222:, or his brother Joseph. This version of the Quintette often featured six, not five, players, and was usually billed as "Django et le Quintette du Hot Club de France", or sometimes as Django's "Nouveau Quintette". Due to wartime shortages of material, this version of the Quintette did not issue many recordings (some 70 titles were recorded between 1940 and 1948), although they did issue the first recording of the Django Reinhardt composition
178:(with Django's name misspelled as "Djungo"). Throughout 1935, the group recorded both under this name and as "Stéphane Grappelly and His Hot Four featuring Django Rheinhardt". Grappelli and Reinhardt maintained active schedules as freelance musicians during the early years of the Quintette, recording and performing with French pop artists such as
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guitarists and bassists. This last iteration of the
Quintette performed and recorded until about 1948. In early 1949, Django and Grappelli traveled to Rome to play a live engagement. While in Rome, the two made their final recordings together, a total of 70 titles, with a piano trio composed of local musicians.
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opened a nightclub in
Montmartre along with her husband Bert Hicks and called it 'La Grosse Pomme'. She entertained there nightly and hired the Quintette du Hot Club de France as one of the house bands at the club. As World War II broke out in September 1939, the Quintette was on a concert tour of
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style. The group began its recording career in
September 1934, releasing two titles on the Odeon label under the name "Delaunay’s Jazz". A December 1934 session produced the first recordings released under the name "Django Reinhardt et le Quintette du Hot Club de France, avec Stéphane Grappelly"
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helped persuade
Grappelli to return to performing with an all-strings jazz group inspired by the Quintette du Hot Club de France, and Grappelli toured and recorded often using this format during the 1970s. Simultaneously, a revival of the Quintette's sound by a younger generation of artists was
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In 1946, after the war, Grappelli and Django re-teamed intermittently under the
Quintette banner in an all-string format, while Django continued to record and perform with his "Nouveau Quintette" and as a freelance soloist. As before the war, the Quintette cycled through a number of rhythm
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A series of
European tours were very successful, with the group enjoying particular popularity in the UK. Several bassists and rhythm guitarists rotated in and out of the group, with Django and Grappelli remaining the sole constants. In 1937, the American jazz singer
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Throughout the 1950s and 1960s, a handful of
European guitarists continued to play acoustic jazz guitar in the style of Django Reinhardt, largely ignored by the jazz press and with few opportunities to record or tour. Musicians such as
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According to
Grappelli, the group evolved from a series of backstage jams originated by Django Reinhardt, with Stephane Grappelli, at the Hotel Claridge in Paris, where the two were engaged as members of a band led by bassist
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By the late 1940s, Grappelli's style of violin swing was out of fashion, and Django, no longer performing regularly, had become interested in playing modern jazz inspired by
American bebop musicians such as
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groups in Europe, the
Quintette was described by critic Thom Jurek as "one of the most original bands in the history of recorded jazz." Their most famous lineup featured Reinhardt, Grappelli, bassist
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England. Reinhardt, who spoke virtually no English, immediately returned to France, where he thought he would feel safer than in the UK. Grappelli, meanwhile, stayed in England.
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devoted to the appreciation of jazz) urged the formation of a permanent group. With the addition of Reinhardt's brother Joseph on second rhythm guitar, the quintet popularized the
263:(both of whom were sometime-members of the Quintette du Hot Club de France), Etienne Patotte Bousquet, and Tchan Tchou Vidal kept the sound of the Quintette alive, often mixing
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waltzes and traditional tunes with the American popular songs and original compositions favored by Django and Grappelli.
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as the first of several clarinetists backed by a more conventional
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180:Jean Sablon
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152:History
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