John Jorgenson thought he’d heard every possible description of Django Reinhardt’s guitar style—until he was asked to play the Gypsy-jazz guitarist’s music for the 2004 film Head in the Clouds. “The British director [John Duigan] said, ‘Django Reinhardt makes a particular sort of a racket on guitar. Can you make that same sort of racket?'”
Though Jorgenson chuckles at the memory, “racket” may be as good a word as any when trying to pin down Reinhardt’s fierce rhythmic and lyrical playing. Sixty-four years after Reinhardt’s death, his music has inspired more than 30 annual Gypsy-jazz festivals worldwide, including the Django A Gogo Music Festival, which in its tenth year is set to be the biggest-ever Django Reinhardt tribute show. The event is part of a six-day festival that includes master classes and concerts.
Scores of bands play music in the Gypsy-jazz genre he invented. The website last.fm.com lists over 470 Gypsy-jazz artists, past and present. Many take their name from Reinhardt’s iconic combo, the Quintette du Hot Club de France ( Quintet of the Hot Club of France), including the Hot Club of Detroit, the Hot Club of Philadelphia, Austin’s Hot Club of Cowtown and even Seattle’s Hot Club Sandwich. Musically, each has a regional twist (the Hot Club of Detroit, for example, infuses its swing with horns and hints of Motown soul).
Paul Mehling’s Hot Club of San Francisco, formed in 1990, is one of the oldest of these Hot Clubs, and one of the best. Mehling is just one of a cadre of guitarists singing the praises of Django. Reinhardt plays “guitar with a human voice,” Mehling says. “He moves the listener in ways a singer can.” He not the only one to admire Reinhardt’s skill. “Django’s playing is so fluid and precise,” says bluegrass flatpicking champion and bandleader Larry Keel. “He puts together an endless supply of melodic ideas.”
“Django plays multiple down strokes within a lick,” Jorgenson says, describing Reinhardt’s sweep picking, or Gypsy picking. “He moves across the strings in a rhythmic manner so each note pops out.” Adds Peter Frampton, who collaborated with Jorgenson on a Reinhardt-style tribute called “Souvenirs De Nos Peres”: “Django loved American jazz, particularly bebop. You can hear it when he plays these powerful brass parts on his guitar.”
“I thought he was playing notes that weren’t even on the guitar!” says Stéphane Wrembel, who was so impressed with Reinhardt’s playing that he moved to authentic Gypsy camps in rural France to learn how to play like Django. Dutch-born guitarist Stochelo Rosenberg got a head start on Wrembel by being raised in a Gypsy camp. “The music of Django is a natural part of my existence,” Rosenberg says. Many musicians today want to learn the style of Django, and one of the best ways to do that is to get Django song transcriptions from a website such as Django In A Box.
Jean “Django” Reinhardt was born in 1910 in a caravan outside the Belgian town of Liberchies to a family of itinerant Romani—known colloquially as Gypsies— Reinhardt was serenading cabaret patrons on guitar and banjo by age 12. When he was 18, the wooden wagon he shared with his wife caught fire. The right side of his body and his left hand – the one used for fretting – were horribly burned. With full use of only the thumb, middle, and index fingers of his left hand, he invented a new way to play guitar—wide ranging, radical movement on the fretboard coupled with flurries of flatpicked notes.
Moving to Paris in the 1930s, Reinhardt and violinist Stéphane Grappelli formed the Quintet of the Hot Club of France. With their swinging fusion of American jazz, Romani rhythms, and Parisian street singing, the quintet catapulted to worldwide fame with the genre they invented, Gypsy jazz. The group split with the advent of World War II. Grappelli stayed in England, while Reinhardt returned to Nazi-occupied France, where he miraculously avoided being sent to one of the death camps that claimed so many Gypsies.
After the war, Reinhardt realized a lifelong dream of visiting the United States. That trip cemented Reinhardt’s influence on guitar players well beyond the boundaries of jazz. “Chet Atkins drove up from East Tennessee to Chicago to see Django play with Duke Ellington, and to get his autograph,” Jorgenson says.
Atkins, who recorded some of Reinhardt’s 100 original songs, went on to influence every country guitarist who followed, Jorgenson adds.
From country music, Reinhardt’s influence spread to rock ‘n’ roll, says Frampton, who still plays Django’s solos daily, after running the master’s recordings through the Amazing Slow Downer app on his phone.
In the late 1940s, Reinhardt briefly reunited and recorded with Grappelli, and began to experiment with electric guitar. In the 1950s, he went into semi-retirement near Samois sur Seine in France, the site since 1968 of one of the longest-running Gypsy-jazz festivals. On a warm day in May 1953, Reinhardt suffered a stroke and died. He was 43.
