Django Reinhardt was arguably the greatest guitarist who ever lived; an important influence on Les Paul; Charlie Christian; B.B. King; Jerry Garcia; Chet Atkins; and many others. Yet there is no major biography of Reinhardt. Now; in Django; Michael Dregni offers a definitive portrait of this great guitarist. Handsome; charismatic; childlike; and unpredictable; Reinhardt was a character out of a picaresque novel. Born in a gypsy caravan at a crossroads in Belgium; he was almost killed in a freak fire that burned half of his body and left his left hand twisted into a claw. But with this maimed left hand flying over the frets and his right hand plucking at dizzying speed; Django became Europes most famous jazz musician; commanding exorbitant fees--and spending the money as fast as he made it. Dregni not only chronicles this remarkably colorful life--including a fascinating account of gypsy culture--but he also sheds much light on Djangos musicianship. He examines his long musical partnership with violinist Steacute;phane Grappelli--the one suave and smooth; the other sharper and more dissonant--and he traces the evolution of their novel string jazz ensemble; Quintette du Hot Club de France. Indeed; the author spotlights Djangos amazing musical diversity; describing his swing-styled Nouveau Quintette; his big band Djangos Music; and his later bebop ensemble; as well as his many compositions; including symphonic pieces influenced by Ravel and Debussy and his unfinished organ mass inspired by Bach. And along the way; the author offers vivid snapshots of the jazz scene in Paris--colorful portraits of Josephine Baker; Bricktop; Louis Armstrong; Coleman Hawkins; and countless others--and of Djangos vagabond wanderings around France; Europe; and the United States; where he toured with Duke Ellington. Capturing the extraordinary life and times of one of the great musicians of the twentieth century; Django is a must-read portrait of a true original.
#444813 in eBooks 2004-11-01 2004-11-01File Name: B000QJMCLA
Review
9 of 9 people found the following review helpful. One of the masterpieces in music theoryBy Hans HummelYou might need to have studied species counterpoint before committing yourself; just a fair warning. (Fux or Jeppesen prefered due to voice-crossing)Despite the lack of translation of quotes Jeppesen still manages to bring forth his points by the use of examples taken from the late works of Palestrina. These he compares with the earlier work by same composer as well as other earlier masters(about 1400-1550) especially the works of Josqin des Prez. He does this in a way that brings forth the different treatment of the dissonance in the hands of different masters then debates the reason for Palestrinas more "strict" approach.In this way you will clearly understand the fundamental treatment of dissonances in late Palestrina style without being confused by what youve read elsewhere.This historical aspect and a very logical approach(besides some personal opinions here and there) is imho what makes this book a masterpiece.Jeppesens treatment of the dissonance is planned out very carefully; he divides it into categories which he again subdivides etc.In this way it could easily be used as a reference source if you are studying species counterpoint. Especially since Fux(as the author proves) was mistaken more than once in his "gradus ad parnassum". Jeppesen even debates as to the reason why many music theorists had a hard time understanding the specific style of Palestrina.I would also say that Jeppesens superb understanding of his subject enables him to catch errors in earlier publications of Palestrina scores(and those of other old composers) - often because of the publishers own erroneous correction of the score. This because the publisher didnt understand some exceptions of dissonance treatment and thought them to be mistakes(especially pre-Palestrina styles have a less strict approach to voice-leading).Because this book is so important in understanding general voice-leading; the person who might benefit from this isnt just the theorist(like the other review claims) but also the hardworking composer. Even composers of the classical era(Haydn; Mozart; Beethoven) studied voice-leading mainly through Fux; and Fux attempted to do what Jeppesen has done here(and in his other book on Counterpoint). Therefore anybody serious about mastering voice-leading should get this great masterpiece a.s.a.p.Yes its tough at times and it may require you to rewrite most examples of Palestrina to prefered clefs; but even so; as far as I know this is the only work dealing in depth with such an important area of music theory(the dissonance) and because of its restrictions(late Palestrina with comparisons to other composers for clarity) it actually accomplishes its task better than any other work known to me.For that reason I think this work and the authors working method should stand as an example for all music theorists to follow - restrict yourself to an important aspect of music theory; choose one master as your prime example and compare the works of this master to his contemporaries; his own earlier works and works of earlier masters.Do this and you might change the future of music theory.