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I Got Rhythm! Reinhardt & Grappelli - European Jazz
Availability: Guaranteed In-Stock
Product Code: PPCD78110
Quantity: Now Only 9.97 ($12.05)

I Got Rhythm! Reinhardt & Grappelli - European Jazz

Reinhardt & Grappelli rank even yet as amongst the most creative of European jazz musicians. They showed themselves to be a highly polished, accomplished, and most important of all, a compelling unit.

"I'm impressed as always as to how clean and vibrant the old songs on your CDs are. I appreciate the excellent work you do, since it makes this wonderful music more than just nostalgia."  J Orvis, California

Track Listing

  1. Dinah
  2. I'm Confessin'
  3. Swanee River
  4. The Sunshine Of Your Smile
  5. Believe It Beloved
  6. Chasing Shadows
  7. I've Had My Moments
  8. Some Of These Days
  9. I Got Rhythm
  10. The Sheik Of Araby
  11. It Don't Mean A Thing (If lt Ain't Got That Swing)
  12. Viper's Dream
  13. Runnin' Wild
  14. Ain't Misbehavin'
  15. Tears
  16. Miss Annabelle Lee
  17. Djangology
  18. Daphne
  19. Billets Doux
  20. Swing 39
  21. Tea For Two
  22. My Melancholy Baby
  23. The Younger Generation
  24. HCQ Strut

Features

Reinhardt & Grappelli

  • Reinhardt & Grappelli's Hits
  • 24 Classic Tracks
  • Specially Remastered Quality
  • 1930s Jazz Music
  • 'The Younger Generation' & 'Viper's Dream'

Cover Notes

Django Reinhardt ranks even yet as amongst the most creative of European jazz musicians. He was born on 23 January 1910 into a wandering gypsy family on the Belgian frontier. Music, particularly guitar music, was part of everyday life and at twelve Django, self-taught, mastered the banjo-guitar in an amazingly short time. He was hooked.

Within a year or two he was accomplished enough to play at various Parisian nightclub and cafe gigs, his absence of sight-reading abilities proving no obstacle. In these early days Django acted mainly as accompanist to accordionists like Guerino, Alexander and Jean Vaissade and his opportunities to play jazz or standards were strictly limited to informal out-of-hours sessions. An offer from the famous British bandleader Jack Hylton to join his orchestra was forthcoming, but in the event never materialised.

Tragedy struck in November 1928 when Django suffered serious burns to his right leg and left hand in a caravan fire. These injuries caused him to be bedridden for eighteen months during which time the leg healed very well but the third and fourth fingers of the hand (his fret hand) remained virtually paralysed. During his long recuperation Django had to work out a new way of playing his beloved guitar and with a great deal of determined application and persistence he not only became a greater player than before but in so doing formulated an original new style. His appetite for jazz too had been further whetted when a friend played for him some of the recent American recordings by Louis Armstrong, Joe Venuti and Eddie Lang et al.

Back on the scene during 1930, Django teamed up awhile with a young Jean Sablon, playing 'Eddie Lang' to Sablon's 'Bing Crosby'.

The creation of The Quintet Of The Hot Club Of France happened almost by accident in the dressing room of the Hotel Claridge in Paris on the Champs-Elysees. Django and Stephane Grappelli were working in the same band there and one evening before a performance Django was plucking at his guitar when Stephane joined in on violin. Before long bassist Louis Vola added his contribution as did Django's brother Joseph on rhythm guitar - et voila! There you (almost) have it. This group, with the addition of a second rhythm guitarist (originally Roger Chaput) were adopted by the Hot Club of France who presented the quintet at a Salle Pleyel concert on the same bill as Coleman Hawkins. From this occasion they became known as The Quintet Of The Hot Club Of France and with Stephane Grappelli and Django Reinhardt as its nucleus flourished until the outbreak of war.

Just as Eddie Lang had been Django's main influence, so Joe Venuti was Stephane's. By the time of the formation of The Quintet Of The Hot Club Of France however, both musicians had developed their own individual voices.

Additionally, Stephane was an accomplished pianist and can be heard in this capacity on several recordings, though none in this collection. Django gave Stephane and the other quintet members a hard time by all accounts with his unreliability and predilection to 'disappearing' for a few days if the mood took him. Despite these difficulties, Stephane's steadying influence kept the group together, earning our eternal gratitude into the bargain.

This collection spans the QHCF's complete recorded output, from the first session in December 1934 to the last (with Grappelli and Reinhardt as common denominators) in August 1939. From the outset they showed themselves to be a highly polished, accomplished, and what is most important, compelling unit. The first label they recorded for was Odeon (two sides), but the company refused to release the record on the grounds that it was too 'modern'! Ultraphone then recorded the first of their commercially released sides in December 1934, unwisely letting the quintet go after a year. For the remainder of their existence they recorded for Polydor, Pathe and Decca.

By 1939 the QHCF was going from strength to strength; both Django and Stephane had become more daring and adventurous and the rhythm section's backing was more subtle. The outbreak of war on 3 September found the unit in London. Stephane remained for the duration; Django risked taking a boat back to France. The great days of The Quintet Of The Hot Club Of France were over.

During the war, in occupied France, Django kept a low profile. He continued to record, including some superb sides in Brussels in the spring of 1942 for the Rythme label (unfortunately pressed on inferior material). In 1946 he travelled to the USA to take part in a series of concerts with Duke Ellington. Playing an amplified guitar for the first time, the concerts were only a moderate success. Back in France his preoccupation with bop and in keeping up to date seems to have dampened his creative spark a little. Additionally, the influence of the late American guitarist Charlie Christian now held sway with the post-war generation. From 1946, firstly in London and later in Paris there were reunions between Django and Stephane but, with a few exceptions, these had lost their pre-war edge.

Django died, aged only 43, in 1953 but his rich legacy of recordings proves time and time again that he was not only a virtuoso but a genius.

HUGH PALMER 1994

Customer Testimonials

  • "A wonderful collection...24 fabulous hits from 1930s Paris!" Jazz FM

    "Full marks to Past Perfect for the accurate discographcal data, with studio matrix numbers, dates and identities of artists" Mr W, Coventry

  • Delivery Information

    UK Delivery

    Based in the United Kingdom, we aim to provide 'next day' delivery for all orders to the mainland UK. Orders received before 2.30pm are despatched the same day. Orders are generally sent by Royal Mail and we use first class post. A reasonable postage and packing charge of £2.75 will be added per UK order, no matter how many items you order. 

    International Delivery

    All international orders (anywhere outside of the UK) are generally sent by Royal Mail Airmail. We aim for delivery within 3/4 working days EU and 6/12 days elsewhere. Orders received before 2.30pm are despatched the same day. Where US dollars are chosen as payment currency a postage and packing charge of $4.50 will be added per order.

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    The price does not include customs fees, which are the responsibility of the consumer. We guarantee delivery of Priority shipments to the receiving country's Customs Office only; Past Perfect accepts no responsibility for the package after arrival at the Customs Office.

    Availability: Guaranteed In-Stock
    Product Code: PPCD78110
    Quantity: Now Only 9.97 ($12.05)