During this same period, gypsy guitarist Django Reinhardt was developing his own unique jazz style in his native France where music is such an important part of gypsy culture. It was and is a common practice for two to four guitarists, bass and violin to play as a unit. The famous "Hot Club" evolved from this tradition. The guitars generated a sufficient amount of rhythm so that a drummer was not required. Django emerges as the king of all gypsy guitarists with his flawless technique, speed, and compositional skill.

At the height of this creative period, tragedy struck. While Django was relaxing in his caravan, a candle accidentally fell onto an arrangement of dried flowers and set the caravan ablaze. Django and his young wife escaped with their lives, but Django sustained third degree burns on his left hand. Many thought he would never play again. Determined as he was, he began to rebuild the hand. He had zero usage of the third and fourth fingers but could play with the index and middle.

All of what you hear on these recordings is played with two fingers of the left hand, and of course a full functioning right hand for picking. As it ends up, Django could play more with two fingers than anyone could play with twenty. This is absolutely mind-boggling to a guitarist who may try to emulate the Django style.

NUAGES (Clouds) is a standard work in any jazz guitarist's repertoire. His solo in this set begins with harmonies or overtones. No guitarist during this period even dreamt of this difficult technique. Django executes this task smoothly and flawlessly. He was far ahead of his time.

This set of recordings not only unveils his technical perfection and compositional skills, but we also get to hear a more lyrical and sensitive Django—an aspect of his playing that is all too seldom mentioned. The tempo of "Minor Swing," usually played at a brisk pace, here is much slower and more sensitive. Django sets the pace with a brilliantly crafted solo which paves the way for the legendary genius of the jazz violinist, Stephane Grappelli. The association of Django and Grappelli was one of the most influential forces in the history of swing music, with Grappelli being an important factor in the Hot Club sound. "Swing Guitars" is a brilliant example of how these two great musicians could not only play together, but could collaborate compositionally.

Pay close attention to the rhythm guitar work of Django's brother Joseph and Pierre Ferrel on "After You've Gone" and "Lime House Blues." Rhythm guitar and bass are the backbone of the Hot Club sound and the gypsy jazz tradition. "Georgia On My Mind" features Django at his lyrical best with a wonderful statement of the melody using chordal punctuation. He did have some limited use of the third and fourth finger (pinky). Notice the opening chord voicings of "Charleston" between the guitars and violin as they create a big band-like effect, unusual for this era. "Ain't Misbehavin'" and "Rose Room" are representative of the Hot Club's classic swing sound.

Next we hear Django in an orchestral setting with legendary tenor saxophonist Coleman Hawkins on "Out Of Nowhere" and "Sweet Georgia Brown." These incredible solos show why Hawkins has influenced as many saxophonists as Django has guitarists. Django was also a formidable rhythm guitarist. He provides a wonderful chordal accompaniment for Dicky Wells' trombone solo on "Japanese Sandman." "Farewell" finds Django in the lead and rhythm roles with the Benny Carter Orchestra, as Carter contributes a beautifully developed solo on the alto saxophone.

Django's legacy lives on well into the 1990s. His son, Babik, is a fine guitarist and composer in his own right, as are the sons of Pierre Ferrel. Every year in France, guitarists from all over the world team up to play at the Django Reinhardt Guitar Festival. Django was and is an innovator, genius and a guitarist to be admired well into the twenty first century.

Vic Juris, October 14, 1996

Comments on Hawk and Benny with Django

One can only speculate if in the old days when giants like Django, Benny Carter and Coleman Hawkins recorded together, they were aware of their importance at that time. Of course they couldn't predict the legacy that would be left by all of them, and as of the date of these comments, the fact that Benny would still be performing. What impresses me so much is the sophisticated level of their playing, especially "Bean," as Coleman Hawkins was referred to. Specifically, it is the fluid rhythmic approach which permeates both of the saxophonists' lines. After all, compared to the trombone or trumpet, the saxophone was the fast instrument of its time and both of these gentlemen were not shy about using that facet. And of course there is the content itself - chord arpeggios with passing tones and appogiaturas sprinkled throughout; smooth and silky tone color with almost complete legato articulation tempered with abundant use of a wide vibrato. Just listen to Hawk's second chorus on "Out of Nowhere" where he raises the rhythmic level even higher, even at times suggesting counter or polyrhythms. On "Sweet Georgia Brown," going into the reprise, Hawk pushes the intensity level much further than what preceded it. In Benny's short contributions, the effect, though less dramatic, is still keenly felt.

How wonderful when giants walked the Earth!!!

—David Liebman (1997)