Jazz manouche

The jazz manouche is the style revealed by Django Reinhardt and Stephan Grappelli. The changing first of all was taken by those which côtoyaient Django, i.e. amongst other things the Ferret family whose current representatives are Boulou Ferré and Elios Ferré. The music Manouche - not the “jazz manouche” - existed of course before Django; but this last, by introducing the Jazz into the culture manouche, succeeded in creating a new folklore. The musicians manouches dedicate a true worship to him, whose celebration is concretized by a festival which takes place every year with the Samois-on-Seine in the Seine and marl, around at the end of June, where one even will play on the tomb of Django to pay homage to him.

The jazz manouche returned in front of the general public in the middle of the Années 1990 thanks to artists as Angelo Debarre, Romane, Moreno. One can also quote a certain number of artists who are located more or less in the spirit of the jazz manouche: Stochelo Rosenberg, Biréli Lagrène, Romance, Raphaël Faÿs, Jimmy Rosenberg, Tchavolo Schmitt, Angelo Unbars, Boulou and Elios Ferre, Serge Krief, Dorado Schmitt, David Reinhardt, Christophe Lartilleux, Christian Escoudé, etc Of other artists, variety this time, such as Sanseverino take as a starting point the jazz manouche or rather by the music manouche.

Instruments

The basic instruments are the acoustic Guitare of type Selmer, the Violon and the Contrebasse. The jazz manouche also frequently uses the Accordéon and the Clarinette.

With regard to the guitar, it should be specified that it is generally of the guitars of the type Selmer - Maccaferri. They are actually the French guitars of the beginning and the middle of the 20th century with cords steel (generally the model Argentine of the mark Savarez). One of large the Luthier S specialized in this type of guitars was Jacques Favino. Currently, one can quote the violin makers Maurice Dupont, Jean Baptiste Castelluccia, Romuald Provost, Cyril Morin, Gallato, John LeVoi, and Leo Eimers, which manufactures all of the counterparts of Selmer Maccaferri.

There exist two types of Selmer-Maccaferri:

  • standard Selmer-Maccaferri: characterized by a rosette in the shape of “D” commonly called “Large mouth”. It is this model which initially Django used, until manufacture is given up and replaced by the Selmer model. Currently it is especially used for the rhythmic one, because it projects an omnidirectional sound.
  • standard Selmer: it is the guitar with the most known form (thanks to Django). It is characterized by a rosette in the shape of “O” rather oval commonly called Petite mouth . More used for the solos, the small mouth projects the sound in a way more concentrated with an acute coloring medium.

The musicians, under the influence of the virtuosity of the play of Django Reinhardt, generally seek to exploit in an extremely fast way long periods (famous “the pump”, which inspired the song Michto the pump of Sanseverino). Other influences are to be sought side of the music gypsy. Django also travelled to the United States to mix its style manouche with the be-bop, thus the battery saw time with other in the jazz manouche.

Musical theory

The jazz manouche uses several types of rhythmic:

  • the Waltz, at the origins of the style.
  • the most used pump. One accentuates the 2° and 4° time in the pump known as Dutch, the 1° and 3° time in the Parisian one and all times in an equal way in the Alsatian one.
  • the Bossa nova, called worked by the manouches. It is actually about Rumba.
  • the Bolero.
  • the Tango.

The rhythmic one is often accompanied by roulades, hitch and other stylistic devices to emphasize the soloist or to enrich the harmony and the rate/rhythm by the piece.

The technique of play of guitar, like the behavior of the Médiator, is not at all the same one as for other styles of music. Indeed, it is made the “broken” wrist, to be able to apply the technique known as “hammer” which makes it possible to gain of speed and to minimize the contacts between the hand and the table of the guitar, so that this one can vibrate with a minimum of external interferences. It is a technique which comes from the Banjo and which Django Reinhardt had learned near Poulette Castro.

The musical theory of the jazz manouche does not proscribe anything and absorbs all, even if there exist certain characteristics suitable for the style (chromatic ranges , decreased arpeggios).

The pieces are often resumptions of Django or traditional music manouche. Some of the most known pieces are: Black Eyes (“transl.”), Minor Swing , Djangology , Clouds , Hungaria , Blues minor or Manor of my dreams . Of course, in addition to Django, of many type-setters pieces in this style, unquestionable wrote going even until rearranging traditional compositions like those of Bach.

Musicians of jazz manouche

Gypsy Swing Festival

The " Gypsy Swing Festival " in 1992 with Angers was created. It became with the wire of time, the " International festival of the Gypsy musics " , a musical reference in France as in Europe. At the time of this festival, the public can discover there the best formations roms, Tziganes and manouches.

External bonds

  • http://www.heritage-manouche.com
  • http://www.djangostation.com All the information of the jazz manouche, CD, DVD, musicians, concerts, guitars…
  • http://www.manouche-jazz.fr
  • http://www.gypsy-guitars.com the Guitars Manouches
  • http://www.lapalinka.com Jazz manouche
  • http://www.swing-deluxe.com vocal Jazz manouche
  • http://www.amketenes.com Jazz and songs manouche
  • Djangopedia

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