Paris is a city whose mu­si­cal her­itage is as much sensed and per­ceived as it is heard

Emirates Man - - STYLE | TRAVEL -

the genre’s dis­tinc­tive sound emerges from the chords Rein­hardt was forced to play fol­low­ing a car­a­van re in 1928. Left with­out the use of two ngers on his left hand, he cre­ated a jazz style that utilised three- nger chord struc­tures and a strum­ming tech­nique called ‘la pompe’, which pro­vided a swing sen­sa­tion and the tempo for dance.

Cities are de ned by mu­sic, and gypsy jazz, with all its dis­ori­en­tat­ing sad­ness and zest, is si­mul­ta­ne­ously age­less and era-speci c. When the vi­o­lin of Stéphane Grap­pelli joined Rein­hardt’s gui­tar and the Quin­tet of the Hot Club of France was formed in 1934, Paris would never be the same again. “Their ap­peal has some­thing to do with their sheer bounce, the drum­mer-less, up-and-down­the-merry-go-round jovi­al­ity. But it has some­thing to do, as well, with the melan­choly th­ese record­ings con­vey, an emo­tion that makes the mu­sic dis­tinctly Euro­pean,” wrote Adam Gop­nik in The New orker. “An Old World va­ri­ety of ten­u­ous, bit­ter, per­ma­nent sad­ness, the Schu­ber­tian weltschmerz, is sec­ond na­ture to Django, and

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