In order to correctly understand the current state of jazz manouche, it's important that we get a brief, generational family tree. Currently there are four generations of Gypsy Jazz guitarists going back to Django's era. They are as follows:
The first generation are contemporaries of Django, but are limited to those guitarists who were active professionally while he was still alive, but limited to those whose actually recorded during Django's reign. There are guitarists who were indeed active during this period and also recorded, but they simply didn't come into their own to receive what little recognition they got. Tchan-Tchou would be a perfect example. Note: These are not complete lists, general, known players names are used (and some obscure ones as well)
The first generation, early 1930's to the early 1950's: Matelo, Baro, Sarane and Challain Ferret, Eugene Vees, Henri Crolla, Jacques Montagne, Joseph Reinhardt, Gusti Malha, Leo Slab, Lousson Baumgartner, Didi Duprat.
The second generation, mid to late 1950's through the early 1970's: Mondine Garcia, Ninine Garcia, Chatou Garcia, Piton Reinhardt, Spatzo Adel, Niglo Adel, Vivian Villerstein, Maurice Ferret, Joseph Pouville, Tchan-Tchou, Bousquet, Cardi, Schnuckenack Reinhardt, Häns'che Weiss, Romansj, Laro Sollero, Angelo, René Maihles, Babik Reinhardt
The third generation, mid 1970's through the mid to late 1980's - Dorado Schmitt, Tchavolo Schmitt, Mandino Reinhardt, Hono Winterstein, Bireli Lagrene, Mito Loeffler, Titi Winterstein, Romane, Laurent Bajata, Martin Weiss, Traubeli Weiss, Romani Weiss, Mike Reinhardt, Samson Reinhardt, Coco Reinhardt, Tchouta Adel, Jeannot "Titotte" Mahla, Raphael Fays, Fapy Lafertin
The fourth generation, late 1980's to the present: Jimmy Rosenberg, Samson Schmitt, Dino Mehrstein, Yorgui Loeffler, Dallas Baumgartner, Mundine Garcia, Rocky Garcia, Rocky Fallone, Noe Reinhardt, Moreno, Angelo Debarre, David Reinhardt, Mano Drey, Kussi Weiss, Tchocolo Winterstein, Doudou Cuillierre.
Again, this list is by no means exhaustive, just enough to give you an idea as to who came onto the scene at what point. You should also be able to tell, by where the players come from, who their teachers were. You can begin to draw a picture of how the music was handed down through the generations. Comments of questions?