REINHARDT DJANGO, THE BEST OF, STYLES AND TECHNIQUES OF A JAZZ GIANT. Ain't Misbehavin' -Belleville -Daphne -Dinah -Djangology -Honeysuckle Rose -Limehouse Blues -Marie -Minor Swing -Nuages -Old Folks At Home (Swanee River) -Rose Room -Stardust -Swing 42 -Swing Guitar -Tiger Rag (Hold That Tiger). CD TABLATURE
The Best of Django Reinhardt A Step-by-Step Breakdown of the Guitar Styles and Techniques of a Jazz Giant
Series: Signature Licks Guitar
Format: Softcover with CD - TAB
Artist: Django Reinhardt
Author: Joe Charupakorn
Explore the groundbreaking style of one of the most unique and influential guitarists in jazz! This book/CD pack explores 16 of his signature tunes: Ain't Misbehavin' - Belleville - Daphne - Dinah - Djangology - Honeysuckle Rose - Limehouse Blues - Marie - Minor Swing - Nuages - Old Folks at Home (Swanee River) - Rose Room - Stardust - Swing 42 - Swing Guitar - Tiger Rag (Hold That Tiger). The CD includes full demos of each.
Inventory #HL 00695660
ISBN: 9780634034312
UPC: 073999549607
Width: 9.0"
Length: 12.0"
96 pages
INTRODUCTION
Just about a half century after his death, Django Reinhardt still remains a towering
figure in the annals of jazz guitar. To this day, his incendiary playing stands up to that
of later virtuoso jazz guitarists such as Joe Pass, Pat Martino, and George Benson. Author
James Lincoln Collier, in his book The Making of Jazz, calls Django "the most important
guitarist in the history of jazz"; when you take into account the hordes of jazz guitarists he
has influenced, he may very well be. His groundbreaking style of playing-marrying
European-influenced scales and harmonies with jazz rhythms-was unheard of during his
time. He was among the first of the European jazz musicians who could cop the jazz feel
correctly, and he left an indelible stamp on the world of jazz guitar. His major influence was
session guitarist Eddie Lang (the first major jazz guitarist). He absorbed Lang's Europeanbased
harmonic concepts and took them one step beyond.
Born Jean Baptise Reinhardt to LaBelle Reinhardt and Jean Vees (his assumed
father) on January 23, 1910 in Liverchees, Belgium near the French border, Django was
raised in true gypsy fashion, travelling around in a caravan and living like a vagabond. He
spent much of his formative years travelling across Europe, eventually settling just outside of Paris.
Django did not attend school and was illiterate-he could neither read nor write.
He did, however, have a passion and a gift for music and eventually received a banjo from
a neighbor named Raclot when he was twelve. He never took formal lessons, but learned
from his father and other musicians in the area, and shortly thereafter began playing with
his father in cafes. By age fourteen he had become a fixture on the Parisian club scene,
and by age eighteen he recorded his first session as a sideman, accompanying an accordion on banjo.
On November 2, 1928, tragedy struck. Django heard some noise and thought it
was a rat scurrying around his wagon. He grabbed a candle, which unexpectedly fell out
of the candleholder and onto a pile of highly flammable artificial flowers that immediately
burst into flames, setting the wagon on fire. Django used a blanket to carry his wife out of
the burning caravan, but his exposed legs and left hand were severely burned. Because
of the severity of the burn, doctors suggested amputating Django's legs, but he vehemently
refused. He would later regain the use of both legs.
His left hand did not have the same good fortune, and his music career appeared
to be doomed. Django was resilient, however, and trudged along, trying to play guitar
again while in the hospital. He eventually regained the use of his thumb, index, and middle
fingers, but never the full use of the ring and pinky fingers. Over a year later, he was
able to play again using his functioning left-hand fingers.
In 1928 Django met Stephane Grapelli, a violinist with whom he would have a
career-long relationship. They were both struggling young musicians trying to make their
way in the jazz scene. In 1933, they finally had the chance to play together in the Quintet
of the Hot Club of France (which also featured Django's brother Joseph on rhythm guitar),
an incarnation of the Hotel Claridge Orchestra. The Ultraphone Record Company gave the
group a record deal in 1934, and their first recording sent shockwaves throughout the
European jazz scene. This spawned a series of group recordings that would elevate the
group's popularity and allow them to play concert halls.
When World War II started, the group was on tour in London. Django and company
retreated to Paris, but Grapelli chose to stay behind in London. As a result of the
German invasion of France, Django became a god in the eyes of the French. He was a national hero who represented a unique and free spirit that stood tall against the repressive, stifling nature of the German invaders.
AIN'T MISBEHAVIN' Words by Andy Razaf
Music by Thomas "Fats" Waller and Harry Brooks
Django Reinhardt's solo on "Ain't Misbehavin' ,"with its motivic and rhythmic development,
is an exemplary model of solo construction. After the opening quote of the theme,
Django weaves through the chord changes with primarily scalar runs based on the D
major scale (D-E-F#-G-A-B-C#). In measure 7 he introduces a triplet motive that is
repeated for three consecutive measures. The motive begins on the root and hammers
and pulls back and forth up a half step. This lick is transposed up a perfect 4th in measure
8 to correspond to the chord change (Bm-Em). In measure 9 the pattern begins on the
9th of the D chord and hammers onto the minor 3rd (Fq), creating a bluesy effect. Notice
how the pattern gets rhythmically displaced in the following measures, starting on beat 3
in measure 7, beat 2 in measure 8, and back to beat 3 in measure 10. This figure is recalled in measures 39-40.
Another motive is introduced in measure 25, comprised of a note followed by a
higher note, which is bent up a half step. Django leaps from A to E and bends up to Fq,
the bluesy b3rd of the D chord. This is followed by a bend from G# to A, the 5th of the D
chord. Some arpeggiated lines follow in measures 30-32, and in measures 33-36 Django
continues to develop the bending motive, this time starting with a bend from E#to F#, the 3rd of the D chord.
Chromaticism is abundant throughout the solo and used primarily in one of two
ways: as neighbor tones and passing tones. For example, the triplet motive (mentioned
above) in measures 7-9 uses a chromatic upper neighbor trill. In measure 58, chromatic
passing tones fill the gap from A down to F#.Measure 59 has an A# passing tone between
A and B, measure 61 also has an A# passing tone between A and B (this time an octave
lower), and in measure 62 there are chromatic passing tones from A# to ct
Table of contents:
Ain't Misbehavin'
Belleville
Daphne
Dinah
Djangology
Honeysuckle Rose
Limehouse Blues
Marie
Minor Swing
Nuages
Old Folks At Home (Swanee River)
Rose Room
Stardust
Swing 42
Swing Guitar
Tiger Rag (Hold That Tiger)
96 pages
Ain't Misbehavin' - WORDS: RAFAZ – MUSIC: WALLER -BROOKS - 1929
Belleville - DJANGO REINHARTD - 1944
Daphne - DJANGO REINHARDT - 1938
Dinah – WORDS: LEWIS, YOUNG – MUSIC: HARRY AKST - 1925
Djangology - DJANGO REINHARDT, STEPHANE GRAPELLI - 1937
Honeysuckle Rose – WORDS: ANDY RAFAZ – MUSIC: FATS WALLER - 1929
Limehouse Blues – WORDS: FURBER – MUSIC: BRAHAM -
Marie – IRVING BERLIN - 1928
Minor Swing - DJANGO REINHARDT, STEPHANE GRAPELLI - 1938
Nuages – DJANGO REINHARDT, JACQUES LARUE -
Old Folks At Home (Swanee River) – STEPHEN C. FOSTER -
Rose Room – WORDS: HARRY WILLIAMS – MUSIC: ART HICKMAN -
Stardust – WORDS: PARISH – MUSIC: CARMICHAEL - 1928
Swing 42 – DJANGO REINHARDT - 1941
Swing Guitar - DJANGO REINHARDT, STEPHANE GRAPELLI - 1937
Tiger Rag (Hold That Tiger) – WORDS: HARRY DECOSTA – MUSIC: DIXIELAND BAND -
Violin arranged for guitar
Italiano
English
