Django Reinhardt - Le Quintette du Club de France (Jazz Archives 32, 1991)

Жанр: Swing
Дата записи: 1934-1937
Дата выпуска: 1991
Производитель диска, номер, страна: EPM Jazz Archives 32, France, 157522
Тип: Compilation

Аудио кодек: FLAC
Тип рипа: (tracks + .cue)
Битрейт аудио: lossless
Включает: Full artwork
Продолжительность: 63:10
Источник: коллекция Л Рендера
Риппер: Мой рип

Трэклист:
1. Dinah (Akst, Lewis, Young ) — 2:36
2. Tiger Rag (DaCosta, Edwards, LaRocca ... ) — 2:34
3. I'm Confessin' (That I Love You) (Daugherty, Neiburg, Reynolds ) — 2:56
4. Swanee River (Foster ) — 3:03
5. Some of These Days (Brooks ) — 2:25
6. Djangology (Grappelli, Reinhardt ) — 2:57
7. I'se A-Muggin' (Smith ) — 3:09
8. I Can't Give You Anything But Love (Fields, McHugh ) — 3:24
9. Shine (Brown, Dabney, Mack ) — 2:56
10. Swing Guitars (Grappelli, Reinhardt ) — 2:28
11. Georgia on My Mind (Carmichael, Gorrell ) — 3:15
12. Tears (Grappelli, Reinhardt ) — 2:40
13. Solitude (DeLange, Ellington, Mills ) — 3:10
14. Charleston (Johnson, Mack ) — 2:52
15. Ain't Misbehavin' (Brooks, Razaf, Waller ) — 2:56
16. Rose Room (Hickman, Williams ) — 2:46
17. Body and Soul (Eyton, Green, Heyman, Sour ) — 3:29
18. Chicago (Fisher ) — 3:27
19. Mystery Pacific (Grappelli, Reinhardt ) — 2:22
20. The Sheik of Araby (Smith, Snyder, Wheeler ) — 3:05
21. Minor Swing (Grappelli, Reinhardt ) — 3:17
22. Viper's Dream (Allen ) — 3:14

Состав:
Django Reinhardt & le Quintette du Hot Club de France :
Stephane Grappelli (vln) & Django Reinhardt (g solo) in all tracks, with (1-2-3-4) RogerChaput, Joseph Reinhardt (g), Louis Vola (b). 12/1934 (1-2) ; 03/1935 (3) ; 04/1935 (4). (5-6) Joseph Reinhardt, Pierre "Baro" Ferret (g), Louis Vola (b). Paris, 09/1935. (7-8) Joseph Reinhardt, Baro Ferret (g), Lucien Simoens (b), Freddy Taylor (vo). Paris, 04/05/1936. (9-10-11) Joseph Reinhardt, Baro Ferret (g), Louis Vola (b), Freddy Taylor (vo en 9,11). Paris. 15/10/1936. (12 to 20) Baro Ferret, Marcel Bianchi (g), Louis Vola (b). Paris, 21/04/1937(12-13-14); 22/04/37(15-16-17); 26/04/37(18-19) ; 27/04/37(20). (21-22) Joseph Reinhardt, Eugene Vees (g), Louis Vola (b), Paris, 25/11/1937.

Издания:
1996 CD EPM 157522
1995 CD Jazz Archives (France) 157522

"~ from booklet"

1934 to 1937 were the Hot Club of France quintette's finest years, combining the bloom of youth with the promise of fullblown maturity.
The quintette had dared to put its faith entirely in string instruments — Stephane's violin, three guitars and a double bass. It was a new idea for jazz ; even the Americans had not gone that far.
The duo of Joe Venuti on violin and Eddie Lang on guitar, the forerunners in the field, had always included a wind instrument and a piano in their combination. And when Django first put to Stephane his idea of a string band, the latter was not totally convinced, knowing full well that in France it was difficult enough to be accepted as a violinist playing only jazz ; it would surely be even less easy to get away with a line-up of five string musicians, without the backing of a more resonant instrument. How were they to get a hearing from a public for whom jazz was very much a question of trumpets and saxophones ? The piano was accepted at a pinch, mainly because it was a hangover from the days of ragtime. But Django was not one to give up easily, and Stephane turned out to be quite open to persuation. Charles Delaunay managed to persuade a record company to give the quintette a hearing, and one recording led to another. Django and Stephane soon became a house hold name, to the point that not only the French but the jazz world as a whole readily adopted the "French sound".
The instrumental mix was new, but so was the music itself, and so much so that in the 1930s Reinhardt and Grappelli were in a class of their own, as Venuti and Lang had been in the 1920s. No guitarists or violinists before them had reached such heights in their art. The comparisons inevitably made between Eddie Lang and Django Reinhardt, Joe Venuti and Stephane Grappelli, equally inevitably ended in the conclusion that the parallel was not a good one. Django did not owe much to Lang, and as for Grappelli, in the fluidity of his playing he was streets ahead of his American Counterpart. The whole world was soon convinced that these "Frenchies" were quite unique. No guitarist before Charlie Christian, i.e. before the end of the 1930s, had made such an impact on the jazz scene. And while it has become fashionable to consider Stephane as "not really as brilliant as Django", one only needs to look at his career as a whole to see that his art has resisted not only fashions, but time itself. Grappelli is still there, and there can be no better answer to those who wanted to rank him second to Django.
What really matters is that the Quintette du Hot Club de France have made their unique contribution to jazz, and that over the years they have left their mark on history ; their music will never die.