Gypsy jazz

From Wikipedia, the free encyclopedia
Jump to: navigation, search

Gypsy jazz (also known as gypsy swing or hot club jazz) is a style of jazz music generally accepted to have been started by the gypsy guitarist Jean "Django" Reinhardt in and around Paris in the 1930s.[1] Because its origins are in France and Django was from the Manouche gypsy clan (although his frequent accompanists, and later solo performers/band leaders the Ferret brothers were not Manouches but Gitan gypsies) it is often called by the French name, "jazz manouche", or alternatively, "manouche jazz", even in English language sources. The term is now commonly used for this style of music.[2]

Django was foremost among a group of Romani guitarists working in and around Paris in the 1930s through the 1950s, a group which also included the brothers Baro, Sarane, and Matelo Ferret and Reinhardt's brother Joseph "Nin-Nin" Reinhardt.[3]

Many of the musicians in this style originally worked in Paris in various popular musette ensembles in which the lead instrument was typically the accordion with banjo accompaniment, the latter played with a plectrum for volume. Elements of both instruments reappear in the subsequent "gypsy jazz" sound, with arpeggios and decorations typical of accordion players transferred to the guitar for effect, and an at times forceful right hand attack applied to the lead acoustic guitar to achieve maximum volume in the era of comparatively primitive amplification. Other elements of the ensemble sound include the use of all strings which was quite unusual for its day, the absence of brass lead instruments and drums being a novelty in the jazz context, as well as the use of the double bass which had only recently taken over from the sousaphone to play the bass lines; the absence of drums was compensated for by a new highly rhythmic style of guitar accompaniment subsequently called "la pompe" which supplied both rhythm and harmonic structure underpinning the soloists. Gypsy jazz can be performed on guitars alone (with or without double bass), however in the "classic" line-up, that of Reinhardt's most famous group, the Quintette du Hot Club de France, the solo work alternated between Reinhardt on guitar, and jazz violinist Stéphane Grappelli. Later versions of the Quintette featured clarinet or saxophone as alternate lead instruments to the guitar, and these are sometimes also featured in contemporary gypsy jazz ensembles in place of the violin, although obviously departing from the original "all strings" concept.

Reinhardt and his accompanying guitarists initially utilized a range of models then available in France, however with the appearance of the Maccaferri guitar - correctly the Selmer-Maccaferri, and subsequently just Selmer - gravitated to this make for the majority of appearances and recordings, with the result that such guitars (and copies/derivations of the same) are today frequently marketed as "gypsy jazz" instruments and used almost exclusively by players of the style on account of their unique tone and responsiveness to the playing style. Such guitars were originally manufactured in two versions, the earliest with a large "D" shaped soundhole, and later models with a smaller "O" shaped soundhole, which are generally considered the most suited to lead work. Surviving original Selmers are rare and valuable, and highly appreciated by players of the style.


The style known today as "gypsy jazz", or more specifically, gypsy swing (since gypsy jazz can be construed to also include a whole succession of gypsy players using the jazz idiom, including Django himself, no longer using the classic "hot club"/swing style) originates from the playing style of Django Reinhardt who, after some limited early exposure to live jazz in the ragtime/dixieland vein, encountered the "new jazz" being played by the likes of Duke Ellington, Joe Venuti and Eddie Lang, and especially Louis Armstrong via the record collection of the painter Émile Savitry in Toulon, France, in 1931.[4] Further developing his already impressive technique with an interest in this new style and repertoire, Django eventually made the acquaintance of the violinist Stéphane Grappelli and the two "jammed" together on an occasional informal basis, which became more crystallised into a unique ensemble sound during down-time while the two were engaged, together with a small orchestra, to play music for dancing at the fashionable Hôtel Claridge in Paris during the summer of 1934. According to the most popular account, recounted in Dregni's book, Grappelli started playing "a chorus that just passed through my head" which Django then accompanied on his guitar, and started to improvise upon; on subsequent occasions they were joined by Louis Vola, the band's leader, on double bass and Django's brother Joseph on rhythm guitar, and the nucleus of the Quintette du Hot Club de France was born - expanded to a quintet with the addition of one more rhythm guitarist (Roger Chaput in the earliest incarnation).

This "classic" lineup, with occasional changes in the rhythm guitar and double bass departments, then entered the recording studio later that year (initially as "Delaunay's Jazz") and continued to record extensively until the outbreak of war in 1939, which found the Quintette on tour in England. At that point Reinhardt returned hastily to Paris while Grappelli stayed in London for the duration; following the cessation of hostilities the two were re-united in London and recorded again using an English rhythm section, however the days of the "classic" hot club sound were essentially over as both co-leaders pursued independent musical courses with Django in particular moving towards a more electric-based, bebop-flavoured sound.

Stochelo Rosenberg performing with the Rosenberg Trio in the Netherlands in 2002

While many subsequent gypsy jazz performers, including Django's two sons Lousson and Babik tended to perform in a more mainstream, U.S.-inspired jazz style, the classic "gypsy swing" i.e. the acoustic-based, drummerless sound (with the percussive element supplied via the attack and clipped nature of the rhythm guitar accompaniment) was maintained among the gypsies of France, Belgium, the Netherlands and Germany as a folkloric style in homage to their kinsman Django and re-emerged on record in during the late 1960s via the playing of ensembles such as that of Schnuckenack Reinhardt in Germany, followed from the 1970s onwards by the Belgian group Waso (featuring Fapy Lafertin), Raphaël Faÿs from France, Stochelo Rosenberg from the Netherlands, Biréli Lagrène from Alsace on the French/German border, and many more, also including Boulou and Elios Ferré, the sons of Matelo Ferret and the nephews of Baro Ferret, both of which older musicians played rhythm guitars with Django and who also recorded in the idiom in their own right. Additional popularity for the style was created in England and America from 1973 onwards via the re-emergence of Grappelli, who after some years of playing "polite" cafe-style jazz with a pianist and conventional rhythm section, started playing once again with a backing of acoustic guitars and double bass (initially at the instigation of Diz Disley), which helped to interest a whole generation of younger enthusiasts and players in the style who may never have been exposed to the recordings of the original pre-war Quintette.

Starting as long ago as the late 1930s, groups inspired by the famous Quintette have also spring up to emulate the "classic" hot club sound (1939 recordings by Sweden's "Svenska Hotkvintetten", directly inspired by the original Quintette du Hot Club de France, are included, among others, on the Properbox collection "Gypsy Jazz", see "Selected compilations" below), while selected recordings by Django's contemporaries and successors from Joseph Reinhardt onwards are available on the Iris Music compilation "Gipsy Jazz School". Today, groups devoted to the perpetuation of Django's musical style abound in many countries and his legacy is being continued, as well as developed in new directions, by a whole range of contemporary artists, whose starting point however continues to be the distinctive sonority of Django's favoured Selmer acoustic guitar and the at some times attacking, at others delicate, virtuosic and swinging style developed by Reinhardt on solo guitar, performed over a solid foundation supplied by either one or two rhythm guitars plus double bass. Today as in the past, the style is also passed on by oral tradition among the gypsy communities, children learning from their fathers and uncles at a very early age and able to master the basics of the style almost before they are able to hold a full size guitar in their hands, as evidence by photographs such as those in Ian Cruickshank's book Django's Gypsies (see "Further reading").

Instrumentation and lineup[edit]

A contemporary gypsy jazz ensemble: the Angelo Debarre quartet (France) performing in 2016

The original Quintette du Hot Club de France played acoustically without a drummer, facilitating the use of the acoustic guitar as a lead instrument. Guitar and violin are still the main solo instruments, although clarinet, saxophone, mandolin, and accordion are sometimes used. The rhythm guitar is played using a distinct percussive technique, "la pompe", which essentially replaces the drums. Most gypsy jazz guitarists, lead and rhythm, play a version of the Selmer-Maccaferri guitar design favored by Reinhardt himself. Ensembles aim for an acoustic sound even when playing amplified concerts, and informal jam sessions in small venues or meetings such as the annual Django Reinhardt festival at Samois-sur-Seine are very much part of the scene.

In Eastern gypsy jazz, the rhythm section is most likely covered by one or two cymbaloms, or (less frequently) a cymbalom and/or drums and an acoustic guitar (the cymbalom accompaniment technique is called in Romanian "ţiitură"). An upright bass fills out the ensembles.



La Pompe.[5] About this sound Play 

Rhythm guitar in gypsy jazz uses a special form of strumming known as "la pompe", i.e. "the pump". This form of percussive rhythm is similar to the "boom-chick" in bluegrass styles; it is what gives the music its fast swinging feeling, as it emphasises beats two and four; a vital feature of swing. The strumming hand, which never touches the top of the guitar, must make a quick up-down strum followed by a down strum. The up-down part of la pompe must be done extremely fast, regardless of the tempo of the music. It is very similar to a grace note in classical music, albeit an entire chord is used. This pattern is usually played in unison by two or more guitarists in the rhythm section.[6]


Another important aspect of this style of playing is based on the chord shapes Django was forced to use due to his injury. Standard barre chords are not as common in gypsy jazz. Standard major and minor chords are almost never played, and are instead replaced by major 7th chords, major 6th chords, and 6/9 chords. Gypsy reharmonisation is often aimed at giving a minor feel even where a song is in a major key, for instance the substitution of a minor 6th chord for a dominant seventh. Dominant seventh chords are also altered by lowering the 9th and 13th scale degree.


Lead playing in this style has been summarised as ornamented or decorated arpeggio.[7][8] Decorations often introduce chromaticism—for instance, mordents and trills. Particularly characteristic is a figure where successive notes of an arpeggio are each preceded by an appoggiatura-like grace note one semitone below.[9] Other decorations include tremolo and string bends on the guitar, staccato (or pizzicato on the violin), ghost notes, harmonics, octaves, double stops etc.

Arpeggios on the guitar are typically executed as patterns running diagonally from the lower frets on the lower strings to the upper frets on the upper strings. Such patterns tend to have no more than two stopped notes per string, relating to the fact that Django could only articulate two fingers on his fretting hand.[10]

Commonly used scales, in addition to arpeggios, include the chromatic scale, melodic minor scale, dorian mode and diminished scale.

Chromatic runs are often executed very quickly over more than one octave. A particularly characteristic technique is the glissando, in which the guitar player slides a finger along a string, with a precisely timed tremolo picking out individual notes, in order to get a fast, virtuosic sound. Diminished runs, in which the shape of a diminished seventh chord is played in all inversions, one after the other, is another widespread gypsy jazz technique. Diminished 7th arpeggios are also used over dominant 7th chords. (Example: If an A7 is being played, a diminished run starting on C# would be played, creating an A7b9 sound over the dominant chord.) Guitarists often intersperse melodic playing with flamenco-esque percussive series of chords to create a varied solo.

The plectrum technique of gypsy jazz has been described[11] as similar to economy picking. Notes on the same string are played alternately, but when moving from string to string, the same direction will be maintained, with the further requirement that a rest stroke will be performed. For instance, on switching from the G to the B string, the plectrum will move in the same direction and come to rest on the E string. This technique enhances both volume and speed.


Gypsy jazz has its own set of frequently played standards, which are fairly distinct from the standards tunes of mainstream jazz. However, contemporary ensembles may adapt almost any type of song to the style.

Gypsy swing standards include jazz hits of the '20s and '30s, such as "Limehouse Blues", and "Dinah"; Bal Musette numbers, often waltzes; original compositions by Django Reinhardt, such as "Nuages" and "Swing 42"; compositions by other notable gypsy swing players; and jazzed-up versions of gypsy songs, such as "Dark Eyes".

Much of the repertoire is in minor keys, and the dorian and harmonic minor modes are frequently heard, lending a distinctively dark and modal sound to the tunes which contrasts with the uptempo and spirited performance style. One popular example is Django's tune "Minor Swing", perhaps the most well-known gypsy jazz composition. Slower ballads and duets may feature rubato playing and exotic harmonies.

Teaching and learning[edit]

The first generations of gypsy jazz musicians learned the style by the 'gypsy method', involving intense practice, direct imitation of older musicians (often family members) and playing by ear, with little formal musical study (or, indeed, formal education of any kind). Since about the late 1970s, study materials of a more conventional kind such as workshops, books and videos have become available, allowing musicians worldwide to master the style. In recent years, software such as powertabs and band in a box files have become available. Prominent gypsy-style guitarists who are not ethnically Roma include John Jorgenson, Andreas Öberg, Frank Vignola, George Cole. Touring gypsy jazz musicians often include workshops with performances. Players who have written study guides include Martin Norgarrd, Tim Kliphuis, Andreas Öberg, Ian Cruickshank, Robin Nolan, Denis Chang, Michael Horowitz, Daniel Givone and Patrick "Romane" Leguidcoq.

Contemporary gypsy jazz[edit]

The largest audiences and highest number of musicians are still found in Europe as this is where the style originates.[12] Tim Kliphuis, Stochelo Rosenberg, Biréli Lagrène, Paulus Schäfer, Joscho Stephan, Robin Nolan and Angelo Debarre are perhaps the most famous performers today.[citation needed] American bands and artists include Pearl Django, John Jorgenson Quintet, Frank Vignola, George Cole, and The Gonzalo Bergara Quartet[13]


There is a yearly Jazz Manouche festival in Brisbane, Australia called OzManouche. Started in 2006, visiting players include Hank Marvin, Andreas Oberg, Ian Date, and Michel Trabelsi from Nouméa.

The Bellingen Jazz Festival is held annually in Bellingen, New South Wales, and has played host to Australian gypsy jazz performers including Ian Date (now resident in Ireland) along with his brother Nigel Date (as "The Date Brothers").

Since 1986, Perth, Western Australia has been the home to the English rock guitar legend Hank Marvin who has developed a keen interest in gypsy jazz, recording and performing regularly with his ensemble "Hank Marvin's Gypsy Jazz".

In Hobart, Tasmania there is a popular gypsy jam night in South Hobart's Cascade Hotel with local players and visiting performers.


Django Reinhardt was born in Liberchies, Belgium and is commemorated by a yearly Django à Liberchies Festival held there. Some modern players such as Philippe Catherine, whom Charlie Mingus nicknamed "young Django" and Fapy Lafertin also come from Belgium.


In Brazil some gypsy jazz players such as Mauro Albert, Bina Coquet, Hot Club de Piracicaba, Flávio Nunes, Jazz Cigano Quinteto, Tigres Tristes and Hot Jazz Club.


In Canada, gypsy jazz bands include Gypsophilia,[14] Mishra's Dream,[15] The Lost Fingers, Django Libre and Les Petits Nouveaux.[16][17]


In Colombia, the most popular contemporary gypsy jazz band is Monsieur Periné.


Contemporary Manouche instrumentalists in the Django Reinhardt/Le Jazz Hot Tradition, as heard annually at the Festival Django Reinhardt at Samois-sur-Seine, France, include[18] Django's grandson David Reinhardt,[19] Dorado Schmitt, Tchavolo Schmitt, Jon Larsen, Angelo Debarre, Babik Reinhardt, Dario Pinelli, John Jorgenson, Samson Schmitt, Stephane Wrembel, Biréli Lagrène and Florin Niculescu. Former regulars also included the late Mondine Garcia and Didi Duprat. Jazz vocalist Cyrille Aimée has roots based in gypsy jazz.[20]


German gypsy-jazz players include Joscho Stephan, Wawau Adler, and Lulu Weiss with Ensemble. The late Eberhard Tscheuschner was the founder of the Djangofestival in Burgthann. Similar events include the annual Django Memorial Festival in Augsburg (organised by Bernhard Gierstl), the Djangofestival in Burgthann/Nuremberg, the Sinti-Festivals in Hildesheim and Koblenz. Based in Aachen and Maastricht, Mah-e Manouche's style has an oriental influence.


Irish gypsy jazz artists include The Hot Club of Dublin (featuring Koshka's Oleg Ponomarev), Ian Date, Locoswing and The Tolka Hot Club performing regularly. In 2011 Ireland's first annual gypsy jazz festival, 'Cloughtoberfest', was held in Cloughjordan, County Tipperary, the festival continued as an annual event until 2015. There is also a Gyspy Jazz festival starting this October 28–30, 2016 in the town of Ramelton, Donegal. The Festival is called 'Django Sur Lennon', the town of Ramelton is situated on the river Lennon. Line up includes the great French gypsy jazz guitarist 'Romane' and The Dario Napoli Trio from Italy. The festival is organised by Donegal-based Manouche Jazz band 'La Pompe'


Violinist George Curmi l-Puse along with accordionist Yuri Charyguine, guitarists Joshua Bray and Steve Delia d-Delli, and bassist Anthony Saliba l-Fesu created the Hot Club Of Valletta in 2014. They have played a number of gigs in and around Valletta into 2015, sometimes referring to the music they play as jazz manouche.[21]


In the Netherlands contemporary players include Stochelo Rosenberg from The Rosenberg Trio, Jimmy Rosenberg, Paulus Schäfer and Tim Kliphuis.

Dutch Sinti guitar players of gypsy jazz employ a style of singing and tone, vibrato, and melodic improvisation, known as the “Dutch school” of Gypsy Jazz.[22]


Gypsy jazz came into prominence in Romania around 1980 by means of the pop-folk subgenre known as muzică bănăţeană (i.e. music in the Banat style), still practised to date. It has a different approach to lăutari (gypsy folk) music. In muzica bănăţeană, some traditional instruments (kobza, cimbalom) are replaced by electric guitars and synthesizers, while others are kept (fiddle, accordion, alto saxophone, taragot), thus creating an eclectic type of sound (beside the unexpected timbre combinations, contrasting textures from these instruments are also featured.)[23] The repertoire mixes together café concert, old-school jazz standards, folk and pop-folk music. The Western manouche style is reinterpreted mostly through the sârbă rhythm, actually very close to it, but syncopated differently in lead instruments. Throughout the years, muzica bănăţeană has gradually become fond of the manea rhythm, which sounds more like the twist when played in the Banat style; however the swung sârbă was not abandoned.

Muzica bănăţeană was politically censored throughout the 1980, so that only bootleg recordings survive of those years. According to the Romanian Ministry of Culture, the reason for banning it was its impure nature, threatening the national folk music. However, other lăutari music was widely recorded and performed in Communist Romania.[23] After the Romanian Revolution of 1989, numerous musicians who were not previously permitted to record on the national record label Electrecord, saw their debuts released; but that eclectic characteristic of Romanian gypsy music changed into what is now called "manele" – a music that is not entirely from gypsy folk origin, nor is it jazz or another defined genre. There are many manele performers creating hybrid genres mixing different notes and rhythms.

Damian Draghici, born in Bucharest in 1970, is a player of the Romanian pan pipes (Nai). In 2006, Draghici formed the band “Damian & Brothers – Filarmonika Rromanes”. On 20 March 2009, he was designated by the President of Romania as Romania’s Ambassador for the Roma minority in the European Year of Equal Opportunities for all. On December 17, 2009, after 3 years and 600 concerts in Europe, Damian and Brothers held their last concert in Bucharest in front of an audience of 4000.


There is a yearly Django festival in Norway and Jon Larsen's Hot Club de Norvège is based there. Gypsy guitarists Andreas Öberg and Gustav Lundgren[24][25][26] are based in Sweden. Gypsy guitar builder Ari-Jukka Luomaranta (AJL-Guitars) is based in Finland and runs his own group Hot club de Finlande, performing with soloists from Europe.

South Africa[edit]

Gypsy jazz bands in South Africa include Hot Club d'Afrique, Manouche and Skabengas.


Gypsy jazz in general was influenced by the music of Spanish gypsies, with Jean "Poulette" Castro being an influence on Django Reinhardt.[27] Contemporary Spanish musicians include Biel Ballester.

United Kingdom[edit]

British gypsy jazz musicians include the late Diz Disley who played with Stephane Grappelli from 1973 onwards; prior to that date he had been a fan of Django Reinhardt for many years and had formed his own Soho String Quintet in homage to the famous Reinhardt-Grappelli original as far back as the late 1950s.

Ian Cruickshank was another fine player who had worked hard for many years to populize the genre including authoring several books and numerous columns in guitar magazines, teaching, and performing with his own group "Ian Cruickshank's Gypsy Jazz" up to his death in 2017. He was keenly interested in the history of gypsy jazz, organised a number of festivals, and was the guiding light behind John Jeremy’s 1991 film documentary Django Legacy.

Le QuecumBar The Hot Club of London, in Battersea, is considered to be the UK's home of Gypsy swing. Established 13 years ago, it's become the venue of choice for visiting Sinti and Roma musicians, as well as non-Gypsy musicians playing this genre. Patrons of Le Q include Hank Marvin, Stochelo Rosenberg, John Jorgenson, Tcha Limberger, Dave Kelbie, Angelo Debarre and Stephane Wrembrel. Le QuecumBar also manages a record label Le Q Records that specialises in Gypsy swing/jazz. The record label currently has eight recordings which are distributed around the world. The ninth album is in production.

John Etheridge combines jazz-rock fusion with gypsy swing and joined Stéphane Grappelli's touring group for several years. Martin Taylor also toured the world with Grappelli for eleven years and has also subsequently performed with his own ensemble "Spirit of Django" which has released several recordings of self-composed music.

Englishman Robin Nolan was born in an evacuation hospital in Vietnam in 1968 and spent his formative years in Hong Kong; after living in England for some years he currently resides in Amsterdam from where he plays and teaches Gypsy Swing music. He has been cited as being George Harrison's favourite guitarist.

"The Gypsy Jazz Guitar Festival" was held from 1997 to 2000 and a series of festivals called L'Esprit Manouche was held in Moseley, Birmingham from 2003 to 2005.

Since 2011 the English Guitarist Chris Quinn together with Rhythm & Roots Records has promoted one off concerts and in some cases full UK tours for many notable gypsy jazz musicians like Robin Nolan, Paulus Schäfer, Fapy Lafertin, Lollo Meier, Mozes Rosenberg, Dave Kelbie, Tim Kliphuis, John Etheridge, Tcha Limberger, Gary Potter and Christian Garrick. Concerts organised by Rhythm & Roots have included major theatres and venues like London's Royal Albert Hall, Soho's Pizza Express Jazz Club, Shrewsbury's Theatre Severn and the Apex in Bury St Edmunds. Rhythm & Roots are planning their first gypsy jazz album release in late 2017 for Dutch guitarist Paulus Schäfer.

"March Manouche" festival had its first weekend in 2015 in Menai Bridge, North Wales.

United States[edit]

Pearl Django appearing at a Bastille Day celebration

Django in June is a weeklong gypsy jazz music camp ("Django Camp"), with weekend clinics and concerts. Inaugurated in 2004, the event is held on the campus of Smith College in Northampton, Massachusetts.

DjangoFest NW is held each September at Whidbey Island Center for the Arts in Langley, Washington, which typically features such performers as John Jorgenson, The Rosenberg Trio, Dan Hicks, and Pearl Django. In conjunction with the first DjangoFest event, Jazz Gitan guitarist Don Price started the first American Gypsy Jazz Guitar Group and web site to facilitate the popularity and spread of this style in the United States.

Every year, in August, New York's Lincoln Center holds a concert at Rose Hall, and the jazz club Birdland in New York holds a week long gypsy jazz concert series in June and November.

In Minnesota, guitarist and composer Reynold Philipsek performs gypsy jazz music as a solo artist, and with Minnesota gypsy jazz acts East Side, The Twin Cities Hot Club, and Sidewalk Café. George Cole and his group Vive Le Jazz have been touring nationally, most recently playing at Carnegie Hall in 2008. His original gypsy jazz inspired music was chosen for a Grammy's showcase. He plays an original Selmer 520 that Django Reinhardt used on tour in France in the 1940s.

See also[edit]


  1. ^ Dregni, Michael (2008). Gypsy Jazz: In Search of Django Reinhardt and the Soul of Gypsy Swing. Oxford University Press. pp. 10–13. ISBN 978-0-19-531192-1. 
  2. ^ "Some Background Information on Jazz Manouche". Archived from the original on August 15, 2015. Retrieved February 19, 2016. 
  3. ^ Dregni, Michael (2004). Django: The Life and Music of a Gypsy Legend. Oxford University Press. pp. 60–63. ISBN 0-19-516752-X. 
  4. ^ Dregni, Michael (2004). Django: The Life and Music of a Gypsy Legend. Oxford University Press. pp. 51–54. ISBN 0-19-516752-X. 
  5. ^ Natter, Frank (2006). The Total Acoustic Guitarist, p.126. ISBN 9780739038512.
  6. ^ Horowitz, Michael (2007), Gypsy Rhythm, Volume 1, 
  7. ^ "Ornamented Arpeggios: Free Jazz Guitar Soloing Lesson 7 by Tony Oreshko". Retrieved 19 January 2016. 
  8. ^ Mel Bay's Music of Django Reinhardt, Stan Ayeroff, p. 43, Mel Bay Publications, ISBN 978-0786633883
  9. ^ "Techniques - Gypsy jazz guitar". Retrieved 19 January 2016. 
  10. ^ "Django's Hand". Retrieved 19 January 2016. 
  11. ^ "Gypsy Picking". Retrieved 2016-01-19. 
  12. ^ [1] Archived November 17, 2006, at the Wayback Machine.
  13. ^ Andrew Gilbert (July 30, 2011) San Jose Mercury News, "Argentine guitarist Gonzalo Bergara Feels Gypsy jazz spirit"
  14. ^ "Gypsophilia". Gypsophilia. Retrieved 19 January 2016. 
  15. ^ CBC Music. "Mishra's Dream on CBC Music". CBC Music. Retrieved 19 January 2016. 
  16. ^ Patti (2014-03-10). "Les Petits Nouveaux". TD Toronto Jazz Festival. Retrieved 2016-10-14. 
  17. ^ "Belleville, les petits nouveaux from Paris to Toronto". Retrieved 2016-10-14. 
  18. ^ History of the festival Archived 2016-08-22 at the Wayback Machine.,
  19. ^ Dregni, Michael (2006). Django Reinhardt and the Illustrated History of Gypsy Jazz. Speck Press. p. 197. ISBN 978-1-933108-10-0. 
  20. ^ Andrew Gilbert (2014-02-26). "Cyrille Aimée to fuse Gypsy, jazz spirits in Santa Cruz show". Retrieved 2016-01-19. 
  21. ^ "Hot Club of Valletta (Live)". Basement. Retrieved 26 November 2015. 
  22. ^ "Denis Chang demonstrates "Dutch Style" of Improv - DjangoBooks Forum". Retrieved 2016-01-19. 
  23. ^ a b Rădulescu, Speranţa and Iordan, Florin. Conferinţele de la Şosea. Profesioniştii muzicilor orale: istorie, practici, stiluri, tendinţe recente ("The Şoseaua Kiseleff Conferences. Oral music professionals: history, practice, styles, recent tendencies"), a lecture read at the Peasant Club within the Museum of the Romanian Peasant (4 iunie 2009)
  24. ^ Allen, Rick (2013-09-24). "Gustav Lundgren". Vintage Guitar® magazine. Retrieved 2016-10-14. 
  25. ^ "Gustav Lundgren — Musikcentrum Väst". Retrieved 2016-10-14. 
  26. ^ "Gustav Lundgren Trio". Archived from the original on 2016-10-19. Retrieved 2016-10-14. 
  27. ^ Dregni (2008) p 29

Further reading[edit]

Selected compilations[edit]

  • Jazz Gitan 1939/1945 (Jazz Archives No. 144) - Jazz Archives 159472, 1999
  • Gipsy Jazz School - Django's Legacy (2 CD set) - Iris Music 3001 845, 2002
  • Gypsy Jazz (4 CD set) - Properbox 128, 2007
  • Les Nuits Manouches: Nothing But Django (3 CD set) - Le Chant Du Monde, 2008
  • Le Coffret Jazz Manouche (5 CD set) - Wagram Music 3243392, 2011

... plus any of the numerous recording in the genre by Django Reinhardt, the Quintette du Hot Club de France, along with those of Django's contemporaries and numerous subsequent gypsy jazz practitioners.

External links[edit]

  • Media related to Gypsy jazz at Wikimedia Commons