Among the dozens of sessions Django Reinhardt cut with various groups from 1934 to 1953, he would only rarely make trio recordings. This set compiles all of this existing instrumental trios, including a variety of different formations. As a bonus, a rare session by singer Nitta Rette backed by a trio of Django, Stéphane Grappelli and pianist Emil Stern (with plenty of solos by the three instrumentalists), as well as a series of quartet sides which feature Django as a prominent soloist.
Set of Fremeaux’s definitive Integrale Django Reinhardt collection. Mastered by Daniel Nevers, there are 20 volumes of these, and each volume has 2 CDs – 40 CDs total. Each volume also comes with a fairly thick booklet with discography and notes. And the booklets and inserts have very nice B&W pictures of Django. Une réédition d’exception ! Depuis quelques années maintenant, les éditions Frémeaux ont entrepris la publication d’une intégrale des enregistrements de Django Reinhardt.
Django Reinhardt appears on an AVID Entertainment release for the second time, here featuring his electric guitar period and this time on classic AVID JAZZ label. Focusing on his music after 1947 when he returned from the USA having played with Duke Ellington, we also include a valuable recording made at the RDF radio studios possibly for a film soundtrack and skilfully re-mastered by AVID’s own sound engineers. Django’s music in the 1950’s underwent many changes as witnessed among these tracks. We travel through small group swing to bebop influenced modern harmonic and rhythmically conceptual pieces, urgent, wild and frantic as detected in his amazing guitar playing!
7 discs of pure genius. 143 tracks of the finest gypsy jazz, in chronological order, starting from 1934 until 1939.
All of these sides but one (a pop vocal by Charles Trenet) were made in December 1940, just half a year into the Nazi occupation of Paris. People are still marveling over the fact that Django Reinhardt, a Gypsy who played music closely aligned with Jews and Afro-Americans, was not arrested and put to death by the invasive regime, for these collective jams were and are the antithesis of fascist ideology. It just so happens that this little slice of the chronology contains some of Reinhardt's most interesting material, wonderfully evolved from the earlier Hot Club de France, yet filled with premonitions of how jazz would come to sound ten or even 20 years later. Hubert Rostaing was an inventive clarinetist, sounding something like Marshall Royal, and is featured on most of these sides…