The banjo in all it's forms was originally a favored time keeping instrument in early jazz. Django's early career has been noted for his prodigious abilities on this instrument and it later served as a very important element in his creation of la pompe and Gypsy rhythm. The use of tremolos; ascending and descending as well as stand-alone, arpeggiated chords, synchopated shuffles all own their origins to the banjo. This style was readily heard on early hot jazz recordings, but perhaps the best example we have of this came from Eddie Condon during the 1930's through his death in the '70's.
Condon, an exquisite time keeper with a swinging beat started his career on banjo and helped to create the Chicago school of jazz (a harder, more swinging version of the New Orleans style perpetrated by white teenagers from Chicago in the 1920's). As the transition from banjo to guitar became solidified, Condon met the transition half way - opting to use an archtop guitar with a four-string neck, tuned to plectrum banjo tuning. So, we have an instrumentalist who never had to relearn his instrument, and was thus able to continue using the same style he forged in speakeasies in the 20's, throughout the rest of his career. The tremolos, synchopations, hits, everything is all there. There are even times when Eddie is playing a slight upstroke on beats 1 and 3, which we hear in Django's rhythm, we also hear in Condon's. This is further emphasised in Condon's 1920's Vitaphone short with Red Nichols' where he is swinging on a lute guitar and his plectrum banjo and into the '50's with his "Goodyear Jazz Special" from American TV.
I'm not saying that either took the idea from the other, but I think we can make the deduction that the common element they both share is use of the banjo during the 1920's. For those without an extensive Django or hot jazz library, these elements are used to this day by Nous'che, Moreno and Serge Camps among others.
I'm interested in reading other peoples comments or thoughts on this subject.