Sous la direction de Pierre Fargeton
Django Reinhardt returned from his disappointing 1946-47 US tour with Duke Ellington’s big band, marked by both frustration and inspiration following his encounter with American jazz musicians on the New York club scene. He was thus among the first European musicians to jump on the bebop bandwagon, the "modern jazz" invented by Charlie Parker, Dizzy Gillespie and a few others. While Django had been exclusively associated with the so-called "gypsy jazz" swing style, he quickly showed that he was not confined to the musical idiom that had made him famous before the war within the Quintet of the Hot Club de France. With the young generation of Parisian jazzmen who were trying to impose bebop in France (Hubert Fol, Pierre Michelot, Roger Guérin...), Django opened up a fertile new creative period at the Club Saint-Germain, only to have his contribution tragically cut short by his sudden death in 1953.
Through a thorough musical analysis of Django Reinhardt's language between 1947 and 1953, this book attempts to describe and understand the mutations of Reinhardt's language under the influence of be-bop. These include the amplification of the acoustic guitar and the adoption of the modern electric guitar, the switch from the "pompe" comping-style of the guitar to the more modern rhythm of pianists like Maurice Vander or Martial Solal, the search for a thunderous sound allowing a bop rather than swing expressiveness, his composition of tunes of a new kind (Nuits de Saint-Germain des Prés, Flèche d'Or, Anouman...), and a vocabulary of improvisation radically renewed after the discoveries of the be-bop.