Violin Swing

The group’s second album from 1997 contains 16 tracks, inc. 3 originals done in the style of Django Reinhardt, the Quintet of the Hot Club of France & gool ‘ol American jazz – the group is comprised of 3 guitars, violin & bass. Recorded at David Lange Studios, Edgewood, Washington. Includes liner notes by Jim Hilmar. Personnel includes: Stephanie Porter (vocals); Neil Anderson, Dudley Hill, Shelley Park (guitar); Michael Gray (violin); Pope Firman (bass).

Various Artists - Gypsy Swing (2008) {4CD Set Wagram 3138862}
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© 2008 Wagram Music | 3138862
Jazz / Swing / Gipsy Jazz / Electro-Swing / Balkan

The "Gypsy jazz" - also known as Gypsy swing - is an expression that is often said to be born with the guitarist Jean "Django" Reinhardt in the 30's. Because its origin is, to a large extent French, it is often referred to as "Gypsy Jazz" or "Manouche Jazz" even in English texts. Between 1930 and 1950, Django was at the head of a group of gypsy guitarists working in Paris and around.

The Diablo Swing Orchestra dates back to 1501 in Sweden, where history tells the tale of an orchestra that played like no other. With music so seductive and divine that the ensemble overwhelmed audiences all over the country, and people from all social classes took them to their hearts. Their performances rapidly earned a reputation of being feral and vigorous and gained the orchestra a devoted crowd that followed them around…

There is something carefree and joyful about the music of Django Reinhardt; something that comes bubbling to the surface every time he begins a wild run of notes on his acoustic guitar. Of course the swinging style of Stephane Grappelli's violin doesn't hurt. Nor do great songs like "Tea for Two," "My Melancholy Baby," and "Jeepers Creepers." Swing 39 captures 17 tracks by the Quintet of the Hot Club of France, including a number of alternate versions, on the eve of Grappelli leaving the group (because of the war). Two bouncy versions of "Jeepers Creepers" start things off, and while the pacing of both cuts is similar, each guitar solo is fresh and fundamentally different. Reinhardt creates endless variety through his ability to solo with chords or single notes, bend strings, and constantly alter the tempo…

Django Reinhardt - The Complete Django Reinhardt and Quintet of the Hot Club of France Swing/HMV Sessions 1936-1948 (1999) {6CD Mosaic MD6-190}
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© 1936-1948, 1999 Mosaic Records / EMI-Capitol | MD6-190
Jazz / Continental Jazz / Swing / Gypsy / Guitar

This is the Reinhardt mother lode – a six-disc collection of the Gypsy legend's oeuvre stretching from just before to just after World War II. Disc one includes several infectious cuts with vocalist Freddy Taylor, beginning with Stuff Smith's "I'se a Muggin'." Disc six closes with one of Reinhardt and Grappelli's last recording sessions together, which included an unusually dark reading of "Oh Lady Be Good" and a revisitation of the obscure "Bricktop" (the first version appears on disc two). In between are well over 100 marvelous tracks, with sound quality up to Mosaic's (and Michael Cuscuna's) impeccable standards. The booklet contains a learned essay and annotation by Mike Peters, as well as an impressive gallery of photographs, concert posters, and news clippings. Extraordinary, and for Reinhardt's most devoted fans, entirely worth the investment.

Some musicians are very closely associated with the name of Duke Ellington because they played in his orchestra for most of their career. Johnny Hodges and Harry Carney are obvious examples, and another is Ray Nance, whose violin lent the orchestra a touch of class. The tenor saxophonist Paul Gonsalves may only have been with Ellington for a relatively short time, but for the Duke, he and his mammoth solo in "Diminuendo And Crescendo in Blue" at the 1956 Newport Jazz Festival were a fresh start after years of stagnation. Despite their close links with the Ellington orchestra, many of its musicians kept forming their own bands and cutting records with them. Paul Gonsalves and Ray Nance went into the studio with their sextet and played with the backing of a mainstream rhythm group and another wind player they knew from the Ellington orchestra…

This 101 track, 4 CD survey reveals the importance of the contribution the accordion made to the history of jazz. Distinguished jazz artists such as George Shearing, Harry James and Bennie Moten either played or included an accordion player in their orchestras.