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| The Classic Early Recordings in Chronological Order |
| Django Reinhardt |
| első megjelenés éve: 2000 |
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| (2000)
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5 x CD |
| 7.461 Ft
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| 1. CD tartalma: |
| 1. | I Saw Stars
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| 2. | I'm Confessin' (That I Love You)
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| 3. | Dinah
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| 4. | Tiger Rag
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| 5. | Oh, Lady Be Good
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| 6. | I Saw Stars
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| 7. | Lily Belle May June
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| 8. | Sweet Sue, Just You
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| 9. | I'm Confessin' (That I Love You)
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| 10. | The Continental
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| 11. | Blue Drag
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| 12. | Swanee River
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| 13. | The Sunshine of Your Smile
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| 14. | Ultrafox
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| 15. | Avalon
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| 16. | Smoke Rings
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| 17. | Clouds
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| 18. | Believe It, Beloved
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| 19. | I've Found a New Baby
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| 20. | St. Louis Blues
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| 21. | Crazy Rhythm
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| 22. | The Sheik of Araby
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| 23. | Chasing Shadows
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| 24. | I've Had My Moments
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| 25. | Some of These Days
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| 26. | Djangology
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| 2. CD tartalma: |
| 1. | Honeysuckle Rose
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| 2. | Sweet Georgia Brown
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| 3. | Night and Day
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| 4. | My Sweet
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| 5. | Souvenirs
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| 6. | Daphné
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| 7. | Black and White
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| 8. | Stompin' at Decca
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| 9. | Tornerai (J'Attendrai)
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| 10. | If I Had You
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| 11. | It Had to Be You
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| 12. | Nocturne
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| 13. | The Flat Foot Floogie
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| 14. | Lambeth Walk
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| 15. | Why Shouldn't I?
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| 16. | I've Got My Love to Keep Me Warm
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| 17. | Please Be Kind
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| 18. | Louise
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| 19. | Improvisation No. 2
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| 20. | Undecided
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| 21. | H.C.Q. Strut
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| 22. | Don't Worry 'Bout Me
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| 23. | The Man I Love
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| 24. | My Sweet
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| 25. | I've Got My Love to Keep Me Warm
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| 26. | Improvisation No. 2
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| 3. CD tartalma: |
| 1. | Billets Doux
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| 2. | Swing de Paris
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| 3. | Them There Eyes
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| 4. | Three Little Words
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| 5. | Appel Direct
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| 6. | Hungaria
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| 7. | Hungaria
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| 8. | Jeepers Creepers
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| 9. | Jeepers Creepers
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| 10. | Swing '39
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| 11. | Japanese Sandman
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| 12. | I Wonder Where My Baby Is Tonight
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| 13. | I Wonder Where My Baby Is Tonight
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| 14. | Tea for Two
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| 15. | Tea for Two
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| 16. | My Melancholy Baby
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| 17. | Time on My Hands
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| 18. | Twelfth Year
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| 19. | Twelfth Year
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| 20. | My Melancholy Baby
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| 21. | Japanese Sandman
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| 22. | Tea for Two
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| 23. | I Wonder Where My Baby Is Tonight
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| 24. | Hungaria
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| 4. CD tartalma: |
| 1. | Blue Moon
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| 2. | Avalon
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| 3. | What a Diff'rence a Day Made
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| 4. | Stardust
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| 5. | St. Louis Blues
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| 6. | Limehouse Blues
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| 7. | I Got Rhythm
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| 8. | I've Found a New Baby
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| 9. | It Was So Beautiful
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| 10. | China Boy
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| 11. | Moonglow
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| 12. | It Don't Mean a Thing (If It Ain't Got That Swing)
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| 13. | I'se A-Muggin'
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| 14. | I Can't Give You Anything But Love
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| 15. | Oriental Shuffle
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| 16. | After You've Gone
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| 17. | Are You in the Mood?
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| 18. | Limehouse Blues
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| 19. | Nagasaki
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| 20. | Swing Guitars
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| 21. | Georgia on My Mind
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| 22. | Shine
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| 23. | In the Still of the Night
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| 24. | Sweet Chorus
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| 5. CD tartalma: |
| 1. | Exactly Like You
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| 2. | Charleston
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| 3. | You're Driving Me Crazy
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| 4. | Tears
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| 5. | Solitude
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| 6. | Hot Lips
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| 7. | Ain't Misbehavin'
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| 8. | Rose Room
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| 9. | Body and Soul
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| 10. | When Day Is Done
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| 11. | Runnin' Wild
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| 12. | Chicago
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| 13. | Liebestraum No. 3
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| 14. | Miss Annabelle Lee
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| 15. | A Little Love, a Little Kiss
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| 16. | Mystery Pacific
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| 17. | In a Sentimental Mood
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| 18. | The Sheik of Araby
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| 19. | Improvisation
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| 20. | Parfum
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| 21. | Alabamy Bound
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| 22. | Rosetta
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| 23. | Stardust
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| 24. | The Object of My Affection
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Jazz
Recorded between 1934-1939
Django Reinhardt (guitar)
Bill Coleman (vocals, trumpet); Frank "Big Boy" Goudie (tenor saxophone, trumpet, clarinet); Coleman Hawkins (tenor saxophone); Stephane Grappelli (violin, piano); Joseph Reinhardt, Pierre Ferret, Eugene Vees (guitar); Luis Vola (acoustic bass)
Includes liner notes by Ted Kendall & Stan Britt.
DISC 1: VOLUME ONE THE FIRST QHCF RECORDINGS (1934 & 1935)
DISC 2: VOLUME TWO THE LONDON DECCAS (1938 & 1939)
DISC 3: VOLUME THREE THE PARIS DECCA RECORDINGS
DISC 4: VOLUME FOUR
DISC 5: VOLUME 5 THE HMV SESSIONS
This budget five-disc box collects Reinhardt's first 124 recordings between 1934-1939. Curiously enough, despite the title, these sides aren't chronological, a fact that engineer Ted Kendall admits in the liner notes. Rather, while each disc's featured sessions are presented mostly chronologically, the discs themselves are rather awkwardly sequenced, with different discs covering different years in a seemingly random order. That doesn't really detract from the set's appeal, however, as this music is terrific no matter how it's presented. If there is a flaw, it's that the remastering isn't nearly as superb as the fawning front-cover quotation would lead one to believe. In fact, some of the better CD issues (particularly ASV/Living Era's Quintette du Hot Club de France) have sound quality that is nearly, if not equally, good. To his credit, however, Kendall admits that he has attempted no "enhancement" of the sound, but has instead concentrated on clearing away much of the audio rubble. His work is, in fact, generally excellent -- especially on the later sides, many of which are virtually devoid of hiss. And much care has been taken to present this music in the best possible light -- the scattered liner notes are enthusiastically written and there are some real treasures unearthed along the way, from unissued second takes to tracks that have been issued for the first time at their correct pitch. All in all, Kendall deserves kudos for his meticulous attention to detail, and the super-low price is a Reinhardt fan's dream.
---Jim Smith, All Music Guide
Django Reinhardt
Active Decades: '20s, '30s, '40s and '50s
Born: Jan 23, 1910 in Liberchies, Belgium
Died: May 16, 1953 in Fontainebleau, France
Genre: Jazz
Styles: Continental Jazz, Gypsy, Swing
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.
---Richard S. Ginell, All Music Guide |
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