Bireli Lagrene & Sylvain Luc • Summertime

Review by Michael G. Nastos
Guitar duets should all be precious as this one from Bireli Lagrene and Sylvain Luc, as they mutually share musical thoughts, feelings, and honest emotions via a stack of familiar jazz standards. As equally talented players whose virtuosity is not staggeringly overwhelming, these two present a good deal of symmetry and balance, neither dominating the other. Unless you are personally familiar with the stylistic differences of the gypsy driven Lagrene or more contemporary Luc, it's likely their pure sound rather than technique sets them apart. Luc plays Godin guitar, while Lagrene prefers a Barault model, both relatively unamplified or processed, lending to the organic feel of these standards everybody knows. A resonant and languid version of "Summertime" is quite differently rendered in ringing. solemn, patient tones, with no worries or rushed-through cadences, but a bit of speedy soloing. The quick counterpoint and unison playing during "So What" lend toward mixed messages, but within a straight bop framework. Chick Corea's "Spain" and "Got a Match" give the two a chance to show off a bit, not so much on the former icon of contemporary repertoire as much as the latter track, which lets them charge ahead full steam in flurries of sixteenth and thirty-second notes. Steady tunes such as "Wave," "My One & Only Love," and "Someday My Prince Will Come" are more liquid and flowing, while the popping, crackling chords setting up "On Green Dolphin Street" and the percussive improv "Interlude" proved stellar examples of Lagrene and Luc's brilliance. Two pop tunes are included -- a gypsy bop take of James Taylor's "On the Fourth of July," and the old Four Seasons hit "Can't Take My Eyes Off of You" in a tango mode. Overall, this is a solid recording that should please fans of these two great musicians, not a stunning or risk-free effort, but somewhere satisfyingly in the middle.

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Reseña de Michael G. Nastos
Los dúos de guitarra deberían ser tan valiosos como este de Bireli Lagrene y Sylvain Luc, ya que mutuamente comparten pensamientos musicales, sentimientos y emociones honestas a través de un montón de estándares de jazz conocidos. Como intérpretes de igual talento cuyo virtuosismo no es asombrosamente abrumador, estos dos presentan una buena cantidad de simetría y equilibrio, sin dominar al otro. A menos que estés personalmente familiarizado con las diferencias estilísticas de la gitana Lagrene o del más contemporáneo Luc, es probable que su sonido puro en lugar de la técnica los distinga. Luc toca la guitarra de Godin, mientras que Lagrene prefiere un modelo de Barault, ambos relativamente sin amplificar o procesados, dando la sensación orgánica de estos estándares que todo el mundo conoce. Una versión resonante y lánguida de "Summertime" se presenta de manera muy diferente en tonos solemnes y pacientes, sin preocupaciones ni cadencias precipitadas, pero con un poco de solitario rápido. El rápido contrapunto y el tocar al unísono durante "So What" se prestan para mensajes mixtos, pero dentro de un marco de bop directo. "Spain" y "Got a Match" de Chick Corea les dan la oportunidad de lucirse un poco, no tanto en el primer icono del repertorio contemporáneo como en el segundo, lo que les permite avanzar a todo vapor en ráfagas de dieciseisavos y treinta segundos. Temas constantes como "Wave", "My One & Only Love" y "Someday My Prince Will Come" son más líquidos y fluidos, mientras que los acordes chispeantes y chispeantes que establecen "On Green Dolphin Street" y la improvisación percusiva "Interlude" son ejemplos estelares de la brillantez de Lagrene y Luc. Se incluyen dos temas pop: una toma de bop gitano de "On the Fourth of July" de James Taylor, y el viejo éxito del Four Seasons "Can't Take My Eyes Off of You" en modo tango. En general, esta es una grabación sólida que debería complacer a los fans de estos dos grandes músicos, no un esfuerzo impresionante o libre de riesgos, pero en algún lugar satisfactorio en el medio.

 

bireli-lagrene.fr ...

Stanley Clarke-Bireli Lagrene-Jean-Luc Ponty • D-Stringz

 

stanleyclarke.com ...
bireli-lagrene.fr ...
www.ponty.com ...

Biréli Lagrène • Live At The Festival

 

Biography
by Matt Collar
An adept French guitarist, Biréli Lagrène has drawn praise for his fertile blend of swinging continental jazz, post-bop, and fusion. Emerging with Routes to Django: Live in 1980, the then 13-year-old guitarist was quickly praised as an heir to the legendary Django Reinhardt. Over time, however, he broadened his approach, exploring artists like Wes Montgomery, Larry Coryell, and Jimi Hendrix, influences he displayed on 1988's Inferno and 2008's Electric Side. Nonetheless, as evidenced by 1992's Standards, 2005's Move, and 2018's Storyteller, Lagrène remains a leading proponent of both the straight-ahead and gypsy jazz traditions.

Lagrène was born into a Romani family on September 4, 1966, in Saverne, Alsace, France. Both his father and grandfather had been prominent guitarists, and Lagrène was first introduced to the instrument around age four. Under his father's influence, Lagrène was soon absorbing the music of guitarist Django Reinhardt, as well as recordings by violinist Stéphane Grappelli and the Hot Club of France. By age seven, he was already a gifted performer and garnered increasing attention throughout the 1970s, especially after he won a prize at a festival in Strasbourg in 1978 and performed on television as part of an appearance at a Gypsy festival broadcast. In 1981, he made his solo debut with Routes to Django: Live. The studio-album Fifteen followed a year later, featuring more Reinhardt songs and jazz standards.

During his late teens, Lagrène's musical taste began to evolve as he started playing electric guitar and absorbing players like Wes Montgomery, John McLaughlin, Larry Coryell, and Jimi Hendrix. In 1984, he appeared at the Django Reinhardt Tribute at Fat Tuesdays in New York, where he showcased his stylistically expansive sound. He signed to Blue Note and issued a handful of genre-crossing albums: 1988's Inferno, 1989's Foreign Affairs, and 1990's Acoustic Moments. All of these albums found the guitarist exploring a mix of post-bop, fusion, and Reinhardt-style pieces. The straight-ahead Standards, with bassist Niels Pedersen and drummer Andre Ceccarelli, arrived in 1992.

With 1995's My Favorite Django, Lagrène returned to his love of traditional gypsy swing. Over the next decade, he made occassional forays into fusion, while continuing to balance his love of Django Reinhardt, straight-ahead jazz and bop influences. He also kept a steady live schedule, appearing live at Marciac in 1994 and at New York's Blue Note in 1997 with Larry Coryell and Billy Cobham. In 1998, he issued the Frank Sinatra tribute Old Blues Eyes, with pianist Maurice Vander, bassist Chris Minh Doky, and drummer Ceccarelli. In 2002, he issued Gypsy Project, yet another album that found him returning to Reinhardt and the classic jazz songbook. Similar albums followed, including 2005's Move, 2006's Djangology, and 2007's Just the Way You Are. A year later, he issued the fusion-influenced Electric Side.

He then paired with guitarist Hono Winterstein and bassist Diego Imbert for 2009's Gipsi Trio. That same year, he also released his own Summertime. In 2012, he recorded a straight-ahead jazz set for Universal entitled Mouvements with saxophonist Franck Wolf, drummer Jean-Marc Robin, and Hammond organist Jean-Yves Jung. Also in 2012, Lagrène was asked to participate in the 50th career anniversary celebration for violinist Jean-Luc Ponty, during which he appeared in a trio with Ponty and bassist Stanley Clarke. Inspired by their chemistry on stage that night, the trio stayed in touch, and in 2015 paired again for the studio album D-Stringz on Impulse! In 2018, the guitarist issued Storyteller, featuring bassist Larry Grenadier and percussionist Mino Cinélu.
https://www.allmusic.com/artist/bir%C3%A9li-lagr%C3%A8ne-mn0000082316/biography

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Biography
by Matt Collar
An adept French guitarist, Biréli Lagrène has drawn praise for his fertile blend of swinging continental jazz, post-bop, and fusion. Emerging with Routes to Django: Live in 1980, the then 13-year-old guitarist was quickly praised as an heir to the legendary Django Reinhardt. Over time, however, he broadened his approach, exploring artists like Wes Montgomery, Larry Coryell, and Jimi Hendrix, influences he displayed on 1988's Inferno and 2008's Electric Side. Nonetheless, as evidenced by 1992's Standards, 2005's Move, and 2018's Storyteller, Lagrène remains a leading proponent of both the straight-ahead and gypsy jazz traditions.

Lagrène was born into a Romani family on September 4, 1966, in Saverne, Alsace, France. Both his father and grandfather had been prominent guitarists, and Lagrène was first introduced to the instrument around age four. Under his father's influence, Lagrène was soon absorbing the music of guitarist Django Reinhardt, as well as recordings by violinist Stéphane Grappelli and the Hot Club of France. By age seven, he was already a gifted performer and garnered increasing attention throughout the 1970s, especially after he won a prize at a festival in Strasbourg in 1978 and performed on television as part of an appearance at a Gypsy festival broadcast. In 1981, he made his solo debut with Routes to Django: Live. The studio-album Fifteen followed a year later, featuring more Reinhardt songs and jazz standards.

During his late teens, Lagrène's musical taste began to evolve as he started playing electric guitar and absorbing players like Wes Montgomery, John McLaughlin, Larry Coryell, and Jimi Hendrix. In 1984, he appeared at the Django Reinhardt Tribute at Fat Tuesdays in New York, where he showcased his stylistically expansive sound. He signed to Blue Note and issued a handful of genre-crossing albums: 1988's Inferno, 1989's Foreign Affairs, and 1990's Acoustic Moments. All of these albums found the guitarist exploring a mix of post-bop, fusion, and Reinhardt-style pieces. The straight-ahead Standards, with bassist Niels Pedersen and drummer Andre Ceccarelli, arrived in 1992.

With 1995's My Favorite Django, Lagrène returned to his love of traditional gypsy swing. Over the next decade, he made occassional forays into fusion, while continuing to balance his love of Django Reinhardt, straight-ahead jazz and bop influences. He also kept a steady live schedule, appearing live at Marciac in 1994 and at New York's Blue Note in 1997 with Larry Coryell and Billy Cobham. In 1998, he issued the Frank Sinatra tribute Old Blues Eyes, with pianist Maurice Vander, bassist Chris Minh Doky, and drummer Ceccarelli. In 2002, he issued Gypsy Project, yet another album that found him returning to Reinhardt and the classic jazz songbook. Similar albums followed, including 2005's Move, 2006's Djangology, and 2007's Just the Way You Are. A year later, he issued the fusion-influenced Electric Side.

He then paired with guitarist Hono Winterstein and bassist Diego Imbert for 2009's Gipsi Trio. That same year, he also released his own Summertime. In 2012, he recorded a straight-ahead jazz set for Universal entitled Mouvements with saxophonist Franck Wolf, drummer Jean-Marc Robin, and Hammond organist Jean-Yves Jung. Also in 2012, Lagrène was asked to participate in the 50th career anniversary celebration for violinist Jean-Luc Ponty, during which he appeared in a trio with Ponty and bassist Stanley Clarke. Inspired by their chemistry on stage that night, the trio stayed in touch, and in 2015 paired again for the studio album D-Stringz on Impulse! In 2018, the guitarist issued Storyteller, featuring bassist Larry Grenadier and percussionist Mino Cinélu.
https://www.allmusic.com/artist/bir%C3%A9li-lagr%C3%A8ne-mn0000082316/biography

bireli-lagrene.fr ...

Bireli Lagrene • Routes to Django

 

Biography
by Matt Collar
An adept French guitarist, Biréli Lagrène has drawn praise for his fertile blend of swinging continental jazz, post-bop, and fusion. Emerging with Routes to Django: Live in 1980, the then 13-year-old guitarist was quickly praised as an heir to the legendary Django Reinhardt. Over time, however, he broadened his approach, exploring artists like Wes Montgomery, Larry Coryell, and Jimi Hendrix, influences he displayed on 1988's Inferno and 2008's Electric Side. Nonetheless, as evidenced by 1992's Standards, 2005's Move, and 2018's Storyteller, Lagrène remains a leading proponent of both the straight-ahead and gypsy jazz traditions.

Lagrène was born into a Romani family on September 4, 1966, in Saverne, Alsace, France. Both his father and grandfather had been prominent guitarists, and Lagrène was first introduced to the instrument around age four. Under his father's influence, Lagrène was soon absorbing the music of guitarist Django Reinhardt, as well as recordings by violinist Stéphane Grappelli and the Hot Club of France. By age seven, he was already a gifted performer and garnered increasing attention throughout the 1970s, especially after he won a prize at a festival in Strasbourg in 1978 and performed on television as part of an appearance at a Gypsy festival broadcast. In 1981, he made his solo debut with Routes to Django: Live. The studio-album Fifteen followed a year later, featuring more Reinhardt songs and jazz standards.

During his late teens, Lagrène's musical taste began to evolve as he started playing electric guitar and absorbing players like Wes Montgomery, John McLaughlin, Larry Coryell, and Jimi Hendrix. In 1984, he appeared at the Django Reinhardt Tribute at Fat Tuesdays in New York, where he showcased his stylistically expansive sound. He signed to Blue Note and issued a handful of genre-crossing albums: 1988's Inferno, 1989's Foreign Affairs, and 1990's Acoustic Moments. All of these albums found the guitarist exploring a mix of post-bop, fusion, and Reinhardt-style pieces. The straight-ahead Standards, with bassist Niels Pedersen and drummer Andre Ceccarelli, arrived in 1992.

With 1995's My Favorite Django, Lagrène returned to his love of traditional gypsy swing. Over the next decade, he made occassional forays into fusion, while continuing to balance his love of Django Reinhardt, straight-ahead jazz and bop influences. He also kept a steady live schedule, appearing live at Marciac in 1994 and at New York's Blue Note in 1997 with Larry Coryell and Billy Cobham. In 1998, he issued the Frank Sinatra tribute Old Blues Eyes, with pianist Maurice Vander, bassist Chris Minh Doky, and drummer Ceccarelli. In 2002, he issued Gypsy Project, yet another album that found him returning to Reinhardt and the classic jazz songbook. Similar albums followed, including 2005's Move, 2006's Djangology, and 2007's Just the Way You Are. A year later, he issued the fusion-influenced Electric Side.

He then paired with guitarist Hono Winterstein and bassist Diego Imbert for 2009's Gipsi Trio. That same year, he also released his own Summertime. In 2012, he recorded a straight-ahead jazz set for Universal entitled Mouvements with saxophonist Franck Wolf, drummer Jean-Marc Robin, and Hammond organist Jean-Yves Jung. Also in 2012, Lagrène was asked to participate in the 50th career anniversary celebration for violinist Jean-Luc Ponty, during which he appeared in a trio with Ponty and bassist Stanley Clarke. Inspired by their chemistry on stage that night, the trio stayed in touch, and in 2015 paired again for the studio album D-Stringz on Impulse! In 2018, the guitarist issued Storyteller, featuring bassist Larry Grenadier and percussionist Mino Cinélu.
https://www.allmusic.com/artist/bir%C3%A9li-lagr%C3%A8ne-mn0000082316/biography

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Biography
by Matt Collar
An adept French guitarist, Biréli Lagrène has drawn praise for his fertile blend of swinging continental jazz, post-bop, and fusion. Emerging with Routes to Django: Live in 1980, the then 13-year-old guitarist was quickly praised as an heir to the legendary Django Reinhardt. Over time, however, he broadened his approach, exploring artists like Wes Montgomery, Larry Coryell, and Jimi Hendrix, influences he displayed on 1988's Inferno and 2008's Electric Side. Nonetheless, as evidenced by 1992's Standards, 2005's Move, and 2018's Storyteller, Lagrène remains a leading proponent of both the straight-ahead and gypsy jazz traditions.

Lagrène was born into a Romani family on September 4, 1966, in Saverne, Alsace, France. Both his father and grandfather had been prominent guitarists, and Lagrène was first introduced to the instrument around age four. Under his father's influence, Lagrène was soon absorbing the music of guitarist Django Reinhardt, as well as recordings by violinist Stéphane Grappelli and the Hot Club of France. By age seven, he was already a gifted performer and garnered increasing attention throughout the 1970s, especially after he won a prize at a festival in Strasbourg in 1978 and performed on television as part of an appearance at a Gypsy festival broadcast. In 1981, he made his solo debut with Routes to Django: Live. The studio-album Fifteen followed a year later, featuring more Reinhardt songs and jazz standards.

During his late teens, Lagrène's musical taste began to evolve as he started playing electric guitar and absorbing players like Wes Montgomery, John McLaughlin, Larry Coryell, and Jimi Hendrix. In 1984, he appeared at the Django Reinhardt Tribute at Fat Tuesdays in New York, where he showcased his stylistically expansive sound. He signed to Blue Note and issued a handful of genre-crossing albums: 1988's Inferno, 1989's Foreign Affairs, and 1990's Acoustic Moments. All of these albums found the guitarist exploring a mix of post-bop, fusion, and Reinhardt-style pieces. The straight-ahead Standards, with bassist Niels Pedersen and drummer Andre Ceccarelli, arrived in 1992.

With 1995's My Favorite Django, Lagrène returned to his love of traditional gypsy swing. Over the next decade, he made occassional forays into fusion, while continuing to balance his love of Django Reinhardt, straight-ahead jazz and bop influences. He also kept a steady live schedule, appearing live at Marciac in 1994 and at New York's Blue Note in 1997 with Larry Coryell and Billy Cobham. In 1998, he issued the Frank Sinatra tribute Old Blues Eyes, with pianist Maurice Vander, bassist Chris Minh Doky, and drummer Ceccarelli. In 2002, he issued Gypsy Project, yet another album that found him returning to Reinhardt and the classic jazz songbook. Similar albums followed, including 2005's Move, 2006's Djangology, and 2007's Just the Way You Are. A year later, he issued the fusion-influenced Electric Side.

He then paired with guitarist Hono Winterstein and bassist Diego Imbert for 2009's Gipsi Trio. That same year, he also released his own Summertime. In 2012, he recorded a straight-ahead jazz set for Universal entitled Mouvements with saxophonist Franck Wolf, drummer Jean-Marc Robin, and Hammond organist Jean-Yves Jung. Also in 2012, Lagrène was asked to participate in the 50th career anniversary celebration for violinist Jean-Luc Ponty, during which he appeared in a trio with Ponty and bassist Stanley Clarke. Inspired by their chemistry on stage that night, the trio stayed in touch, and in 2015 paired again for the studio album D-Stringz on Impulse! In 2018, the guitarist issued Storyteller, featuring bassist Larry Grenadier and percussionist Mino Cinélu.
https://www.allmusic.com/artist/bir%C3%A9li-lagr%C3%A8ne-mn0000082316/biography

bireli-lagrene.fr ...

Biréli Lagrène │André Ceccarelli│Niels-Henning Oersted Pedersen • Standards

 

Colaborador / Contributor:  Mich58

VA • Beatles In Jazz, A Jazz Tribute To The Beatles

 

 

Joscho Stephan • Guitar Heroes - Live

 

 

For the album 'Guitar Heroes', Joscho Stephan invited the guitarists Tommy Emmanuel, Biréli Lagrène and Stochelo Rosenberg into the studio. The result was a fascinating mixture of standards and original compositions that were not only rooted in swinging jazz, but also built a bridge to rock, pop and Latin music.
The desire for a live album with a similar concept quickly arose, which is now available. In addition to Stochelo Rosenberg and Biréli Lagrène, Olli Soikkeli and Richard Smith can also be heard. Together with Joscho's trio, 12 titles were selected from a total of 4 concerts. Swing a'la Django Reinhardt and Bossa rhythms are perfectly represented by the Dutch guitar legend Stochelo Rosenberg and the young Finnish guitar virtuoso Olli Soikkeli. In addition to original compositions, classics should not be missing. The 'Fingerpicking Champion' Richard Smith provides a contrast to this. Biréli Lagrène shows once again why he has been one of the leading guitarists on the European music scene for 40 years.
The 'Live Heroes' are even more hands-on than in the studio. The playfulness and improvisational desire of all players are always breathtaking, as a counterpoint there are just as many quiet and soulful moments, so that the music reflects a perfect balance of the original performances.

 joscho-stephan ...

 

Joscho Stephan • Guitar Heroes

 

 

 

Joscho Stephan is well known on the international guitar scene as one of the most creative gypsy-swing players. With a powerful tone and remarkable technical skills, he has an instantly recognizable voice on his instrument. He’s also not afraid to combine gypsy swing with a lot of different styles, like klezmer, pop or classical music.

One of Joscho’s longtime dreams has been to record an album of songs written by his “guitar heroes.” When he started to work on the project, he thought it would be even more fun to invite the “heroes” of the current guitar scene to the studio with him. So on this new record, Joscho is joined by three world-class guitarists — Australian guitar legend Tommy Emmanuel, Dutch gypsy swing icon Stochelo Rosenberg, and French “guitar phenomenon” Biréli Lagréne. Together, they present Joscho’s own compositions, along with famous tunes in the style of gypsy swing with rock, jazz, and funk influences. The album includes pieces written by such great guitarists as Django Reinhardt, Carlos Santana and George Harrison, plus pieces successfully interpreted by the likes of Jimi Hendrix (“Hey Joe”) and George Benson (“Breezin”).
https://www.joscho-stephan.de/en/shop/guitar-heroes/

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Joscho Stephan es conocido en la escena internacional de la guitarra como uno de los músicos más creativos del movimiento gitano. Con un tono poderoso y notables habilidades técnicas, tiene una voz instantáneamente reconocible en su instrumento. Tampoco tiene miedo de combinar el swing gitano con muchos estilos diferentes, como el klezmer, el pop o la música clásica.

Uno de los sueños de Joscho ha sido grabar un álbum de canciones escritas por sus "guitar heroes". Cuando empezó a trabajar en el proyecto, pensó que sería aún más divertido invitar al estudio con él a los "héroes" de la escena guitarrística actual. Así que en este nuevo disco, Joscho está acompañado por tres guitarristas de clase mundial - la leyenda de la guitarra australiana Tommy Emmanuel, el icono del swing gitano holandés Stochelo Rosenberg, y el "fenómeno de la guitarra" francés Biréli Lagréne. Juntos, presentan las composiciones propias de Joscho, junto con famosas melodías al estilo del swing gitano con influencias de rock, jazz y funk. El álbum incluye piezas escritas por grandes guitarristas como Django Reinhardt, Carlos Santana y George Harrison, además de piezas interpretadas con éxito por Jimi Hendrix ("Hey Joe") y George Benson ("Breezin").
https://www.joscho-stephan.de/en/shop/guitar-heroes/


www.joscho-stephan ...   

 

Sandro Roy • Discovery

 

 

Highly acclaimed violinist Sandro Roy invited friends like Bireli Lagrene, Martin Taylor, David Gazarov, Jermaine Landsberger and other wonderful musicians for his 3rd album - a hot mixture of swinging melodies, classical ballads and energetic Gypsy Jazz.


www.sandro-roy.com ...

Biréli Lagrène • My Favorite Django

When guitarist Bireli Lagrene first debuted as a 13-year-old, he sounded like an exact duplicate of Django Reinhardt. Since that time, Lagrene has sought to develop his own individuality but most of his fusion and rock-oriented records have been of lesser interest. For My Favorite Django he returns to the Reinhardt repertoire (all but "Clair de Lune" are Reinhardt compositions) but with a difference. Keyboardist Koono reharmonized most of the songs drastically, aiming for an orchestral sound with his synthesizer with several pieces utilizing his charts for woodwind and string sections. However there is a good use of contrast, including a spontaneous guitar/piano duet on a medium-tempo "Blues for Ike." Lagrene sounds more original than he did in his early days and he has a very impressive technique. Unfortunately the rhythms played by electric bassist Anthony Jackson and drummer Dennis Chambers are unremittingly funky and so unimaginative as to sound as if they were recorded on a different day! One assumes that they were following instructions but, whoever's fault it is, that fatal flaw sinks this effort. The complete lack of swing from the rhythm duo (even on the up-tempo "I Got Rhythm"-based "Babik") drains most of the joy and purpose from these songs. Simply put, the original versions by Django Reinhardt are much better.

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Traducción Automática:

Cuando el guitarrista Bireli Lagrene debutó por primera vez cuando tenía 13 años, sonaba como un duplicado exacto de Django Reinhardt. Desde ese momento, Lagrene ha tratado de desarrollar su propia individualidad, pero la mayoría de sus registros de fusión y orientados al rock han sido de menor interés. Para My Favorite Django, él regresa al repertorio de Reinhardt (todos excepto "Clair de Lune" son composiciones de Reinhardt) pero con una diferencia. El teclista Koono volvió a armonizar la mayoría de las canciones drásticamente, apuntando a un sonido orquestal con su sintetizador con varias piezas que utilizan sus gráficos para vientos de madera y secciones de cuerdas. Sin embargo, hay un buen uso del contraste, incluido un dúo espontáneo de guitarra / piano en un "Blues for Ike" de tempo medio. Lagrene suena más original de lo que lo hacía en sus primeros días y tiene una técnica muy impresionante. Desafortunadamente, los ritmos interpretados por el bajista eléctrico Anthony Jackson y el baterista Dennis Chambers son incansablemente funky y tan poco imaginativos como para sonar como si estuvieran grabados en un día diferente. Uno asume que estaban siguiendo instrucciones pero, quienquiera que sea la culpa, ese defecto fatal se hunde. La falta completa de swing desde el dúo de ritmo (incluso en el "Babik" basado en "I Got Rhythm" de tempo alto) drena la mayor parte de la alegría y el propósito de estas canciones. En pocas palabras, las versiones originales de Django Reinhardt son mucho mejores.

 

 

bireli-lagrene.fr ...

Al Di Meola, Larry Coryell, Bireli Lagrene • The Super Guitar Trio And Friends

aldimeola.com ...

peeweelabel.com ...

larrycoryell.net ...

Stanley Clarke, Bireli Lagrene, Jean-Luc Ponty • D-Stringz

Review by Thom Jurek
The occasion for this trio to work together was a 2010 concert that celebrated violinist Jean-Luc Ponty's 50th anniversary as a recording artist. Both the violinist and Stanley Clarke had collaborated before (a previous electric trio set with Al Di Meola, The Rite of Strings was issued in 1995), but neither had collaborated with French jazz guitarist Biréli Lagrène prior to that evening. In playing for a mere 20 minutes, they created the impetus for D-Stringz -- though it took two years for them to clear their schedules and get into a Brussels studio. These ten tunes are an assortment of standards and originals. The album is an acoustic, straight-ahead date that employs flawless swinging bop and post-bop, as well as 21st century takes on gypsy and soul-jazz and funk. John Coltrane's "Blue Train" is offered in cut time. Ponty covers the horn lines while Lagrène plays choppy, meaty chords and Clarke redefines the bass' role in a walking 12-bar blues. Ponty's solo offers the right amount of flash and punch, touching on both gypsy and modal jazz traditions. Lagrène syncopates his butt off in the changes. The reading of Joe Zawinul's Cannonball Adderley vehicle, "Mercy Mercy Mercy," is a showcase for Lagrène's gorgeous chord voicings. Ponty's solo nearly sings, and further, a call-and-response exchange between Clarke and the guitarist -- before the latter's slippery solo -- is gritty and tight. In another Coltrane reference, the reading of Jimmy McHugh's and Harold Adamson's "Too Old to Go Steady" (that the saxophonist rendered so beaut-fully on Ballads in 1963) offers a lovely conversation between the guitarist and violinist, but it's Clarke's counterpoint that steals the show. Given the trio's collective love of Django Reinhardt, it makes sense they would cover his iconic "Nuages." Ponty moves it along the ledge by rendering it contemporary; he provides a simmering bossa lilt in the melody. The bassist's "Bit of Burd" is fleet, driving bebop; everyone is on fire, but Lagrène's arpeggios are on stun. The guitarist's "Strech" binds progressive jazz, modernism, post-bop, and gypsy swing. Ponty's "To and Fro," built on a four-note riff, allows the trio to really stretch out and get their funk on. In the latter, Clarke's bassline is fat, woody, and hard-grooving. The closer, "One Take," is built on a simple two-chord vamp. Loping violin and guitar lines twist, turn, and soar, creating a lithe, breezy, funky feel but Clarke whomps down hard, binding them to the tune's groove. The sound on D-Stringz is warm and bright, but so pristine, it lends an intimate living room feel to the proceedings. All the playing is relaxed, inquisitive and inventive. D-Stringz is the sound of musical invention and delight put on offer directly. It is a thoroughly enjoyable listening experience.

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Reseña por Thom Jurek 

La ocasión para que este trío trabajara en conjunto fue un concierto de 2010 que celebró el 50 aniversario del violinista Jean-Luc Ponty como artista de grabación. Tanto el violinista como Stanley Clarke habían colaborado antes (un trío eléctrico anterior con Al Di Meola, The Rite of Strings se emitió en 1995), pero ninguno había colaborado con el guitarrista de jazz francés Biréli Lagrène antes de esa noche. Al jugar por solo 20 minutos, crearon el ímpetu para D-Stringz, aunque tardaron dos años en limpiar sus horarios y entrar en un estudio de Bruselas. Estas diez melodías son una variedad de estándares y originales. El álbum es una fecha acústica y directa que emplea bop y post-bop impecables, así como el siglo XXI que toma gips y soul-jazz y funk. El "Tren azul" de John Coltrane se ofrece en tiempo de corte. Ponty cubre las líneas de la bocina mientras Lagrène toca acordes harapientos y entrecortados, y Clarke redefine el papel del bajo en un blues de 12 compases. El solo de Ponty ofrece la cantidad justa de destello y golpe, tocando las tradiciones gitanas y modales del jazz. Lagrène sincopia su trasero en los cambios. La lectura del vehículo Cannonball Adderley de Joe Zawinul, "Mercy Mercy Mercy", es un escaparate de las magníficas voces de acordes de Lagrène. El solo de Ponty casi canta, y más aún, un intercambio de llamadas y respuestas entre Clarke y el guitarrista, antes del resbaladizo solo de este último, es áspero y estrecho. En otra referencia de Coltrane, la lectura de "Too Old to Go Steady" de Jimmy McHugh y Harold Adamson (que el saxofonista interpretó de manera tan bella en Ballads en 1963) ofrece una conversación encantadora entre el guitarrista y el violinista, pero es el contrapunto de Clarke que roba el show. Dado el amor colectivo de Django Reinhardt por el trío, tiene sentido que cubran su icónico "Nuages". Ponty lo mueve a lo largo de la repisa haciéndolo contemporáneo; Él proporciona una bossa a fuego lento en la melodía. "Bit of Burd", del bajista, es una flota que maneja el bebop; todos están en llamas, pero los arpegios de Lagrène están en aturdimiento. El "Strech" del guitarrista se une al jazz progresivo, el modernismo, el post-bop y el swing gitano. "To and Fro" de Ponty, construido en un riff de cuatro notas, permite que el trío realmente se estire y ponga su funk. En este último, la línea de bajo de Clarke es gorda, leñosa y dura de ranurado. El cerrador, "One Take", está construido sobre un simple vampiro de dos acordes. Las líneas de violín y guitarra de Loping se retuercen, giran y se disparan, creando una sensación ágil, ventosa y funky, pero Clarke a quien se para con fuerza, uniéndolos al ritmo de la melodía. El sonido en D-Stringz es cálido y brillante, pero tan prístino que aporta un ambiente íntimo a la sala de estar. Todo el juego es relajado, inquisitivo e inventivo. D-Stringz es el sonido de la invención musical y deleite que se ofrece directamente. Es una experiencia auditiva muy agradable.

Roby Lakatos, Biréli Lagrène • Tribute To Stéphane & Django

 

Live performance given by jazz musicians Roby Lakatos and Biréli Lagrène as they pay tribute to the music of Stéphane Grappelli and Django Reinhardt.

The exciting meeting of two living legends of Jazz! For the first time on SACD/DVD "The fastest-fingered fiddler in the world" Roby Lakatos is joined by "speed demon" guitar hero Biréli Lagrène for a unique tribute to Stéphane Grappelli and Django Reinhardt. Both musicians performed in their youth with Stephane Grappelli. For this album they surrounded themselves with the superlative big band of the Modern Art Orchestra and by two first rate Jazzmen of the younger generation: thrilling drummer Niek de Bruijn and guitar sensation Andreas Varady. This is an explosive tribute to Manouche Jazz with standards such as "Djangology", "Nuages", "Stella by Starlight" and "Nuits de Saint-Germain-Des-Près".

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Actuación en directo de los músicos de jazz Roby Lakatos y Biréli Lagrène en homenaje a la música de Stéphane Grappelli y Django Reinhardt.

El emocionante encuentro de dos leyendas vivas del Jazz! Por primera vez en SACD/DVD "El violinista con los dedos más rápidos del mundo" Roby Lakatos se une al héroe de la guitarra "demonio de la velocidad" Biréli Lagrène para un tributo único a Stéphane Grappelli y Django Reinhardt. Ambos músicos actuaron en su juventud con Stephane Grappelli. Para este álbum se rodearon de la superlativa big band de la Modern Art Orchestra y de dos Jazzmen de primera categoría de la generación más joven: el emocionante batería Niek de Bruijn y el sensacional guitarrista Andreas Varady. Se trata de un homenaje explosivo al Manouche Jazz con estándares como "Djangology", "Nuages", "Stella by Starlight" y "Nuits de Saint-Germain-Des-Près".

The Rosenberg Trio With Biréli Lagrene • Djangologists

 

The Rosenberg Trio from the Netherlands is regarded by many as the leading ensemble in the musical genre of Manouche Swing or Gypsy Jazz , a genre that owes its very existence to Django Reinhardt. Since their childhood days, Stochelo, Nous che and Nonnie have been playing together at family reunions, religious celebrations and other events. Following the great gypsy musical tradition, the three cousins were taught to play by ear and to practice restlessly, playing the classics over and over again. After the release of their first album, Seresta (1989), their career has taken them worldwide. Violin master Stéphane Grappelli who was Django s partner for many years, adopted the Rosenbergs as his working band and brought them to New York s Carnegie Hall to celebrate his 85th birthday on stage (1993). They are absolutely the best of all gypsy jazz musicians I have played with in all my life, Grappelli said. For their tribute to Django on the occasion of his 100th birthday, the Rosenbergs unite with Biréli Lagrène, probably the greatest and most original solo guitarist coming out of the Gypsy Jazz school. Biréli is a hero to me, says Stochelo Rosenberg about his guest who shares the soloist s role with Stochelo on four tunes and is featured on electric bass on another one. The Rosenberg Trio with Bireli Lagrene Djangologists ENJ95582 >> 063757955825 >> CD+DVD digipack Rather than putting the focus on Django s most famous compositions, Djangologists the Rosenberg Trio s fifteenth album hails the spirit that has guided Django s work, digging into the less known, the unexpected and the unpredictable. It is a tribute to the master paid by masters. The enclosed DVD shows the musicians in the studio while recording this important project and also offers nice interviews with them reflecting their love for Django s music.

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El Trío Rosenberg, de los Países Bajos, está considerado por muchos como el conjunto más importante del género musical Manouche Swing o Gypsy Jazz , un género que debe su existencia a Django Reinhardt. Desde su infancia, Stochelo, Nous che y Nonnie han tocado juntos en reuniones familiares, celebraciones religiosas y otros eventos. Siguiendo la gran tradición musical gitana, los tres primos aprendieron a tocar de oído y a practicar sin descanso, tocando los clásicos una y otra vez. Tras la publicación de su primer álbum, Seresta (1989), su carrera les ha llevado por todo el mundo. El maestro del violín Stéphane Grappelli, que fue compañero de Django durante muchos años, adoptó a los Rosenberg como su banda de trabajo y los llevó al Carnegie Hall de Nueva York para celebrar su 85º cumpleaños en el escenario (1993). Son absolutamente los mejores músicos de jazz gitano con los que he tocado en toda mi vida, dijo Grappelli. Para su homenaje a Django con motivo de su centenario, los Rosenberg se unen a Biréli Lagrène, probablemente el más grande y original guitarrista solista salido de la escuela de Gypsy Jazz. Biréli es un héroe para mí", dice Stochelo Rosenberg sobre su invitado, que comparte el papel de solista con Stochelo en cuatro temas y aparece con el bajo eléctrico en otro. El Trío Rosenberg con Bireli Lagrene Djangologists ENJ95582 >> 063757955825 >> CD+DVD digipack En lugar de centrarse en las composiciones más famosas de Django, Djangologists, el decimoquinto álbum del Trío Rosenberg, celebra el espíritu que ha guiado la obra de Django, indagando en lo menos conocido, lo inesperado y lo imprevisible. Es un homenaje al maestro pagado por los maestros. El DVD adjunto muestra a los músicos en el estudio durante la grabación de este importante proyecto y también ofrece agradables entrevistas con ellos que reflejan su amor por la música de Django.

www.therosenbergtrio.info ...

bireli-lagrene.fr ...

Colaborador / Contributor:  Mich58

Biréli Lagrène • Solo Suites

 

Biography
Bireli Lagrene was born on September 4, 1966 in Saverne, Alsace, France. The son of Fiso Lagrene, a popular guitarist in pre-war France, Lagrene displayed a prodigious talent as a very young child. Born into a gypsy community, his origins and his fleet, inventive playing style inevitably generated comparisons with Django Reinhardt. In 1978, he won a prize at a festival at Strasbourg and subsequently made a big impact during a televised gypsy festival.

In his early teenage years Lagrene toured extensively playing concerts and festivals across Europe, often accompanied by distinguished jazz artists such as Benny Carter, Benny Goodman, Stéphane Grappelli and Niels- Henning Orsted Pedersen. He also made his first record Routes To Django, which helped to prove that early estimates of his capabilities were not excessive.

An outstanding technician, Lagrene has revealed influences other than Reinhardt, happily incorporating bebop phraseology, rock rhythms and Brazilian music into his work. By the late 80s he had moved substantially from his early Reinhardt-style to fully embrace jazz-rock and other electronically-aided fusions.

Lagrene returned to his roots with such brilliant offerings as 1994’s My Favorite Django and 1998’s Blue Eyes as well as violinist Didier Lockwood’s 2000 recording Tribute To Stephane Grappelli and last year’s highly acclaimed Gypsy Project, which eminent jazz critic Gary Giddins hailed as “electrifying... represents his best work in years.” On Gipsy Project & Friends, Bireli burns a blue streak on the knucklebuster “Babik,” a blistering uptempo ode composed by Django for his guitar-playing son Babik Reinhardt. Elsewhere, Bireli reveals his deep gypsy soul on the mournful minor key “Ou Es-Tu Mon Amour” and the haunting ballad “Laura,” composed by David Raskin and Johnny Mercer for the 1944 film of the same name. He oozes sheer joie de swingon infectious showstoppers like “Djangology,” “Les Yeux Noirs,” “Minor Swing” (catch Bireli’s playful, tongue-in-cheek intro to that Django anthem) and “Artillerie Lourde,” reprising the buoyantly swinging spirit of the Hot Club of France alongside the remarkable violinist Florin Niculescu, who reads Bireli’s mind the way Stephane Grappelli read Django’s. Special guest Henri Salvador lends his velvety smooth French crooning style to the seductive ballad “Envie de Toi.”
https://www.allaboutjazz.com/musicians/bireli-lagrene

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Biografía
Bireli Lagrene nació el 4 de septiembre de 1966 en Saverne, Alsacia, Francia. Hijo de Fiso Lagrene, un popular guitarrista de la Francia de antes de la guerra, Lagrene mostró un talento prodigioso desde muy joven. Nacido en el seno de una comunidad gitana, sus orígenes y su estilo de tocar rápido e inventivo generaron inevitablemente comparaciones con Django Reinhardt. En 1978, ganó un premio en un festival de Estrasburgo y posteriormente causó un gran impacto durante un festival gitano televisado.

En sus primeros años de adolescencia, Lagrene realizó numerosas giras de conciertos y festivales por toda Europa, a menudo acompañado por distinguidos artistas de jazz como Benny Carter, Benny Goodman, Stéphane Grappelli y Niels- Henning Orsted Pedersen. También grabó su primer disco Routes To Django, que contribuyó a demostrar que las primeras estimaciones de sus capacidades no eran excesivas.

Técnico excepcional, Lagrene ha revelado otras influencias además de Reinhardt, incorporando felizmente a su obra la fraseología del bebop, los ritmos del rock y la música brasileña. A finales de los años 80, Lagrene se alejó considerablemente de su estilo Reinhardt inicial para abrazar plenamente el jazz-rock y otras fusiones con ayuda de la electrónica.

Lagrene volvió a sus raíces con propuestas tan brillantes como My Favorite Django, de 1994, y Blue Eyes, de 1998, así como con la grabación Tribute To Stephane Grappelli, del violinista Didier Lockwood, de 2000, y con el aclamado Gypsy Project, del año pasado, que el eminente crítico de jazz Gary Giddins calificó de "electrizante... representa su mejor trabajo en años". En Gipsy Project & Friends, Bireli se luce en el tema "Babik", una oda a la velocidad del viento compuesta por Django para su hijo guitarrista Babik Reinhardt. Por otra parte, Bireli revela su profunda alma gitana en el lúgubre tono menor "Ou Es-Tu Mon Amour" y la inquietante balada "Laura", compuesta por David Raskin y Johnny Mercer para la película de 1944 del mismo nombre. Rezuma pura alegría de swing en contagiosas piezas como "Djangology", "Les Yeux Noirs", "Minor Swing" (obsérvese la divertida e irónica introducción de Bireli a ese himno de Django) y "Artillerie Lourde", que reproduce el espíritu alegremente oscilante del Hot Club de Francia junto al notable violinista Florin Niculescu, que lee la mente de Bireli como Stephane Grappelli leía la de Django. El invitado especial Henri Salvador presta su aterciopelado estilo de crooning francés a la seductora balada "Envie de Toi".
https://www.allaboutjazz.com/musicians/bireli-lagrene


peeweelabel.com ...

Didier Lockwood • Tribute To Stephane Grappelli

Review by Ken Dryden

Violinist Didier Lockwood tackled a formidable task by dedicating an entire CD to the legendary violinist Stephane Grappelli, who died just shy of his 90th birthday in December, 1997. Although Grappelli's influence on his playing is obvious at times, he is no carbon copy. He generally has a darker tone and doesn't use nearly as many up-tempo runs. With two brilliant partners, bassist Niels Pedersen (who worked with Grappelli on a few dates) and guitarist Birelli Lagrene, Lockwood does a credible job. The opener is an obscure Grappelli original, "Les Valseuses," a gentle swinger that opens with Lockwood playing pizzicato, not something one immediately associates with Grappelli. The leader contributed two originals, the easygoing "Barbizon Blues" and a light samba, "The Kid." His high-pitched opening to "Someday My Prince Will Come" is more reminiscent of Jean-Luc Ponty in the early '70s, while "Beautiful Love" features the intricate interplay of the trio. Sonny Rollins' "Pent-Up House" was a favortie of Grappelli's, and this lively bop vehicle features brilliant solos by Pedersen and Lagrene as well as the leader. Lockwood captures the spirit of Grappelli beautifully in his rendition of "My One and Only Love" while retaining his own sound. There's also material dating from the beginning of Grappelli's career that he continued to play to the end of his life. The sensual ballad "Nuages," the plucky "Minor Swing," and the somewhat dark "Tears" all come from the period of the Quintet of the Hot Club of France, which he co-led with the equally brilliant guitarist Django Reinhardt. This recording will also hold up well when compared to the late violin master's own versions. Recommended.

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Traducción Automática:

Review by Ken Dryden
Violinist Didier Lockwood tackled a formidable task by dedicating an entire CD to the legendary violinist Stephane Grappelli, who died just shy of his 90th birthday in December, 1997. Although Grappelli's influence on his playing is obvious at times, he is no carbon copy. He generally has a darker tone and doesn't use nearly as many up-tempo runs. With two brilliant partners, bassist Niels Pedersen (who worked with Grappelli on a few dates) and guitarist Birelli Lagrene, Lockwood does a credible job. The opener is an obscure Grappelli original, "Les Valseuses," a gentle swinger that opens with Lockwood playing pizzicato, not something one immediately associates with Grappelli. The leader contributed two originals, the easygoing "Barbizon Blues" and a light samba, "The Kid." His high-pitched opening to "Someday My Prince Will Come" is more reminiscent of Jean-Luc Ponty in the early '70s, while "Beautiful Love" features the intricate interplay of the trio. Sonny Rollins' "Pent-Up House" was a favortie of Grappelli's, and this lively bop vehicle features brilliant solos by Pedersen and Lagrene as well as the leader. Lockwood captures the spirit of Grappelli beautifully in his rendition of "My One and Only Love" while retaining his own sound. There's also material dating from the beginning of Grappelli's career that he continued to play to the end of his life. The sensual ballad "Nuages," the plucky "Minor Swing," and the somewhat dark "Tears" all come from the period of the Quintet of the Hot Club of France, which he co-led with the equally brilliant guitarist Django Reinhardt. This recording will also hold up well when compared to the late violin master's own versions. Recommended.

www.facebook.com/DidierLockwood

 

VA • Blue Note Plays Jobim

 

Bud Shank, Antonio Carlos Jobim, Duke Pearson, Bireli Lagrene, Airto Moreira, Stanley Turrentine.

Bireli Lagrene • Foreign Affairs

 

 

Biography
Bireli Lagrene was born on September 4, 1966 in Saverne, Alsace, France. The son of Fiso Lagrene, a popular guitarist in pre-war France, Lagrene displayed a prodigious talent as a very young child. Born into a gypsy community, his origins and his fleet, inventive playing style inevitably generated comparisons with Django Reinhardt. In 1978, he won a prize at a festival at Strasbourg and subsequently made a big impact during a televised gypsy festival.

In his early teenage years Lagrene toured extensively playing concerts and festivals across Europe, often accompanied by distinguished jazz artists such as Benny Carter, Benny Goodman, Stéphane Grappelli and Niels- Henning Orsted Pedersen. He also made his first record Routes To Django, which helped to prove that early estimates of his capabilities were not excessive.

An outstanding technician, Lagrene has revealed influences other than Reinhardt, happily incorporating bebop phraseology, rock rhythms and Brazilian music into his work. By the late 80s he had moved substantially from his early Reinhardt-style to fully embrace jazz-rock and other electronically-aided fusions.

Lagrene returned to his roots with such brilliant offerings as 1994’s My Favorite Django and 1998’s Blue Eyes as well as violinist Didier Lockwood’s 2000 recording Tribute To Stephane Grappelli and last year’s highly acclaimed Gypsy Project, which eminent jazz critic Gary Giddins hailed as “electrifying... represents his best work in years.” On Gipsy Project & Friends, Bireli burns a blue streak on the knucklebuster “Babik,” a blistering uptempo ode composed by Django for his guitar-playing son Babik Reinhardt. Elsewhere, Bireli reveals his deep gypsy soul on the mournful minor key “Ou Es-Tu Mon Amour” and the haunting ballad “Laura,” composed by David Raskin and Johnny Mercer for the 1944 film of the same name. He oozes sheer joie de swingon infectious showstoppers like “Djangology,” “Les Yeux Noirs,” “Minor Swing” (catch Bireli’s playful, tongue-in-cheek intro to that Django anthem) and “Artillerie Lourde,” reprising the buoyantly swinging spirit of the Hot Club of France alongside the remarkable violinist Florin Niculescu, who reads Bireli’s mind the way Stephane Grappelli read Django’s. Special guest Henri Salvador lends his velvety smooth French crooning style to the seductive ballad “Envie de Toi.”
https://www.allaboutjazz.com/musicians/bireli-lagrene

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Biografía
Bireli Lagrene nació el 4 de septiembre de 1966 en Saverne, Alsacia, Francia. Hijo de Fiso Lagrene, un popular guitarrista de la Francia de antes de la guerra, Lagrene mostró un talento prodigioso desde muy joven. Nacido en el seno de una comunidad gitana, sus orígenes y su estilo de tocar rápido e inventivo generaron inevitablemente comparaciones con Django Reinhardt. En 1978, ganó un premio en un festival de Estrasburgo y posteriormente causó un gran impacto durante un festival gitano televisado.

En sus primeros años de adolescencia, Lagrene realizó numerosas giras de conciertos y festivales por toda Europa, a menudo acompañado por distinguidos artistas de jazz como Benny Carter, Benny Goodman, Stéphane Grappelli y Niels- Henning Orsted Pedersen. También grabó su primer disco Routes To Django, que contribuyó a demostrar que las primeras estimaciones de sus capacidades no eran excesivas.

Técnico excepcional, Lagrene ha revelado otras influencias además de Reinhardt, incorporando felizmente a su obra la fraseología del bebop, los ritmos del rock y la música brasileña. A finales de los años 80, Lagrene se alejó considerablemente de su estilo Reinhardt inicial para abrazar plenamente el jazz-rock y otras fusiones con ayuda de la electrónica.

Lagrene volvió a sus raíces con propuestas tan brillantes como My Favorite Django, de 1994, y Blue Eyes, de 1998, así como con la grabación Tribute To Stephane Grappelli, del violinista Didier Lockwood, de 2000, y con el aclamado Gypsy Project, del año pasado, que el eminente crítico de jazz Gary Giddins calificó de "electrizante... representa su mejor trabajo en años". En Gipsy Project & Friends, Bireli se luce en el tema "Babik", una oda a la velocidad del viento compuesta por Django para su hijo guitarrista Babik Reinhardt. Por otra parte, Bireli revela su profunda alma gitana en el lúgubre tono menor "Ou Es-Tu Mon Amour" y la inquietante balada "Laura", compuesta por David Raskin y Johnny Mercer para la película de 1944 del mismo nombre. Rezuma pura alegría de swing en contagiosas piezas como "Djangology", "Les Yeux Noirs", "Minor Swing" (obsérvese la divertida e irónica introducción de Bireli a ese himno de Django) y "Artillerie Lourde", que reproduce el espíritu alegremente oscilante del Hot Club de Francia junto al notable violinista Florin Niculescu, que lee la mente de Bireli como Stephane Grappelli leía la de Django. El invitado especial Henri Salvador presta su aterciopelado estilo de crooning francés a la seductora balada "Envie de Toi".
https://www.allaboutjazz.com/musicians/bireli-lagrene

bireli-lagrene.fr ...

Bireli Lagrene • A Tribute to Django Reinhardt

Biography
Bireli Lagrene was born on September 4, 1966 in Saverne, Alsace, France. The son of Fiso Lagrene, a popular guitarist in pre-war France, Lagrene displayed a prodigious talent as a very young child. Born into a gypsy community, his origins and his fleet, inventive playing style inevitably generated comparisons with Django Reinhardt. In 1978, he won a prize at a festival at Strasbourg and subsequently made a big impact during a televised gypsy festival.

In his early teenage years Lagrene toured extensively playing concerts and festivals across Europe, often accompanied by distinguished jazz artists such as Benny Carter, Benny Goodman, Stéphane Grappelli and Niels- Henning Orsted Pedersen. He also made his first record Routes To Django, which helped to prove that early estimates of his capabilities were not excessive.

An outstanding technician, Lagrene has revealed influences other than Reinhardt, happily incorporating bebop phraseology, rock rhythms and Brazilian music into his work. By the late 80s he had moved substantially from his early Reinhardt-style to fully embrace jazz-rock and other electronically-aided fusions.

Lagrene returned to his roots with such brilliant offerings as 1994’s My Favorite Django and 1998’s Blue Eyes as well as violinist Didier Lockwood’s 2000 recording Tribute To Stephane Grappelli and last year’s highly acclaimed Gypsy Project, which eminent jazz critic Gary Giddins hailed as “electrifying... represents his best work in years.” On Gipsy Project & Friends, Bireli burns a blue streak on the knucklebuster “Babik,” a blistering uptempo ode composed by Django for his guitar-playing son Babik Reinhardt. Elsewhere, Bireli reveals his deep gypsy soul on the mournful minor key “Ou Es-Tu Mon Amour” and the haunting ballad “Laura,” composed by David Raskin and Johnny Mercer for the 1944 film of the same name. He oozes sheer joie de swingon infectious showstoppers like “Djangology,” “Les Yeux Noirs,” “Minor Swing” (catch Bireli’s playful, tongue-in-cheek intro to that Django anthem) and “Artillerie Lourde,” reprising the buoyantly swinging spirit of the Hot Club of France alongside the remarkable violinist Florin Niculescu, who reads Bireli’s mind the way Stephane Grappelli read Django’s. Special guest Henri Salvador lends his velvety smooth French crooning style to the seductive ballad “Envie de Toi.”
https://www.allaboutjazz.com/musicians/bireli-lagrene

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Biografía
Bireli Lagrene nació el 4 de septiembre de 1966 en Saverne, Alsacia, Francia. Hijo de Fiso Lagrene, un popular guitarrista de la Francia de antes de la guerra, Lagrene mostró un talento prodigioso desde muy joven. Nacido en el seno de una comunidad gitana, sus orígenes y su estilo de tocar rápido e inventivo generaron inevitablemente comparaciones con Django Reinhardt. En 1978, ganó un premio en un festival de Estrasburgo y posteriormente causó un gran impacto durante un festival gitano televisado.

En sus primeros años de adolescencia, Lagrene realizó numerosas giras de conciertos y festivales por toda Europa, a menudo acompañado por distinguidos artistas de jazz como Benny Carter, Benny Goodman, Stéphane Grappelli y Niels- Henning Orsted Pedersen. También grabó su primer disco Routes To Django, que contribuyó a demostrar que las primeras estimaciones de sus capacidades no eran excesivas.

Técnico excepcional, Lagrene ha revelado otras influencias además de Reinhardt, incorporando felizmente a su obra la fraseología del bebop, los ritmos del rock y la música brasileña. A finales de los años 80, Lagrene se alejó considerablemente de su estilo Reinhardt inicial para abrazar plenamente el jazz-rock y otras fusiones con ayuda de la electrónica.

Lagrene volvió a sus raíces con propuestas tan brillantes como My Favorite Django, de 1994, y Blue Eyes, de 1998, así como con la grabación Tribute To Stephane Grappelli, del violinista Didier Lockwood, de 2000, y con el aclamado Gypsy Project, del año pasado, que el eminente crítico de jazz Gary Giddins calificó de "electrizante... representa su mejor trabajo en años". En Gipsy Project & Friends, Bireli se luce en el tema "Babik", una oda a la velocidad del viento compuesta por Django para su hijo guitarrista Babik Reinhardt. Por otra parte, Bireli revela su profunda alma gitana en el lúgubre tono menor "Ou Es-Tu Mon Amour" y la inquietante balada "Laura", compuesta por David Raskin y Johnny Mercer para la película de 1944 del mismo nombre. Rezuma pura alegría de swing en contagiosas piezas como "Djangology", "Les Yeux Noirs", "Minor Swing" (obsérvese la divertida e irónica introducción de Bireli a ese himno de Django) y "Artillerie Lourde", que reproduce el espíritu alegremente oscilante del Hot Club de Francia junto al notable violinista Florin Niculescu, que lee la mente de Bireli como Stephane Grappelli leía la de Django. El invitado especial Henri Salvador presta su aterciopelado estilo de crooning francés a la seductora balada "Envie de Toi".
https://www.allaboutjazz.com/musicians/bireli-lagrene

bireli-lagrene.fr ...

Thanks Concha for the file.

VA • The Rough Guide To Gypsy Swing

 

Review
by Adam Greenberg  
Gypsy swing is one of those beautiful styles of music that's played little enough in the grand scheme of things that nearly all performers of the form can be traced musically (or genetically) to one or two prototypical performers that set the stage for all that followed. Here, the influence of Django Reinhardt is all-encompassing (as it should be, really). Using Django as the source for the vast majority of this album makes description seemingly simpler, but nonetheless there's a wide variety of music to be heard here. Django performs on some five or six works here specifically, showcasing his early years, his masterful time with the Hot Club, as well as his later years of musical exploration (as well as some futuristic compositions played out by Romane in honor of Django). Surprisingly, Stephane Grappelli shows up only in combination with the Hot Club here. Masterful followers of Django's guitar lineage include Romane and his various groups and collaborations, as well as the young Bireli Lagrene. The connections to the bal musette genre are detailed a bit by accordion-heavy works from Gus Viseur and Serge Desaunay. The more tenuous ends of the gypsy swing repertoire are hit by the contemporary group Swing Gadjé, who mix the Eastern European and Oriental influences ably, including a bit of a hip-hop breakbeat (allowed by some clever string-scraping on the guitar), though largely ignoring the swing end. Featuring heavily throughout all of the performances is the unavoidable focus on virtuosity that pervades the majority of gypsy-influenced music. Everyone that plays here has thoroughly earned their wings and is worth hearing a couple of times beyond the album as well. The key here is in the mix of gypsy virtuosity and the basics of American jazz concepts. Incidentally, the album holds a special little treat for the listener with an outstanding Hot Club rendition of "La Marseillaise" that was banned for some time for its "patriotic blasphemy".
https://www.allmusic.com/album/the-rough-guide-to-gypsy-swing-mw0000330091

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Reseña
por Adam Greenberg  
El swing gitano es uno de esos hermosos estilos de música que se tocan lo suficientemente poco en el gran esquema de las cosas que casi todos los intérpretes de la forma se pueden rastrear musicalmente (o genéticamente) a uno o dos intérpretes prototípicos que establecieron el escenario para todo lo que siguió. En este caso, la influencia de Django Reinhardt lo abarca todo (como debe ser, en realidad). Utilizar a Django como fuente para la mayor parte de este álbum hace que la descripción sea aparentemente más sencilla, pero sin embargo hay una gran variedad de música que se puede escuchar aquí. Django interpreta aquí unas cinco o seis obras en concreto, mostrando sus primeros años, su magistral época con el Hot Club, así como sus últimos años de exploración musical (además de algunas composiciones futuristas interpretadas por Romane en honor a Django). Sorprendentemente, Stephane Grappelli sólo aparece aquí en combinación con el Hot Club. Entre los maestros del linaje de la guitarra de Django se encuentran Romane y sus diversos grupos y colaboraciones, así como el joven Bireli Lagrene. Las conexiones con el género del bal musette se detallan un poco con las obras cargadas de acordeón de Gus Viseur y Serge Desaunay. Los extremos más tenues del repertorio de swing gitano son alcanzados por el grupo contemporáneo Swing Gadjé, que mezcla hábilmente las influencias de Europa del Este y de Oriente, incluyendo un poco de breakbeat de hip-hop (permitido por un inteligente raspado de cuerdas en la guitarra), aunque ignorando en gran medida el extremo del swing. En todas las actuaciones destaca el inevitable énfasis en el virtuosismo que impregna la mayor parte de la música de influencia gitana. Todos los que tocan aquí se han ganado a pulso sus alas y merece la pena escucharlos un par de veces más allá del álbum. La clave aquí está en la mezcla del virtuosismo gitano y los conceptos básicos del jazz americano. Por cierto, el álbum tiene un pequeño regalo especial para el oyente con una excelente interpretación de "La Marsellesa" por parte del Hot Club que estuvo prohibida durante algún tiempo por su "blasfemia patriótica".
https://www.allmusic.com/album/the-rough-guide-to-gypsy-swing-mw0000330091