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| Django Reinhardt |
Django Reinhardt was born in 1910 and proved
already in his youth to be a highly gifted musician. Playing on his six
strings’ banjo, which his gypsy family had given him, he became a star at the popular Musette
balls, sought after by the accordionists in Paris at the end of the Twenties.
Great
musicians such as Gusti Malha and Poulette Castro had taught him the basic
principles of playing, but the boy gradually developed his own playing
technique which no other banjoist could equal.
The young
artist won prizes and earned a lot of money since the top accordion players
wanted to be accompanied by him. That’s why e.g. Jean Vaissade already made records with Django in the early days of
the grammophone.
After
a fire accident in his caravan (November 1928) which caused severe burns on his
left leg and arm, a long recovery time followed. It took 18 months before he
would come back on stage in Paris. His left hand remained crippled and only
allowed the use of two fingers.
The
last few months of his rehabilitation a member of the family had handed him a
guitar for distraction and – who would have expected this? – he then developed
a new playing technique adapted to his handicap.
So in
the early Thirties Django – now as a guitarist - came back into the Parisian
music scene and could be heard with singers.
 |
| Jean Sablon |
The
very popular singer Jean Sablon
selected him for his small group and in 1933/34 several beautiful songs were
recorded in France, followed by BBC radio broadcasts in England and
performances in the Casino of Monaco. But Django was also attracted by new
American jazz themes like “Tiger Rag,“After you’ve gone”and many others.
 |
| Stéphane Grappelli |
He
then met violinist/piano player Stéphane
Grappelli which, on the initiative of the Hot Club de France leaders would result in the founding of the
first jazz string quartet in the world. The two star soloists soon made a name in
Europe as well in the USA and their performances were received with
astonishment and admiration.
A year full of jazz
1937
would become a remarkable and historical year with lots of surprises as to the
Jazz in Europe. Since the foundation of the Hot Club quintet, the group had got
quite a reputation. The two star soloists on guitar and violin, accompanied by
a strong rhythm section had great success, not only in Europe but also in
America. Their records were sold everywhere and these even are available till
the present day.
A
huge event was going to take place, for in 1937 the great World Exhibition in
Paris would be held, a reason for the Hot Club de France leaders (in particular
Charles Delaunay and Hugues Panassié) to invite American jazz
giants to France for concerts and recording sessions. And so it happened.
However,
already several months before this event, the celebrated quintet was invited to
perform at the 5th ‘Jazz World’ party in Holland. The initiative was taken
by the Dutch Jazz Liga, managed by Eddy Crommelin and sponsored by magazine
“Jazzwereld” (Jazz World).
And – for the very first time - the illustrious
formation travelled to the Netherlands.
On
Saturday July 10 one could speak of a full house in the big ‘Kurhaus’ ballroom for a memorable gala
concert.
As
can be seen from the attached advertisement, this party was rounded off by a
ball with the Dutch band “Jacques Kluger’s Collegians’ and
piano player Ernst van ’t Hoff.
Moreover people could watch that evening films of Benny Goodman and others.
After
this very special event, the
abovementioned magazine published a favourable review. Due to this report we
get a good impression of the program which was presented that particular night
whereby several performed themes are described.
We
learn that the quintet opened with “Exactly
like you” which – according to the reporter – immediately excited the
audience. Then people could listen to “Limehouse
blues” and “Blue Drag” followed by “Honeysuckle rose”, Django’s “Boléro”
and the “Tiger Rag”, all described
as ’superb
performances’. As to the two star soloists, expressions were used as ‘fully inspired, highly emotional, dynamic
performances with touching inflexions’. Those words would be impossible to
use in our times!
After
the break we read that compositions like “Speevy”,
“I’ve had my moments”and “In the still of the night”were played
and again the reporter is very favourable about them and continues:
Then
a funny thing happened. Immediately after the final theme was played a few strong guys entered the stage, picked up
the bass and carried it away, till – in
a hurry – it was decided to put it back again, which took a while. All this caused,
of course, great merriment.
To be continued
Georg Lankester
glankester@gmail.com
---
Jo
keepitswinging.domain@gmail.com
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