Professional Documents
Culture Documents
http://romani.uni-graz.at/rombase
Django Reinhardt
Peter Wagner
Today is the 1st of November, 1928, All Saints Day, late in the evening. The Reinhardt family shares this holiday with the souls of the deceased, particularly with a young one, only lately deceased, for whom the caravan has been decorated with artificial flowers. Young Django Reinhardt is returning from a concert, most probably preoccupied by an offer by Jack Holton, the English master of symphonic jazz, to move to him to England and play in his orchestra. Fate, however, had decreed otherwise. He lights the candles, and with them the flowers, and immediately the whole caravan catches fire; the family is glad to escape with their lives. For the young, promising musician, this incident is a catastrophe. His left leg is badly burnt, it will later have to be operated on, but what is worse, two fingers of his left hand remain unable to function, which is to lose the basis of existence for a goldsmith or a musician. But not Django Reinhardt. A fanatic love of music had already rooted in him, and a present a guitar which should support his therapy makes it break out. Notwithstanding his handicap, an inner need to express himself via music makes him return in all his virtuosity within one and a half years, equipped with additional, original means of expression. His new technique arouses amazement and curiosity with a whole generation of guitarists and musical researchers. It is difficult to judge the role of his handicap in this still significant mainly among the Roma school. Evidence of his pronounced solo character can be found also in the time before his accident; it can be heard in every single recording. He never subordinates himself to fashionable styles, resounding from juke boxes and bars at a particular time, but still does not lose the ability to play consonantly in a team. The famous American jazz saxophonist Benny Carter once said that Django Reinhardt simply was not able to play off key. Also on a general level, America is in ecstasies about him; his jazz quintet is the only European one to be featured in CBS documentary series on jazz. Some even consider him as the first European jazz musician with supra-regional influence. The instrumentalization of Djangos proper ensemble, the "Quintette du Hot Club de France" is also extraordinary. The violin is at that time a very unusual jazz instrument, and the combination with the guitar is practically unique, as is the lack of any kind of percussion, rejected as being too monotonous. It also disturbs because it is usually played the whole time through. Even the best drummers of that time were not able to dispel these conceptual reservations. The melodic emphasis, in most ensembles constituted by trumpet or saxophone, has to be replaces by the imaginativeness of the brilliant soloist Django Reinhardt playing the guitar and Stphane Grappelli playing the violin. After the war, he is not fascinated by the new jazz styles which had developed outside of occupied France, but this is by no means a sign of exhausted creativity. That can be seen by the enthusiasm and virtuosity with which he takes up the electric guitar. His musical genius is finally revealed when he, in the 1950ies, effortlessly gains the upper hand over younger musicians after a long absence from the musical scene by quick passages or by casually played complex harmonies which are too difficult for the other musicians. The common denominator of his eccentric demeanor in everyday life and his musical creativity may be his inability to see what is common, what is right and proper, how to play, in short, what is "normal". Obviously, he has never gone beyond the limits on purpose, he just did not perceive them at all. This was his way to play the "unplayable".
-1-
http://romani.uni-graz.at/rombase
http://romani.uni-graz.at/rombase
necessary to be afraid of a public concert without previous rehearsal. Right from the start, the souls of the musicians are in accord with each other. On a certain level, Django feels to be in accord with Johann Sebastian Bach, who differs only in so far as the latter set down his ideas on paper. Thanks to his reputation, Django Reinhardt and the leading lights of the American jazz scene, Louis Armstrong, Eddie Smith, Coleman Hawkins, Benny Carter, or Duke Ellington, sought each other during their concert tours in Europe and America. During their joint sessions in studios and concert halls, unique works of art came into being; they cannot even be disturbed by the fact that the Bohemian Django leaves his guitar at home, believing that he will find one there. He does, but it is an electric one. During the war, his artistic creations are prolific. He rarely records in the studio, but in the evening he has more than enough gigs jazz being considered a form of protest against the occupying forces regime. He founds his own club, "La Roulette", later called "Chez Django Reinhardt". He tours Belgium, the Provence, which is not occupied, and Algeria. His wish an own jazz orchestra, "Djangos Music" comes true. Its members unfortunately do not have a permanent position, and go their own way after the war. On the basis of texts by the French poet Jean Cocteau he composes the opera "Le manoir de mes reves", but it is never performed. He also impresses the experts with an organ mass which he had composed in 1944 in honor of the French Romas Manouche holy place of pilgrimage, St.-Maries-de-la-mer, on the Riviera. After the war, he would like to revive the famous Quintette, but he fails to do so, both with the original violin player Grappelli and with his new friend, the talented clarinetist Hubert Rostaing. Also, the new jazz which had developed outside of the area occupied by the Germans is not quite to his liking it is as if an insurmountable wall had been erected between the two sides of the front. The times, also, do not favor jazz anymore, and not even the famous jazz ensembles of the pre-war period can easily get engagements. To a limited degree, Django lets himself be influenced by bebop, but he gets his inspiration mainly from the electric guitar, which opens up new space for experiments. At the same time, he discovers a new passion which brings him into contact with his brother Joseph, fellow musician Roger Chaput, and his friend Amde Pianfetti: painting, and particularly landscapes and very uncommon for a Rom nudes. The painting of landscapes arises from his love of nature. His interest is aroused to such an extent that some visitors find his guitar covered with a thick layer of dust, and journalist are laconically told not to talk about music, as he was painting. But he always continued to play, e.g. the piano for a change.
http://romani.uni-graz.at/rombase
itinerant, which is even more notable as their equally itinerant Sinti "brothers" have been murdered almost completely, and as traveling about was prevented in the communist countries of Central and Easter Europe by brutal reprisals. The direction of influence between the Romas interpretation of "white" music on the one hand, and the influence of the Romas way to play on Non-Roma composers on the other cannot be determined. Roma musicians from Romania and Hungary influenced composers from the Austrian-Hungarian Monarchy in the 19th century, such as, for instance, Liszt and Haydn. [ The music of the Roma in Hungary] Roma from these areas who were living in Paris during the 1920ies performed completely different from the Manouche this music in their way. But not only the new immigrants, also the Manouche this music in their way. But not only the new immigrants, also the Manouche which had been living in France for a long time, liked this musical genre. Gusti Malha and Matto Garcia, both members of the Cal (Kal), that are the "Spanish Roma", were pioneers of this music. As examples of Manouche families of musicians in whose repertoire the valse manoushe can be found, Django Reinhardts family, the Ves family, relatives of the Reinhardts, and the Ferret family can be cited Django owing the latter family a loyal member of the "Quintette du Hot Club de France", Baro Ferret. It is quite paradoxical to talk about Django as one of the first really successful white jazz musicians, and then to be made aware of his origin; similarly, quite a few "typical" museum exhibits come, in truth, from the Roma. He himself did not attach great value to his origin. On tour, during breaks, while playing billiards, he probably was French. When talking at home to his parents, or when he had difficulties in expressing himself in French when talking to intellectuals, he might have felt a Rom. And how did he feel when he held his guitar in the left, and the plectrum in the right hand?
Djangos Personality
Those character traits that were praised in public life, were cursed by many in private life. Living the life of a Bohemian was part of being an artist, for that it was not necessary to be a Rom. Still, improvisation is difficult for those who are accustomed to certain rules. For the audience, his fellow musicians, the organizers in a small, remote club or in New Yorks famous Carnegie Hall who expected him at eight, and he arrived at nine. Or instead of him, a so-called cousin. Or he arrives, only to disappear again from the stage shortly after. To a game of cards, to friends, to making music. According to Hubert Rostaing, the best way to hear Django Reinhardt was to wait after the concert on the other side of the street there you could probably hear him. Also later, artistic events played an important role for him. During a tour of the United Stated, he suddenly demanded to play together with Dizzy Gillespie, not wanting to hear that the latter was living at quite a distance. Also his family had reason to complain. Already at an early age, his mother had to wait for him at the concerts exit, in order to secure the familys fee. We do not know how Djangos wife dealt with this later on. Clothes were also very important to him, but again not in the way that was expected. One time, he would appear dressed like a dandy, then he would defend his bright red shoes by declaring that red and black went together well.
-4-
http://romani.uni-graz.at/rombase
His immediate surrounding had to get accustomed to his pride, and it took quite an effort to make good the "insult" when the Quintette was announced in the United States as "Stphane Grappelli and the Hot Four". Djangos colleagues also had to accept that he would travel first class and they third on returning from a trip to Italy, and that he did not even greet them on the train. They had had to lend him the money for the fare beforehand, because he had gambled away his fee. When performing with the "Ersatz"-Quintette which he had put together during the war, he was yet more dominant. It was always he who told them what to play, he beat time, and as soon as he started tapping his foot, the Quintette immediately had to obey, without the slightest hesitation.
http://romani.uni-graz.at/rombase
Secret Service men can be heard. Djangos continuing success earns him a high standing with Paris Haute Vole. His musical isolation during the war is felt most strongly by visitors immediately after the war. Even if they managed to ask their way to him, the communication failed both linguistically and musically. By the Americans, however, he is always received warmly, and he has to be very late to get a negative press at all. A joint venture with Stphane Grappelli shortly after the war is not allowed publication: the newly recorded Marseillaise, the French National Anthem. "But we had put our hearts into it!" (St. Grappelli).
For more information on Django Reinhardt Du Peuty, Philippe / Odi, Joelle (1997) Django Reinhardt. Paris. Spautz, Roger (1983) Django Reinhardt. Mythos und Realitt. Luxemburg. Williams, Patrick (1991) Django Reinhardt. Paris.
-6-
http://romani.uni-graz.at/rombase
Peter Wagner
-7-