Swing from Paris

Although Django Reinhardt was famous for his mood swings and volatile temper, his unique guitar work remains beyond reproach and nearly impossible to copy. A fire cost him the use of two of his fingers on his left hand, but he turned this apparent handicap into an asset. Partner Stephane Grappelli was no doubt frustrated by Reinhardt's fiery demeanor and his nearly confrontational rhythmic support, but Grappelli translated this frustration into musical magic--the unlikeliness of the pairing was central to its amazing success. On these late-1930s classics, Grappelli swings brightly and gracefully on violin while Reinhardt plays aggressively and often frenetically. Reinhardt's conspicuous rhythm work is equally as impressive as his solos, often dominating the other three musicians and controlling the pace himself. "China Boy," recorded six months before the famous Benny Goodman Trio recording, features the guitarist's dramatic comping. Indeed, his passionate strumming threatens to swallow Grappelli's solos at times, but the violinist always seems to respond with inspired licks. The two often play a game of one-upmanship, as the intensity builds to a blistering crescendo, Grappelli's violin soaring over Reinhardt's jagged rhythm. That's not to say that Grappelli wasn't capable of forceful and energetic lines, or that Reinhardt was unable to show sensitivity. Reinhardt's pithy ideas reveal a vibrant sense of humor while his ballad style often uses sarcasm as a tool; Grappelli, in yet another contrast, usually treated these melodies with more respect. --Marc Greilsamer