The Electric Years

Django Reinhardt - The Electric Years

The Electric Years
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CD Details

Artist: Django Reinhardt
Edition: Music CD
Audio: English (Unknown)
CD Release Date: 2007-11-20
Music Label: Avid Jazz
Soundtracks:
Music CD 1
  1. Peche A La Mouche
  2. Minor Blues
  3. For Sentimental Reasons
  4. Blues For Barclay
  5. Danse Norvegienne
  6. Folie A Amphion
  7. Vette
  8. Anniversary Song
  9. Swing 48
  10. September Song
  11. Brazil
  12. I'll Never Smile Again
  13. New York City
  14. Django's Blues
  15. I Love You
  16. Love's Mood
  17. Vendredi 13
  18. Billets Doux
  19. Swing Dynamique
  20. Lover Man
  21. Rhythme Futur
  22. Topsy
  23. Moppin' The Bride (Micro)
  24. Insensiblement
  25. Mano
  26. Blues Primitif
  27. Gipsy With A Song
Music CD 2
  1. Blues For Ike
  2. September Song
  3. Night And Day
  4. Insensiblement
  5. Manoir de Mes Reves
  6. Nuages
  7. Brazil
  8. I'm Confessin'
  9. Double Whisky
  10. Dream of You
  11. Impromptu
  12. Vamp
  13. Keep Cool
  14. Fleche D'Or
  15. Troublant Bolero
  16. Nuits de Saint Germain-des-Pres
  17. Crazy Rhythm
  18. Anouman
  19. Fine and Dandy
  20. D.R. Blues
  21. Symphonie
  22. Improvisation Sur La Danse Norvegienne
  23. St Louis Blues
  24. Douce Ambiance
  25. Melodie Au Crepuscule
  26. I Can't Give You Anything But Love

Music reviews of The Electric Years

Music Review: Finallly, an Album Devoted to Django's Work on Electric Guitar
Rating: 5 Stars

This appearance of this album is long overdue. It represents, to my knowledge, the first recording devoted to a comprehensive look at Django's work on electric guitar. It should be no surprise that Django Reinhardt brings the same combination of technical skill and artistic exploration to the electric guitar that he brought to his acoustic guitar work.

The cuts are all from the late-40's and early-50's after the break-up of the original and justly celebrated "Quintet of the Hot Club of France" featuring Django and the great Stephane Grapelly on violin, and after returning from his only American tour, with the Duke Elliington Orchestra.

When most people think of Django Reinhardt at his best, they think of the period between 1935 until the outbreak of war in 1939, which permanently broke up the original Quintet. Stephane Grappelli, who was gay, understandably fled soon-to-be occupied France to wait out the war in Great Britain, while Reinhardt chose to stay with his gypsy compatriots in the wagon camps on the outskirts of Paris. During the war Django, despite the round-up of gypsies throughout occupied France, continued to enjoy the adulation of the many Parisian jazz fans (along with more than a few Nazi soldiers) who flocked to hear him in dark, cramped "bal musette" nightclubs and large auditoriums alike.

The occupation of France by the Nazis paradoxically opened up new avenues of artistic expression for the musician whose fellow "Romanies" were being rounded up and sent to concentration camps in Poland and Germany. Without the confining structure of the Quintet, and the familiar interplay between Django and Stephane, Reinhardt was free to explore other styles and instruments. It was during this time that he took a serious interest in what was then an exotic instrument - the "electric" guitar.

Although hollow-bodied acoustic guitars with electric pickups had already been used by musicians such as Freddie Green with the Count Basie Orchestra, these musicians played the instrument much as they would have an acoustic guitar. They simply took advantage of the increased volume of sound to finally make themselves heard over the trumpets and saxophones. Only Charlie Christian had consistently explored the many possibilities that an electrified guitar offered in the few short years he had played with the Benny Goodman Band before his death at age 23 in the early 1940s.

"The Electric Years" offers a comprehensive look at the new direction of sound and form that Reinhardt developed after World War II. These selections dispel the notion that without the classic Quintet Django's playing suffered a general decline and lack of focus. Listening to the elegiac improvisations on tunes such as "September Song" and "Crepuscule," with their drawn out notes and tender shifts in tempo and volume, one can hear Reinhardt exploring the possibilities afforded by electrification. He succeeds in bringing a fresh and beautiful new sound to jazz.

It is not the music of the old Quintette, with Django's amazing single string arpeggio runs and startlingly assured staccato improvisations. Although he can still play with the same prewar speed, the ability to draw out the notes and play audibly even in the softest of passages produces solos of tremendous beauty and variety.

If you haven't heard Django Reinhardt on electric guitar, you have missed a part what made him so special. Get this one while it's in print and available. When it goes out of print who knows how long it will be before we see such an album again.
More The Electric Years free music reviews:
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