonic Language

Reinhardt’s harmonic approach was revolutionary for jazz guitar. While grounded in the diatonic harmony of French musette and Roma music, he rapidly absorbed the extended harmonies of jazz. His compositions frequently feature:

• Minor key foundations with harmonic minor and melodic minor colors
• Diminished chord passages used as passing chords or for dramatic effect
• Chromatic descents and unexpected modulations
• Whole-tone scale passages, particularly in later works influenced by Debussy and Ravel
• Augmented chords for coloristic effect

In “Nuages,” for example, he creates a melancholic, floating quality through subtle harmonic shifts that avoid strong tonal resolutions—a radical approach for popular music of the time.

Melodic Invention

Reinhardt’s melodies combine Romani ornamentation with jazz phrasing:

• Gypsy ornamentation: rapid grace notes, trills, and slides inherited from Romani violin technique
• Blues inflection: subtle bends and microtonal shading, unusual in European music of his time
• Bebop complexity: in later works, he incorporated rapid eighth-note lines characteristic of the new jazz style
• Thematic development: unlike many improvisers of his era, Reinhardt constructed solos that developed motifs logically

Rhythmic Innovation

The “la pompe” technique developed by Reinhardt and the Quintette created a swinging rhythm without drums:

• Percussive strumming pattern: a strong “chuck” on beats 2 and 4 with lighter upstrokes in between
• Suspended rhythm: moments where rhythm guitars drop out, creating tension
• Cross-rhythms: superimposition of 3 against 4, particularly in his later work

Technical Adaptation

His physical limitation produced unique technical solutions:

• Two-finger runs: astonishingly fast linear passages using primarily index and middle fingers
• Partial chord voicings: often omitting the root or fifth, creating more ambiguous harmonies
• Downward slides: a signature technique where he would slide down the neck with a single finger
• Open string utilization: incorporating ringing open strings into chordal passages

Influences and Cross-Cultural Synthesis

Reinhardt’s style represents a unique fusion:

• Romani musical traditions: the emotional intensity, ornamentation, and repertoire of his heritage
• French musette: the waltzes and dance hall music of pre-war Paris
• American jazz: initially through records of Louis Armstrong, Duke Ellington, and Joe Venuti
• Impressionist composers: particularly Debussy and Ravel, whose harmonic language he admired
• Spanish music: flamenco influences appear in pieces like “Boléro” and “Echoes of Spain”

Notable Collaborations and Encounters

• Stéphane Grappelli: His most important collaborator; their musical dialogue defined European jazz of the 1930s
• Coleman Hawkins: The American saxophonist recorded memorable sides with Reinhardt in 1935
• Duke Ellington: Their 1946 collaboration, though troubled, produced historically important performances
• Eddie South: The “Dark Angel of the Violin” recorded magnificent duets with Reinhardt in 1937
• Michel Warlop: French violinist who worked with Reinhardt on ambitious orchestral arrangements
• Hubert Rostaing: Clarinetist who replaced Grappelli during the war years

Legacy and Influence

Immediate Impact

During his lifetime, Reinhardt inspired a generation of European musicians to embrace jazz while maintaining their cultural identities. He proved that jazz was not exclusively American but could be synthesized with European traditions.

Posthumous Recognition

• Annual Django Reinhardt Festival in Samois-sur-Seine since 1968
• Numerous biographies and documentaries
• Statues in Liberchies (Belgium) and Samois-sur-Seine (France)
• Asteroid 94291 Django named in his honor in 2001

Musical Legacy

Reinhardt’s style spawned an entire genre:

• First generation disciples: His brother Joseph Reinhardt, cousin Eugène Vées, and fellow Quintette members
• Gypsy jazz revival: Since the 1970s, musicians like Biréli Lagrène, Stochelo Rosenberg, and Angelo Debarre have kept the tradition alive
• Mainstream influence: Guitarists across genres—from classical (John Williams) to rock (Jimmy Page, Jeff Beck)—cite his influence
• Academic study: His compositions and improvisations are now studied in conservatories worldwide

Cultural Significance

As a Roma musician achieving international fame, Reinhardt became an important cultural symbol. His success challenged stereotypes about the Roma community, though he himself had complex feelings about his identity, often preferring to be known simply as a musician rather than a “Gypsy” musician.

Major Compositions

Standards and Signature Pieces

1. “Nuages” (1940) – His most famous composition, a melancholic ballad
2. “Minor Swing” (1937) – The quintessential Gypsy jazz tune
3. “Djangology” (1935) – Showcasing his harmonic sophistication
4. “Swing 42” (1941) – Up-tempo showcase for the Quintette
5. “Manoir de Mes Rêves” (1942) – Also known as “Django’s Castle”
6. “Douce Ambiance” (1942) – A lyrical waltz
7. “Babik” (1947) – Dedicated to his son, incorporating bebop elements
8. “Boléro” (1937) – Spanish-inflected composition
9. “Belleville” (1942) – Named for the Paris neighborhood
10. “Micro” (1947) – Experimental piece showcasing electric guitar

Improvisational Showcases

• “Improvisation No. 1” (1937)
• “Improvisation sur le Premier Couplet” (1953) – One of his final recordings

Discography Highlights

Pre-war Quintette Recordings (1934-1939)

• “Django’s Tiger” (1934)
• “Ultrafox” (1935)
• “After You’ve Gone” (1936)
• “Chicago” (1937)
• “My Serenade” (1937)

Wartime Recordings (1940-1944)

• “Nuages” (1940)
• “Les Yeux Noirs” (1940)
• “Swing 41” (1941)
• “Fleur d’Ennui” (1942)

Post-war Recordings (1946-1953)

• “Duke and Dukeries” (with Duke Ellington, 1946)
• “Babik” (1947)
• “September Song” (1949)
• “Night and Day” (1951)
• “Deccaphonie” (1953) – One of his final studio recordings

Essential Compilations

• Django Reinhardt et le Quintette du Hot Club de France (5-CD box set)
• The Complete Django Reinhardt HMV Sessions (6-CD set)
• Djangologie (20-CD complete edition of HMV recordings)

Filmography

Film Appearances

1. Moulin Rouge (1928) – Uncredited extra as a guitarist
2. Le Temps des Cerises (1937) – Featured performer with the Quintette
3. Je Chante (1938) – Performs “J’attendrai”
4. L’Esclave Blanche (1939) – Provides musical accompaniment

Documentaries and Biopics

1. Django Reinhardt (1957) – French short film by Paul Paviot
2. Django Reinhardt: King of Jazz Guitar (1981) – BBC documentary
3. Django Legacy (1992) – Documentary featuring interviews with family and musicians
4. Django Reinhardt: Three Fingered Lightning (2005) – PBS documentary

Films Featuring His Music

• The Matrix (1999) – “Minor Swing” plays during the nightclub scene
• Sweet and Lowdown (1999) – Woody Allen’s film about a fictional guitarist obsessed with Reinhardt
• The Aviator (2004) – Features several Reinhardt recordings
• Chocolat (2000) – Includes Gypsy jazz soundtrack inspired by Reinhardt

Covers and Influence in Modern Music

Direct Covers

• “Minor Swing” covered by countless artists including Willie Nelson, Bireli Lagrene, and the David Grisman Quintet
• “Nuages” interpreted by artists as diverse as Chet Atkins, José Feliciano, and Wynton Marsalis
• “Djangology” performed by modernist ensembles like The Modern Jazz Quartet

Incorporation into Other Genres

• Rock: Jeff Beck’s “Brush with the Blues” shows clear Reinhardt influence
• Bluegrass: David Grisman’s “dawg music” incorporates Reinhardt’s string approach
• Classical: John McLaughlin’s “Mediterranean Concerto” shows harmonic influence
• World Music: The Gipsy Kings’ style owes much to Reinhardt’s legacy

Sampling in Popular Music

• Hip-hop: Samples appear in tracks by US3 and other jazz-rap artists
• Electronica: Gotan Project incorporates Gypsy jazz elements
• French pop: Numerous chansonniers reference his style

Notable Modern Interpreters

Gypsy Jazz Tradition

• Biréli Lagrène: Child prodigy who mastered Reinhardt’s style by age 12
• Stochelo Rosenberg: Dutch Sinti guitarist who continues the tradition
• Tchavolo Schmitt: French Manouche guitarist known for technical brilliance
• Angelo Debarre: Virtuoso who has expanded the repertoire
• Adrien Moignard: Younger guitarist blending tradition with innovation

Mainstream Jazz and Beyond

• George Benson: Cites Reinhardt as early influence
• Pat Metheny: Has recorded Reinhardt compositions
• Mark O’Connor: Classical violinist who performs Reinhardt-Grappelli repertoire
• John Jorgenson: American multi-instrumentalist specializing in Gypsy jazz

Last Works and Final Recordings

In his final year, Reinhardt was experimenting with new directions:

• “Deccaphonie” (1953): An ambitious ten-part composition showing interest in serial techniques
• “Manhattan” (1953): One of his last studio recordings
• “Blues for Ike” (1953): Dedicated to pianist Ike Isaacs
• Live recordings from Club St. Germain (1953): Show him incorporating bebop vocabulary while retaining his unique voice

The May 1953 session that produced “Deccaphonie” was particularly telling—Reinhardt was exploring atonal elements while still grounded in his melodic sensibility. These final recordings suggest he was on the verge of yet another stylistic evolution when his life was cut short.

Django Reinhardt: The Eternal Spirit of Django

Django Reinhardt’s story transcends musical achievement. It is a testament to human resilience—a man who transformed physical limitation into unprecedented artistic innovation. Born in a caravan to an oppressed minority, he rose through sheer talent and determination to become one of the most influential guitarists in history.

His musical synthesis created something entirely new yet deeply rooted—a blend of Roma soul, French elegance, and American swing that continues to captivate listeners. The “hot jazz” he pioneered with Grappelli still sounds vital nearly a century later, its joyful energy undiminished by time.

More than just a guitarist, Reinhardt became a symbol of artistic freedom—improving his way through the constraints of occupation, disability, and prejudice. His music embodies what he once reportedly said: “Jazz is like wine. When it is new, it is only for the experts; but when it gets older, everybody wants it.”

Today, as new generations discover his recordings, attend Gypsy jazz festivals, and learn his compositions, Django Reinhardt’s legacy continues to grow. His music remains what it always was—a celebration of life, resilience, and the boundless possibilities of human creativity. From a caravan in Belgium to the pantheon of musical immortals, Django’s journey continues each time someone hears the opening notes of “Nuages” or the infectious rhythm of “Minor Swing”—awakening, as his name suggests, to the eternal spirit of jazz.

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Django Reinhardt – The Best Of Django Reinhardt

THE BEST OF DJANGO REINHARDT – part 1

COLEMAN HAWKINS AND HIS ALL-STAR JAM BAND: Coleman Hawkins, Alix Combelle (ts), Benny Carter (as,tp), Andre Ekyan (as), Stephane Grappelli (piano), Django Reinhardt (g), Eugene D’Hellemmes (b), Tommy Benford (dm) – april 28, 1937
1 Honeysuckle Rose
2 Crazy Rhythm
3 Out of Nowhere
4 Sweet Georgia Brown

REX STEWART AND HIS FEETWARMERS: Rex Stewart (cnt), Barney Bigard (cl, dm), Django Reinhardt (g), Billy Taylor (b) – april 5, 1939
5 Solid Old Man
6 Montmartre
7 Finesse
8 I Know that You Know
9 Low Cotton

EDDIE SOUTH (vn) acc. by: Django Reinhardt (g) – september 29, 1937
10 Eddie’s Blues
Same. Add Wilson Myers (b) – same session
11 Sweet Georgia Brown
Same. add Michel Warlop (vn), Stephane Grappelli (vn), Roger Chaput (g) – same session
12 Lady Be Good
South, Reinhardt and Paul Cordonnier (b) – same session
13 Dinah
14 Daphne

BILL COLEMAN AND HIS ORCHESTRA: Bill Coleman (tp, voc), Frank “Big Boy”
Goodie (cl, ts), Christian Wagner (cl, as), Emil Stern (p), Django Reinhardt (g), Lucien Simoens (b), Jerry Mengo (dm) – november 19, 1937
15 I Ain’t Got Nobody
16 Baby Won’t You Please Come Home
17 Big Boy Blues
18 Swing Guitars
Coleman and Reinhardt only – same session
19 Bill Coleman Blues

FREDDY TAYLOR (voc) acc. by QUINTETTE DU HOT CLUB DE FRANCE – Stephane Grappelli (vn), Django Reinhardt (solo g), Joseph Reinhardt, Pierre Ferret (rh.g), Lucien Simoens (b) – may 4, 1936
20 I’se Muggin’
21 After You’ve Gone
22 I Can’t Give You Anything But Love

Same. Louis Vola (b), replaces Simoens – october 15, 1936
23 Nagasaki
24 Georgia on My Mind
25 Shine

All tracks recorded in Paris, France.

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Django Reinhardt, Stephan Grapelli and Joseph Reinhardt live (1945) sheet music, Noten, partitura, spartiti, 楽譜, 乐谱