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