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New Django Recording found in The Savory Collection

Ted GottsegenTed Gottsegen Rowayton, CTModerator
edited October 2011 in History Posts: 615
Burning on "Honeysuckle Rose" at Carnegie Hall with Duke. This is high quality and from a different night than what's available in the Intégral set.
http://www.youtube.com/watch?v=OIiOW5xqsbE

Comments

  • Craig BumgarnerCraig Bumgarner Drayden, MarylandVirtuoso Bumgarner S/N 001
    Posts: 794
  • Archtop EddyArchtop Eddy Manitou Springs, ColoradoModerator
    Posts: 589
    The Honeysuckle Rose recording on Integral Vol 13-1 -- Django on electric guitar with Duke's band -- has always been one of my favorites. His playing is near perfect, swinging and loose. It's exciting to hear the better-quality Savory recording from an alternate evening! What I find interesting is how these recordings seem to (at least in my mind) question some of the accepted truths about Django's playing during this time. There is much written about how Django didn't sound as good on electric guitar and didn't quite adapt to the instrument. Also, there are the view-points discrediting the sound of electric American archtops vs Selmers with Stimers. I think these recordings bring new light to both these positions. To my ears these recordings of Honeysuckle Rose in particular, show Django's understanding of the sonic capabilities of the electric guitar, and again to my ear, the sound from the electirc Gibson archtop is particularly suiting for the Django electric sound and superior to the sound he gets on most of his other electric recordings. For me, the quality of the newly discovered Savory recording only reinforces this opinion. Finally, as noted in the voice-over in the YouTube clip, contemporary critics dismissed Django's performances at Carnegie Hall, and by default these critiques then have become part of the historic "truths" about the times. I would say that these recordings speak a far better truth. Thankfully, they provide us with a chance to evaluate for ourselves with our own ears the value and nature of Django's post-Hot Club playing.

    Thanks Ted for posting this thread; thanks Teddy Dupont for posting the YouTube video.

    AE
  • steven_eiresteven_eire Wicklow✭✭✭✭ Dupont MD50
    Posts: 172
    It sounds great, I'd love to hear more
  • MitchMitch Paris, Jazz manouche's capital city!✭✭✭✭ Di Mauro, Lebreton, Castelluccia, Patenotte, Gallato
    Posts: 159
    HI

    I agree with your statement Archtop Eddy, for sure Django was in advance on his time and therefore some listeners may not have been able to appreciate it.
    I always fought that legend of Django f*****g up his american tour with the last show whereas they toured so many cities with the band and had a tremendous success.
    I would be interested to have all kinds of testimonies or chronicles by US contemporaries of this tour.

    The Gibson sure sounds great (and the amp is so loud :lol: ) but I think Django's sound on Stimer has made a part of his style. The 53 recording are cristal clear regarding the sound of the guitar so I think this is not a big matter at the end but it allowed Django to play with distortion in a way he was the only onne to do it befroe Jimi Hendrix!. By the way I never read that Gibson had been criticized against Stimer Sound(?).
    It is just that Django liked the sound and feel of his Selmer I think, hence his remaining with the 503 model til the end of his life whereas he could have bought many electrici guitars of different brands.

    Anyway the sound of the Savory recording is just amazing, it's like HI-Fi! :)

    Michel
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