Django Reinhardt

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Jean Reinhardt (1901 – 1953), also known by his stage name Django Reinhardt (born in Romani-French jazz guitarist and composer) is considered one of the twentieth century's greatest performers.

Reinhardt, a violinist, founded the Quintette du Hot Club de France in 1934, becoming Europe's first jazz talent.

The group was one of the first to play jazz with the guitar as a lead instrument.

Reinhardt appeared in France with many touring American artists, including Coleman Hawkins and Benny Carter, and briefly visited the United States with Duke Ellington's orchestra in 1946.

He died as a result of a stroke at the age of 43. "Minor Swing," "Daphne," "Daphne," "Djangology," "Swing '42," and "Nuages" are among Reinhardt's most popular compositions in gypsy jazz, including "Minor Swing," "Belleville," "Daphne," "Daphne," "Belleville," "Djangology," "Swing '42" and "Nuages."

Frank Vignola, a jazz guitarist, claims that Reinhardt inspired almost every major popular-music guitarist in the world.

Annual Django festivals have been held in Europe and the United States for the past few decades, and a biography of the poet has been published about his life.

The Berlin International Film Festival held the world premiere of Django, the French film.

Early life

Reinhardt was born in Liberchies, Pont-à-Celles, Belgium, on January 23, 1910, into a Belgian family of Manouche Romani descent. Jean Eugene Weiss, who was living in Paris with his wife, was able to escape French military conscription by Jean-Baptiste Reinhardt, his wife's surname. Laurence Reinhardt, his mother, was a dancer. The birth certificate refers to "Jean Reinhart, son of Jean Baptiste Reinhart, an artist, and Laurence Reinhart, a housewife based in Paris."

A number of writers have reiterated their assertion that Reinhardt's nickname, Django, means "I awake"; 4–5; besides that, it may have been a diminutive, or local Walloon version of "Jean." Reinhardt spent the majority of his youth in Romani encampments near Paris, where he began playing the violin, banjo, and guitar. He learned how to take chickens from a hen house. 5 : 14 His father appeared in a family band containing seven brothers; a surviving photograph shows this band including his father on piano.

Reinhardt discovered music at an early age, first playing the violin. He received a banjo-guitar as a gift at the age of 12. He learned to play quickly, imitating musicians' fingers, including Jean "Poulette" Castro and Auguste "Gusti" Malha, as well as his uncle Guiligou, who played violin, banjo, and guitar. By the time he was 15, Reinhardt was able to make a living off a busking trip, often with his brother Joseph. Although he hadn't started playing jazz, he had certainly heard and was intrigued by the jazz performed by American expatriate bands like Billy Arnold's at this moment.

He had no formal education and only in adult life that literacy was introduced.

: 13

According to Romani custom, Reinhardt married Florine "Bella" Mayer, a girl from the same Romani union (but not a formal marriage under French rule). 9 For the first time ever, he had a record in the year 2000. 9 Reinhardt appears on these recordings, which were made in 1928, as well as the banjo-guitar) accompanying the accordionists Maurice Alexander, Jean Vaissade and Victor Marceau and Maurice Chaumel. His name was now attracting international attention, such as British bandleader Jack Hylton, who came to France just to hear him play. Reinhardt accepted 10 Hylton's offer of a job on the spot, and Reinhardt accepted.

: 10

Reinhardt came close to starting with the band but it was too late. Reinhardt and his wife shared the wagon on the night of 2 November 1928. He was furious over a candle that ignited the highly flammable celluloid that his wife used to make artificial flowers. The wagon was quickly engulfed in fires. The couple survived, but Reinhardt suffered extensive burns over half of his body. Doctors suggested amputation of his severely injured right leg during his 18-month hospitalization. Reinhardt refused the surgery and was eventually able to walk with the help of a cane.

: 10

Reinhardt's left hand's fourth finger (ring finger) and fifth finger (little) were all badly burned, making them more important to his music. Doctors said he would never play guitar again. 43–44: 10 Reinhardt devoted himself to relearning his craft, but he did a good job with a new guitar he got for him from his brother, Joseph Reinhardt, who was also an accomplished guitarist. Reinhardt regained his musical control by focusing on his left index and middle fingers, rather than for chord work.

: 31–35

Bella Mayer gave birth to their son, Henri "Lousson" Reinhardt, within a year of the fire, in 1929. The couple split up shortly after. The son's new husband, who had given his mother's surname, was eventually revealed. Lousson Baumgartner's son, Robbie Baumgartner, became a well-known musician who performed with his biological father.

Reinhardt, a French musician, went on tour throughout France, playing at small clubs as a result of his wife and son's separation. He had no set objectives, lived a hand-to-mouth lifestyle, and was spending his money as quickly as he earned them. 11 he was traveling with his new friend, Sophie Ziegler, who was accompanying him on his travels. Nicknamed "Naguine" was Nick's name, and Reinhardt and her cousins were distant cousins.

: 11

Reinhardt was recuperating and playing on the guitar that his brother had given him years before the fire. After being active in a slew of music, he was introduced to American jazz by an acquaintance, Émile Savitry, whose record collection included such musical legends as Louis Armstrong, Duke Ellington, Joe Venuti and Eddie Lang. (The swinging sound of Venuti's jazz violin and Eddie Lang's virtuoso guitar-playing anticipation the more prominent sound of Reinhardt and Grappelli's later ensemble.) Reinhardt's music brought about a dream and aspiration to become a jazz performer.

: 12

Reinhardt discovered Stéphane Grappelli, a young violinist with common musical aspirations while exploring his interest in jazz. Grappelli had been a member of the Orchestra at the Ambassador Hotel in 1928, when bandleader Paul Whiteman and Joe Venuti were on stage. Both Reinhardt and Grappelli were members of Louis Vola's band in early 1934.

: 66

Reinhardt and Grappelli worked together as the main soloists of their newly formed quintet, the Quintette du Hot Club de France, from 1934 to 1939, from 1934 to World War II's outbreak in 1939. It was Europe's most accomplished and innovative jazz band of the time.

Joseph and Roger Chaput of Reinhardt also played on guitar, and Louis Vola was on bass. 45–49 The Quintette was one of the few well-known jazz ensembles made entirely of stringed instruments.

: 64–66

Reinhardt recorded two takes each of "Parce que vous aime" and "Si, j'aime Suzy," both with high guitar fills and guitar support in Paris on March 14, 1933. He used three guitarists, as well as an accordion lead, violin, and bass. He made other recordings with more than one guitar in August 1934, including the Quintette's first album. The overwhelming majority of their albums featured a variety of horns, keyboard, and other instruments, but the all-string system is the one most commonly used by emulators of the Hot Club sound.

Three albums of Quintette tunes with Reinhardt on guitar and one other, credited to "Stephane Grappelli & His Hot 4 with Django Reinhardt," were released in 1935 by Decca Records in the United States.

Rex Stewart, a singer who later remained in Paris, has performed and recorded with many American jazz musicians, including Adelaide Hall, Coleman Hawkins, Benny Carter, and Rex Stewart. He appeared in a jam session and radio show with Louis Armstrong. Reinhardt played for Dizzy Gillespie in France later in his career. Reinhardt and Grappelli also performed regularly in the neighborhood, where they developed their own musical style.

Reinhardt's quintet performed to thousands at an all-star performance held in London's Kilburn State auditorium in 1938. 92 Eddie Cantor, an American film actor, appeared in the front row when playing. Cantor returned to his feet and kissed Reinhardt's hand, appearing without care to the audience. 93 The quintet appeared at the London Palladium a few weeks later.

: 93

The original quintet was on tour in the United Kingdom when World War II broke out. Reinhardt has returned to Paris at once: 98-99 leaving his wife in the United Kingdom. Grappelli remained in the United Kingdom for the duration of the war. Reinhardt reformed the quintet, with Hubert Rostaing as the soletet replacing Grappelli.

Reinhardt faced a potentially fatal challenge as he tried to continue with his music, as he was a Romani jazz musician. All German Romani were forbidden from living in towns, herded into settlement camps, and routinely sterilized. Romani men were expected to wear a brown Gypsy ID triangle sewn on their chest, 168 similar to homosexuals' pink triangle, but much like the yellow Star of David, which Jews eventually wore. Romani civilians were systematically killed in concentration camps during the war. 169 They were used as slave labour on farms and factories in France. 169 An estimated 600,000 to 1.5 million Romani were killed around Europe during the Holocaust.

: 154

Jazz was regarded by Hitler and Joseph Goebbels as un-German counterculture. 154 However, Goebbels came short of a complete ban on jazz, which has gained a following in Germany and elsewhere. 157 According to author Andy Fry, jazz music was often played on both Radio France, the official station of Vichy France, and Radio Paris, which was owned by the Germans, according to author Andy Fry. The Zazous, a new generation of French jazz enthusiasts, had arisen and swollen the Hot Club's ranks. 157 In addition to the rising interest, several American musicians based in Paris during the war had returned to the United States, leaving more French musicians with less work available. Reinhardt was Europe's most well-known jazz musician at the time, surviving diligently during the early war years and still under intense pressure, but he was also under threat.

During this period, Reinhardt's musical interests widened. He was able to work in more of a big band style, as well as in large ensembles with horn sections thanks to a pioneering amplification system. He also experimented with classical composition, composing a Mass for the Gypsies and a symphony. Reinhardt did not read music, so he did not know what he was doing. His modernist work "Rhythm Futur" was also designed to be friendly to the Nazis.

Reinhardt married Sophie "Naguine" Ziegler in Salbris in 1943. Babik Reinhardt, their son, was a popular guitarist.

The tide of war turned against the Germans in 1943, with a major decline in Paris. Severe rationing was in place, and members of Django's circle were either captured by the Nazis or joining the resistance.

Reinhardt's first attempt at fleeing from Occupied France resulted in captivity. Fortunately for him, a jazz-loving German, Luftwaffe officer Dietrich Schulz-Köhn, was able to return to Paris. Reinhardt made a second attempt a few days later, but Swiss border guards kept him from sleeping in the middle of the night, causing him to return to Paris once more.

In Paris, one of his works, "Nuages," from 1940, became an unofficial anthem, signaling a search for independence. 93 The popularity of the song at the Salle Pleyel was so widespread that the crowd demanded that he repeat it three times in a row. 93 This single has sold over 100,000 copies.

: 93

Unlike the estimated 600,000 Romani civilians interned and killed in the Porajmos, the Romani Holocaust, Reinhardt survived the war.

Reinhardt returned to Grappelli in the United Kingdom after the war. He appeared in the fall of 1946 in the United States for the first time, first playing at Cleveland Music Hall as a special guest soloist with Duke Ellington and His Orchestra. He performed with several musicians and composers, including Maury Deutsch. Reinhardt appeared two nights at Carnegie Hall in New York City, earning a standing ovation and six curtain calls on the first night.

Despite his excitement in touring with Ellington (one of two letters to Grappelli refers to his ecstatic), he was not fully integrated into the band. He performed a few tunes at the end of the show, backed by Ellington, but no special arrangements were made for him. Reinhardt made a show appearance at Café Society Uptown, where he appeared four solos a day, backed by the resident band. These performances attracted brisk audiences. 138–139 He couldn't bring his usual Selmer Modèle Jazz, he tried on a borrowed electric guitar, which hampered the delicacy of his style. 138 He had been promised jobs in California, but they didn't grow. Reinhardt returned to France in February 1947 after being sick of waiting. 141 141

Reinhardt re-immersed himself in Romani life after his return, finding it difficult to adapt to the postwar period. He played his guitar or amplifier at scheduled concerts, or walked off to the park or beach. He refused to get out of bed on a few occasions. Reinhardt's name was gained by his band, followers, and managers as unreliable. He skipped sold-out concerts in favor of "walk to the beach" or "smell the dew." 145 "During this period, he continued to attend Montmartre's R-26 artistic salon, improvising with his devoted collaborator, Stéphane Grappelli."

Reinhardt recruited three Italian jazz players (on bass, piano, and snare drum) and recorded over 60 tunes in an Italian studio in 1949. He collaborated with Grappelli and used his acoustic Selmer-Maccaferri. For the first time in the late 1950s, the recording was released.

Reinhardt was welcomed back to Paris in June 1950 to attend Benny Goodman's return. Reinhardt accepted Goodman's invitation, who had been asked to accompany him in the United States by courtesy. Reinhardt had second thoughts about whether he might play alongside Goodman, the "King of Swing," and remained in France.

: 251

Reinhardt, a 1951 graduate of Samois-sur-Seine, near Fontainebleau, where he lived until his death. He continued to play in Paris jazz clubs and developed electric guitars. (Most of his initial reservations about the device, he frequently used a Selmer fitted with an electric pickup.) In his last recording, made with his Nouvelle Quintette in the last few months of his life, he had begun moving in a new musical direction, in which he assimilated bebop's vocabulary and fused it with his own melodic style.

On May 16, 1953, while walking from the Gare de Fontainebleau-Avon Station after playing in a Paris club, he collapsed outside his house from a brain hemorrhage. 160 It was Saturday, and a doctor took a full day for a visit. On arrival at the hospital in Fontainebleau at the age of 43, 161 Reinhardt was declared dead.

Releases in his lifetime

Reinhardt's career went from 1928 to 1953, the majority on sides of the then-prevalent 78-RPM records, the remainder as acetates, transcription discs, private and off-air recordings (of radio broadcasts), and part of a film soundtrack. Only one session (eight tracks) from March 1953 was ever recorded specifically for album launch by Norman Granz in the then-new LP style, but Reinhardt died before the album could be released. Reinhardt's earliest recordings, but more precisely, banjo-guitar, accompanying accordionists and musicians on dances and popular songs of the day, with no jazz music, but he did a good job with an influx of younger, more modern French musicians.

A complete chronological list of his lifetime earnings is available from the site cited here, and a listing of individual tunes is available from the source cited here. A few fragments of film performance (without original sound) survive, as does one complete performance with sound of the tune "J'Attendrai" performed with the Quintet in 1938 for the short film Le Jazz Hot.

Reinhardt's music has appeared on numerous compilations since his death. Intégrale Django Reinhardt, volumes 1–20 (40 CDs), was released by the French firm Frémeaux from 2002 to 2005, attempted to include every known track on which he appeared.

A small number of waltzes composed by Reinhardt in his youth were never recorded by the composer, but they were still popular among his collaborators and several are still performed today. They came to light in 1960 by Matelo Ferret's recordings (the waltzes "Montagne Sainte-Genevie"), "Chez Jacquet," "Chest Jacquet"), and "Choti"); Disques Vogue (F)EPL7740) and 1961 ("Djalamichto" and "En Verdine)EPL7829). The first four songs on Matelo's CD Tziganska and Other Rare Recordings have been released (subsequently reissued as Tziganska and Other Rare Recordings; "Chez Jacquet" was also recorded by Baro Ferret in 1966.

Django's widow Naguine reportedly gave the tunes "gagoug" and "Choti" on order from Matelo, who had discovered them without names. Django spent time on designing a Mass for use by the gypsies, although an 8-minute excerpt is available on the CD release "Gipsy Jazz School" and also on volume 12 of the "Intégral Django Reinhardt" CD collection; this can be found on the CD release "Gipsy Jazz School" and also on volume 12 of the "Intégral Django Reinhardt" CD set.

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