First off, thanks very much for hosting this very informative forum, Ted. I look forward to learning more here.
Before we stray too far from Tchan-Tchou, (whose playing I really love), I have a couple questions:
First, did he have direct contact with Django that we know of? And if so, do we know how much and what that exposure would have consisted of? Playing around the campfire? Sitting in at gigs? If not from Django, from whom would he have learned?
I'm also intrigued by your comment (if I am not mistaken, Ted) that you hold Moreno - a 'student' of Tchan-Tchou - in such high regard. My exposure to both players is quite limited, but what I love about Tchan-Tchou is what I love of about Django himself, namely, that although he has incredible technique, he seems to be primarily driven by his inner ear, as it were, his melodic sense. He strikes me as always listening, always inventing...there's a freshness to his playing that I find, well, refreshing. It is precisely this quality that I find lacking in many of the speed-demon players of today and of decades past and from what I've heard, Moreno is of the world-class speed demon school. So what's the connection between these players - apart from their 'rigid' technique - and what's to love in each of them?
Regards to all,