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.
The Man in Love
Django Reinhardt Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Hearing guitars like someone in love.
Sometimes the things I do astound me,
Mostly whenever you're around me.
Lately I seem to walk as though I had wings,
Bump into things like someone in love.
Each time I look at you,
I'm limp as a glove,
In the opening lines of Django Reinhardt's song "The Man in Love," the singer reflects on their current state of mind and emotions. The singer describes a sense of fascination with the world around them, symbolized by gazing at the stars and being captivated by the sound of guitars. This imagery conjures feelings of wonder, beauty, and a sense of being enveloped in a romantic ambiance. The reference to hearing guitars like someone in love suggests that the singer's perception is heightened, as they are attuned to the music and the environment in a way that mirrors the experience of being in love.
The following lines delve deeper into the impact of the presence of a significant other on the singer's actions and perceptions. The singer expresses a sense of both surprise and joy at the effect their beloved has on them, with the things they do sometimes astounding them. The presence of the beloved seems to elevate the ordinary moments into something extraordinary, suggesting that love has the power to transform and elevate the everyday experiences of life. The mention of feeling astounded mostly when the beloved is around further emphasizes the profound influence and importance of their presence in the singer's life.
The subsequent verses convey a physical and emotional response to being in love. The singer describes feeling as though they have wings when they walk, suggesting a lightness and buoyancy that comes from the euphoria of being in love. The imagery of bumping into things underscores the distraction and preoccupation that love can bring, as the singer is so consumed with thoughts of their beloved that they are not fully focused on their surroundings. The metaphor of being limp as a glove when looking at the beloved conveys a sense of vulnerability and tenderness, as the sight of their loved one leaves them feeling emotionally exposed and tender-hearted.
The closing lines of the song encapsulate the essence of being in love and the profound impact it has on the singer's emotions. The repetition of the refrain "like someone in love" reinforces the all-encompassing nature of the singer's feelings, as they find themselves enveloped in a state of infatuation and adoration. The simple yet evocative language used to describe the singer's feelings conveys a sense of sincerity and authenticity, highlighting the depth of emotion and connection that love brings. Overall, "The Man in Love" captures the transformative power of love and illustrates the ways in which it shapes perceptions, emotions, and actions, evoking a sense of enchantment and wonder that comes from being in love.
Line by Line Meaning
Lately, I find myself out gazing at stars,
Recently, I catch myself staring at the stars, feeling captivated and filled with wonder.
Hearing guitars like someone in love.
Listening to music that resonates with the emotions of being in love.
Sometimes the things I do astound me,
At times, I surprise myself with my actions, especially when you are nearby.
Mostly whenever you're around me.
Primarily when you are present, my behavior is influenced by your presence.
Lately I seem to walk as though I had wings,
Recently, I feel light and free as if I were soaring through the air.
Bump into things like someone in love.
Occasionally, I am so lost in my thoughts of love that I am not paying attention and bump into objects.
Each time I look at you,
Every time I gaze upon you,
I'm limp as a glove,
I feel weak and vulnerable, like a limp glove.
And feeling like someone in love.
Experiencing the overwhelming emotions of being in love.
Lyrics © MUSIC SALES CORPORATION, Warner Chappell Music, Inc.
Written by: Jimmy Van Heusen, Johnny Burke
Lyrics Licensed & Provided by LyricFind
@danielnappo
I think this is the most sublime arrangement and performance of a Gershwin tune ever. It blows my mind every time I hear it.
@MrAnderswt
Just wonderful!
@Imaffia2
Thanks!
@MrAnderswt
And they did it without drugs too
@alexvangorder94
I'm sure cannabis was around these sessions.
@charliericker274
Yeah, and Django did it without two finger on his fretting hand.
@JimmyDeLocke
Cool -- is that grapelli on piano?
@semperterra3235
Yes it is.
@joshminus
Grapelli was the violinist for the quintet, not the pianist. =]
@daves.9479
Reasonable question, actually--Grapelli was also a pianist and I didn't hear a violin in the piece.