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F u F F E N S p r o u d l y p r e s e n t s a r e l e a s e w h i c h
i n t e n t i o n i s t o p l e a s e a n d t o e n l i g h t e n t h
o s e l e s s a w a r e o f t h e t r u e m e a n i n g a n d q u a l
i t y o f m u s i c d u e t o d a m a g e s r e l a t e d t o m t v b
u t w i t h o u t f u r t h e r a d o f u f f e n s o f f e r y o u t
o i n c r e a s e y o u r k n o w l e d e g e a b o u t m u s i c a n
d i n t h a t w a y c r e a t e a b e t t e r w o r l d f o r o u r c
h i l d r e n t h e f o l l o w i n g m a s t e r p i e c e o f a r t
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a r t i s t django reinhardt
a l b u m the swing sessions 1
l a b e l frog
g e n r e swing
r i p d a t e 12.12.2002
s t r e e t d a t e 03.26.2002
o r i g i n a l r e l 2002
s u p p l i e r lucilie
s o u r c e cd
b i t r a t e 192 kbps
e n c o d e r lame 3.92
r e l e a s e n o t e s
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.
One can NEVER get enough of Django! Keep swingin.
...and remember: s t a y f u f f e n s f o r l i f e
t r a c k l i s t
honeysuckle rose 02:49
crazy rhythm 03:04
out of nowhere 03:20
sweet georgia brown 03:03
bugle cal rag 02:44
between the devil and the deep blue sea 02:58
i got rhythm 02:16
sweet sue 03:07
hangin' around boudon 02:57
japanese sandman 03:00
pennies from heaven 02:24
tiger rag 02:38
whoa babe 02:43
p.b. flat blues 03:01
saint louis blues 02:46
bouncin' around 02:48
eddie's blues 03:10
sweet georgia brown 02:50
oh! lady be good 03:17
dinah 02:30
daphne 03:04
you took advantage of me 02:57
i've found a new baby 02:38
charleston 02:55
chicago 03:28
alabamy bound 02:48
75:15
MB 103,7
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s p e c i a l g r e e t s g o e s o u t t o : SChiZO
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i f y o u l i k e t h i s r e l e a s e t h e n g e t y o u r l e e c
h a s s d o w n t o y o u r l o c a l r e c o r d d e a l e r a n d b
u y t h e s t u f f b e c a u s e t h i s i s m a d e b y r e a l a r
t i s t s a p a r t f r o m t h e m a i n s t r e a m p r o d u c t s
t h a t s i n t h e t o p 2 5 l i s t i n t h a t s t o r e y o u w i
l l v i s i t r i g h t a w a y t o s h o w y o u r s u p p o r t t o
t h e t r u e a r t i s t s o f m u s i c - t h e f u f f e n s a r t
i s t s t h a t s i n i t f o r t h e m u s i c n o t t h e m o n e y
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a l w a y s d o r e m e m b e r : s t a y f u f f e n s f o r l i f e
⌐ FuFFENS 2 0 0 2
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| Dir : Django_Reinhardt--The_Swing_Sessions_1-2002-FuFFENS/
| Date : 12-12-2002 13:11
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