So I noticed how both Django's versions are slightly different than what's normally played around jams.
Even commonly played jam versions are different.
They usually have Ab7 in the 7 measure then it goes to D7.
But then in measure 15, some keep the Ab7 to D7 to Gm, but some are A7 to D7 to Gm.
I usually played the latter one, but I'd sometimes notice that I'm clashing with other people in the jam.
However when you listen to Django's versions, the one from '43 goes to Fm in measure 7.
Then in measure 15 he's using his multi-use triad /Bb-G-Db/ to /A-F#-C/, could be read as Eb/Bb to D/A.
And the one from '47 does go to Ab7 in measure 7 but in measure 15 that doesn't sound like A7 but again his multi-use triad: /A-F#-C/.
Which could be D7/A or Am6 or Adim, or could also be inversion of F#dim (even half dim?).
I'm not sure which function he intended it to be (probably didn't care, he just went for the sound of it) but I certainly don't hear the A7 there.
What's up with that, all these differences?
I know there are other songs that Django played differently but this one being one of his anthems you'd think people would stick to the original.
Every note wants to go somewhere-Kurt Rosenwinkel