Jean "Django" Reinhardt (23 January 1910 - 16 May 1953) was a Belgian guita… Read Full Bio ↴Jean "Django" Reinhardt (23 January 1910 - 16 May 1953) was a Belgian guitarist and composer credited with popularizing Gypsy jazz, as well as conceptualizing the style together with several other Gypsy musicians. Reinhardt's nickname purportedly means "I Awake" in the Romani language, however it may also simply have been a diminutive, or local Walloon version, of "Jean". He severely injured two of the digits on his left hand as a youth, and changed his guitar playing style to adapt to his handicap. Together with violinist Stéphane Grappelli, he founded the Quintette du Hot Club de France, regarded as one of the most innovative recording groups in the history of jazz music.
Born in Liberchies, Pont-à-Celles, Belgium into a family of Manouche Gypsies, Jean Reinhardt learned to play several instruments such as the banjo, violin and guitar from an early age; he spent most of his youth in Gypsy encampments close to Paris. His family made a living from crafting furniture, but included several amateur musicians who inspired Reinhardt. Eventually, Reinhardt was given a banjo-guitar, at which point he stopped playing the violin. During this period, he was inspired by two older Gypsy musicians, Gusti Mahla and Jean Castro. Able to make a living from his music from his teen years onwards playing in bal-musette halls in Paris, Reinhardt received little formal education until his adult life; he was taught the rudiments of literacy by fellow band member Stéphane Grappelli.
At the age of eighteen, Reinhardt was injured in a fire that ravaged the caravan he shared with Florine "Bella" Mayer, his first wife. They were very poor, and to supplement their income Bella made imitation flowers out of celluloid and paper; consequently, their home was full of this highly inflammable material. Returning from a performance late one night, Django apparently knocked over a candle on his way to bed. While his family and neighbors were quick to pull him to safety, he received first- and second-degree burns over half his body. His right leg was paralyzed and the third and fourth fingers of his left hand were badly burnt. Doctors believed that he would never play guitar again and intended to amputate one of his legs. Reinhardt refused to have the surgery and left the hospital after a short time; he was able to walk within a year with the aid of a cane.
His brother Joseph Reinhardt, an accomplished guitarist himself, bought Django a new guitar. With painful rehabilitation and practice, Reinhardt relearned his craft in a completely new way, even as his third and fourth fingers remained partially paralyzed. Hence, he played all of his guitar solos with only two fingers, and managed to use the two injured digits only for chord work. After regaining his ability to play, Reinhardt resumed his career playing Parisian cafes. According to one story, during his period of recovery, Reinhardt was introduced to the aesthetics of American jazz when he purchased a 78rpm disc of "Dallas Blues" by Louis Armstrong at an Orléans flea market.
In 1934, Reinhardt and Parisian violinist Stéphane Grappelli were approached by hot club chief Pierre Nourry with the idea of forming a forming a new hot club group. Thus, the Quintette du Hot Club de France was formed, with Reinhardt's brother Joseph and Roger Chaput on guitar, and Louis Vola on double bass. Occasionally, Chaput was replaced by Reinhardt's best friend and fellow Gypsy Pierre "Baro" Ferret. As the group had no true percussion section, percussion was instead provided by the group's guitarists; the Quintette du Hot Club de France thus became one of the few well-known jazz ensembles composed only of string instruments.
Jean Sablon was the first singer to record with the Quintette, resulting in more than thirty collaborations from 1933 onwards. Vocalist Freddy Taylor participated on a few songs, such as "Georgia on My Mind" and "Nagasaki". A long line of recordings for Decca, HMV and Ultraphone ensured long-lasting international success for the Quintette.
As a composer, Reinhardt wrote several influential, highly original tunes recorded by the Quintette, ranging from the dulcet ballads "Daphne", "Nuages", and "Manoir de mes rêves", to mad swingers such as "Minor Swing" and the ode to his record label of the 1930s, "Stomping at Decca". With the passing of time, many of his songs became jazz standards in their own right.
Reinhardt also experimented with recordings outside the "comfort zone" of the Quintette; in March 1933 Reinhardt recorded two takes each of "Parce que je vous aime" and "Si, j'aime Suzy", vocal numbers with lots of guitar fills and great guitar support, using three guitarists along with an accordion lead, violin, and bass. In August of the following year, recordings were also made with more than one guitar (Joseph Reinhardt, Roger Chaput, and Django), including the first recording by the Quintette. In both years, it should be noted, the great majority of recordings featured a wide variety of horns, often in multiples, piano, etc.
Throughout his career, Reinhardt played and recorded with many American jazz legends such as Benny Carter, Coleman Hawkins, Rex Stewart (who later stayed in Paris), and a led a jam-session and radio performance with Louis Armstrong. Later in his career, he performed with Dizzy Gillespie in France.
The outbreak of war in 1939 broke up the Quintette, with Grappelli remaining in London where the group was playing and Reinhardt returning to France. During the war years he led a big band, another quintet with clarinettist Hubert Rostaing in place of Grappelli, and after the liberation of Paris, recorded with such visiting American jazz artists as Mel Powell, Peanuts Hucko, and Ray McKinley. In 1946, Reinhardt took up the electric guitar and toured America as a soloist with the Duke Ellington Band, but his appearances were poorly received.
Some of his recordings on electric guitar late in his life are bop escapades where his playing sounds frantic and jagged, a world apart from the jubilant swing of old. However, starting in January 1946, Reinhardt and Grappelli held several sporadic reunions where the bop influences were more subtly integrated into the old swing format of the glory days of the Quintette. In the 1950s, Reinhardt became more reclusive, remaining in Europe, playing and recording sporadically until his death from a stroke on 16 May 1953 in Fontainebleau, France.
Born in Liberchies, Pont-à-Celles, Belgium into a family of Manouche Gypsies, Jean Reinhardt learned to play several instruments such as the banjo, violin and guitar from an early age; he spent most of his youth in Gypsy encampments close to Paris. His family made a living from crafting furniture, but included several amateur musicians who inspired Reinhardt. Eventually, Reinhardt was given a banjo-guitar, at which point he stopped playing the violin. During this period, he was inspired by two older Gypsy musicians, Gusti Mahla and Jean Castro. Able to make a living from his music from his teen years onwards playing in bal-musette halls in Paris, Reinhardt received little formal education until his adult life; he was taught the rudiments of literacy by fellow band member Stéphane Grappelli.
At the age of eighteen, Reinhardt was injured in a fire that ravaged the caravan he shared with Florine "Bella" Mayer, his first wife. They were very poor, and to supplement their income Bella made imitation flowers out of celluloid and paper; consequently, their home was full of this highly inflammable material. Returning from a performance late one night, Django apparently knocked over a candle on his way to bed. While his family and neighbors were quick to pull him to safety, he received first- and second-degree burns over half his body. His right leg was paralyzed and the third and fourth fingers of his left hand were badly burnt. Doctors believed that he would never play guitar again and intended to amputate one of his legs. Reinhardt refused to have the surgery and left the hospital after a short time; he was able to walk within a year with the aid of a cane.
His brother Joseph Reinhardt, an accomplished guitarist himself, bought Django a new guitar. With painful rehabilitation and practice, Reinhardt relearned his craft in a completely new way, even as his third and fourth fingers remained partially paralyzed. Hence, he played all of his guitar solos with only two fingers, and managed to use the two injured digits only for chord work. After regaining his ability to play, Reinhardt resumed his career playing Parisian cafes. According to one story, during his period of recovery, Reinhardt was introduced to the aesthetics of American jazz when he purchased a 78rpm disc of "Dallas Blues" by Louis Armstrong at an Orléans flea market.
In 1934, Reinhardt and Parisian violinist Stéphane Grappelli were approached by hot club chief Pierre Nourry with the idea of forming a forming a new hot club group. Thus, the Quintette du Hot Club de France was formed, with Reinhardt's brother Joseph and Roger Chaput on guitar, and Louis Vola on double bass. Occasionally, Chaput was replaced by Reinhardt's best friend and fellow Gypsy Pierre "Baro" Ferret. As the group had no true percussion section, percussion was instead provided by the group's guitarists; the Quintette du Hot Club de France thus became one of the few well-known jazz ensembles composed only of string instruments.
Jean Sablon was the first singer to record with the Quintette, resulting in more than thirty collaborations from 1933 onwards. Vocalist Freddy Taylor participated on a few songs, such as "Georgia on My Mind" and "Nagasaki". A long line of recordings for Decca, HMV and Ultraphone ensured long-lasting international success for the Quintette.
As a composer, Reinhardt wrote several influential, highly original tunes recorded by the Quintette, ranging from the dulcet ballads "Daphne", "Nuages", and "Manoir de mes rêves", to mad swingers such as "Minor Swing" and the ode to his record label of the 1930s, "Stomping at Decca". With the passing of time, many of his songs became jazz standards in their own right.
Reinhardt also experimented with recordings outside the "comfort zone" of the Quintette; in March 1933 Reinhardt recorded two takes each of "Parce que je vous aime" and "Si, j'aime Suzy", vocal numbers with lots of guitar fills and great guitar support, using three guitarists along with an accordion lead, violin, and bass. In August of the following year, recordings were also made with more than one guitar (Joseph Reinhardt, Roger Chaput, and Django), including the first recording by the Quintette. In both years, it should be noted, the great majority of recordings featured a wide variety of horns, often in multiples, piano, etc.
Throughout his career, Reinhardt played and recorded with many American jazz legends such as Benny Carter, Coleman Hawkins, Rex Stewart (who later stayed in Paris), and a led a jam-session and radio performance with Louis Armstrong. Later in his career, he performed with Dizzy Gillespie in France.
The outbreak of war in 1939 broke up the Quintette, with Grappelli remaining in London where the group was playing and Reinhardt returning to France. During the war years he led a big band, another quintet with clarinettist Hubert Rostaing in place of Grappelli, and after the liberation of Paris, recorded with such visiting American jazz artists as Mel Powell, Peanuts Hucko, and Ray McKinley. In 1946, Reinhardt took up the electric guitar and toured America as a soloist with the Duke Ellington Band, but his appearances were poorly received.
Some of his recordings on electric guitar late in his life are bop escapades where his playing sounds frantic and jagged, a world apart from the jubilant swing of old. However, starting in January 1946, Reinhardt and Grappelli held several sporadic reunions where the bop influences were more subtly integrated into the old swing format of the glory days of the Quintette. In the 1950s, Reinhardt became more reclusive, remaining in Europe, playing and recording sporadically until his death from a stroke on 16 May 1953 in Fontainebleau, France.
Django Rag
Django Reinhardt Lyrics
INSTRUMENTAL
Yeah!!!
Esto es rap real
En el 009
La RS
Warrior
ya DJP
te cortaran la cara con don plays
Umano
Puro floro
Yo no soy de foro
Yo soy de verdad siente como te perforo
Ramera
Avanzaste mal en la fulera
Vine con la gente pa bajarte la casetera
Recontra gil
Yo dirigo aki el misil
Vengan pa pedirme reparacion civil
Umano es el que azota
Tu envidia revota
Grande y webon
Q se siente ser mascota
Soy el monstro el que te espanta
El q vino pa bajarte un llanta
Ahora agvanta
Tu eres pose
Salte del closet
Ya calle no te conose
Por eso te cose
Caminas con falda
Y la pegas de tayta
Tu eres escoses entonces tocame la gayta
No cantas ni mierda
Y estas hablando de tour
Hablas como un maleante
Y te conocen en Red Bull (Yeah!!!)
Hijo de puta
Rapero mediatico
Apatico
Amu q school te bajamos sin neumaticos
Vamo asi de practicos
Avanzaste chueco
Si la rompe el pote
Que haces con un polo nuevo
Vengan por montones
Sarta de webones
Que llego el umano rompe manifestaciones
Hablando de pobreza y vives con la elite
Moriras hijo de puta por ser un satelite
Estamos en la calle
Y avanzaste mal
Y por ser maleta llego tu funeral
Siempre haz sido un pavo
No tienes metal
Aki te avanzamos
Mano Ariiba Criminal
Estamos en la calle
Y avanzaste mal
Y por ser maleta llego tu funeral
Siempre haz sido un pavo
No tienes metal
Aki te avanzamos
Mano Ariiba Criminal
Escribir con la sangre de tu culo
Con payasos como tu me pulo
A mi antojo yo te manipulo
Soplon
Corista de un chibolo maricon
Siempre la chupabas
Cuando escuchabas una cancion
Poco alegre
Nadie va a evitar que te desintegre
Hijo mio regresa pal pesebre
Que por esta zona ya esta falta
Piensan come
La gente te dispara si es q salta
Con nosotros poco floro
Raperos de inodoro
Q te la metemos y saldran por los poros
Se enterara hata por los foros
Que eres un soplon y envalaste como meteoro
Me cago en tu crew
En tu falta de actitud
Con este preview
Que te tapara como un alu
Fuck you!!!
Puta lleva y trae
Lo tuyo se caen no trae
Ni sikiera me distrae
Avanzaste mal animal
Si te veo cambio de canal
Te va a picar todo mi panal
Vas a salir frio en reporte semanal
Ah muerto un soplon por penetracion anal
Es Genial
Abusar contigo
Tu peor error es tenerme de enemigo
Pero hablaste mucho
por eso me encapucho
Hago uso de un serrucho
Pa sacarte el corazon como anticucho
Estamos en la calle
Y avanzaste mal
Y por ser maleta llego tu funeral
Siempre haz sido un pavo
No tienes metal
Aki te avanzamos
Mano Ariiba Criminal
Estamos en la calle
Y avanzaste mal
Y por ser maleta llego tu funeral
Siempre haz sido un pavo
No tienes metal
Aki te avanzamos
Mano Ariiba Criminal
El keria ser un bandido
Tratando de ser lo que nunca ah sido
Y viendo su vida confundido
Caminando perdido
Encontro un corral de payasos
Y por un abrazo se metio en ese lio
Asi fue creciendo sombra de un sujeto
Que no tenia respeto
Vivia pal malparido
Fue el culo de otro
No le salio ni un tema
Y deseperao kiso buscar problema
Busco con kien meterse
Y cometio un errror
Meterse con esta gente fomentas tu terror
Kiso volar muy alto
Y lo bajaron del carro
Bajoelo se lo puso y Jango le rompio el cacharro
Hijo de perra
Meterse conmigo es meterse tres bajo tierra
Yo soy el crepusculo el que los ojos le cierra
Como enfrentarse a rambo sin armas en una guerra
Aki yo la muerte yo soy el que los entierra
Traigan el armamento
Que a ti te hace temblar
Y un lutre poderio que nadie puede parar
una bateria de loco que te puede disparar
Dime dime cuantas veces mas tengo que usted llorar
Aja
DJP
Warrior Umano DJango
Yeah
Estamos en la calle
Y avanzaste mal
Y por ser maleta llego tu funeral
Siempre haz sido un pavo
No tienes metal
Aki te avanzamos
Mano Ariiba Criminal
Estamos en la calle
Y avanzaste mal
Y por ser maleta llego tu funeral
Siempre haz sido un pavo
No tienes metal
Aki te avanzamos
Mano Ariiba Criminal
Yeah!!!
Esto es rap real
En el 009
La RS
Warrior
ya DJP
te cortaran la cara con don plays
Umano
Yo no soy de foro
Yo soy de verdad siente como te perforo
Ramera
Avanzaste mal en la fulera
Vine con la gente pa bajarte la casetera
Recontra gil
Yo dirigo aki el misil
Vengan pa pedirme reparacion civil
Umano es el que azota
Tu envidia revota
Grande y webon
Q se siente ser mascota
Soy el monstro el que te espanta
El q vino pa bajarte un llanta
Ahora agvanta
Tu eres pose
Salte del closet
Ya calle no te conose
Por eso te cose
Caminas con falda
Y la pegas de tayta
Tu eres escoses entonces tocame la gayta
No cantas ni mierda
Y estas hablando de tour
Hablas como un maleante
Y te conocen en Red Bull (Yeah!!!)
Hijo de puta
Rapero mediatico
Apatico
Amu q school te bajamos sin neumaticos
Vamo asi de practicos
Avanzaste chueco
Si la rompe el pote
Que haces con un polo nuevo
Vengan por montones
Sarta de webones
Que llego el umano rompe manifestaciones
Hablando de pobreza y vives con la elite
Moriras hijo de puta por ser un satelite
Estamos en la calle
Y avanzaste mal
Y por ser maleta llego tu funeral
Siempre haz sido un pavo
No tienes metal
Aki te avanzamos
Mano Ariiba Criminal
Estamos en la calle
Y avanzaste mal
Y por ser maleta llego tu funeral
Siempre haz sido un pavo
No tienes metal
Aki te avanzamos
Mano Ariiba Criminal
Escribir con la sangre de tu culo
Con payasos como tu me pulo
A mi antojo yo te manipulo
Soplon
Corista de un chibolo maricon
Siempre la chupabas
Cuando escuchabas una cancion
Poco alegre
Nadie va a evitar que te desintegre
Hijo mio regresa pal pesebre
Que por esta zona ya esta falta
Piensan come
La gente te dispara si es q salta
Con nosotros poco floro
Raperos de inodoro
Q te la metemos y saldran por los poros
Se enterara hata por los foros
Que eres un soplon y envalaste como meteoro
Me cago en tu crew
En tu falta de actitud
Con este preview
Que te tapara como un alu
Fuck you!!!
Puta lleva y trae
Lo tuyo se caen no trae
Ni sikiera me distrae
Avanzaste mal animal
Si te veo cambio de canal
Te va a picar todo mi panal
Vas a salir frio en reporte semanal
Ah muerto un soplon por penetracion anal
Es Genial
Abusar contigo
Tu peor error es tenerme de enemigo
Pero hablaste mucho
por eso me encapucho
Hago uso de un serrucho
Pa sacarte el corazon como anticucho
Estamos en la calle
Y avanzaste mal
Y por ser maleta llego tu funeral
Siempre haz sido un pavo
No tienes metal
Aki te avanzamos
Mano Ariiba Criminal
Estamos en la calle
Y avanzaste mal
Y por ser maleta llego tu funeral
Siempre haz sido un pavo
No tienes metal
Aki te avanzamos
Mano Ariiba Criminal
El keria ser un bandido
Tratando de ser lo que nunca ah sido
Y viendo su vida confundido
Caminando perdido
Encontro un corral de payasos
Y por un abrazo se metio en ese lio
Asi fue creciendo sombra de un sujeto
Que no tenia respeto
Vivia pal malparido
Fue el culo de otro
No le salio ni un tema
Y deseperao kiso buscar problema
Busco con kien meterse
Y cometio un errror
Meterse con esta gente fomentas tu terror
Kiso volar muy alto
Y lo bajaron del carro
Bajoelo se lo puso y Jango le rompio el cacharro
Hijo de perra
Meterse conmigo es meterse tres bajo tierra
Yo soy el crepusculo el que los ojos le cierra
Como enfrentarse a rambo sin armas en una guerra
Aki yo la muerte yo soy el que los entierra
Traigan el armamento
Que a ti te hace temblar
Y un lutre poderio que nadie puede parar
una bateria de loco que te puede disparar
Dime dime cuantas veces mas tengo que usted llorar
Aja
DJP
Warrior Umano DJango
Yeah
Estamos en la calle
Y avanzaste mal
Y por ser maleta llego tu funeral
Siempre haz sido un pavo
No tienes metal
Aki te avanzamos
Mano Ariiba Criminal
Estamos en la calle
Y avanzaste mal
Y por ser maleta llego tu funeral
Siempre haz sido un pavo
No tienes metal
Aki te avanzamos
Mano Ariiba Criminal
Writer(s): Kevin Richard Andrews
Contributed by Grace K. Suggest a correction in the comments below.
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Jeff Taylor
Fastest tempo Django ever recorded
gipskull
nice
LACROIX Philippe
Beyond belief...