It's a hot, swinging virtuosity, minor-key with a sighing vibrato, an irresistible sound that insinuates your soul with joyful brio and wistful nostalgia. This is Django's music, the legacy of French/gypsy guitarist/composer, Jean Baptiste "Django" Reinhardt (1910-1953), a Manouche gypsy who captured the passion of generations of listeners.
Django devised his unique style of playing after an accidental fire in 1928 severely injured the fourth and fifth fingers of his left hand. He devised a method of fingering chords, using two or three fingers instead of five to deliver his native gypsy jazz of driving rhythm and intricate finger work. It was in 1934 that he joined a shy Italian violinist named Stephane Grappelli, and their music at the Paris' Quinette du Hot Club, became stratospheric.
Carrying on the Django musical tradition, Birdland began celebrating The Django Reinhardt NY Festival 16 years ago, in June and November. In the last week in June, with every seat taken by an audience coming from New York to California to Europe and Asia, an international band of jazz musicians gathered for a vibrant jolt of joy. The musical roots show dazzling technique, strong swing, and a distinctive European melodic link yet a contemporary sensibility, as well. American bass player, Brian Torff acted as host, introducing the other musicians and often identifying the tunes. Some were so familiar that everyone knows them, like the encore, a bouncing "Them There Eyes," a song more intriguing than you'd expect with its sudden minor key. Others, like "Minor Swing," written by Django, is a singular crowd-pleaser, resonant with strong, expressive rhythms.
The other musicians at Birdland included the lightning licks of Samson Schmitt (the son of French gypsy guitarist, Dorado Schmitt), Doudou Cuilerier, often called “Mr. Django,” who added a vigorous scat vocal segment, and special guest, the flying fingers of Finland's, Olli Soikkeli.
The unique Django sound includes accordion, here played by France's Ludovic Beier, who also played accordina, which resembles a hand accordion/harmonica.
Fabulous Parisian violinist Pierre Blanchard performed with more energy than you could expect. On two nights, Columbian jazz harp genius, Edmar Castaneda, definitely not the melodic softness of a tea room harp, brought spirited improvisation and nuance.
Old songs were given a new twist, like Benny Goodman's "In the Mood." Blanchard started "Sheik of Araby," with the sweeping violin sound of Grappelli precluding the guitarists who joined in with fiery intensity. Beier on accordiana playing his original ballad, “Fleur De Brasil,” was haunting and ethereal. Blanchard's emotional opening notes of the famous romantic Russian "Ochitchornyye" ("Dark Eyes") invited the guitars, harp, accordian, picking up the pace with Tofflis's bass giving heft to it all, spurring the audience clapping in time with a standing ovation to end the show.
The appearances of the Django All-Stars' visceral Djam-manship is the greatest show in town, not to be missed.
