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Maro Drom » Article Guitarist Acoustic
Maro Drom

Article Guitarist Acoustic
13.10.2020 - 10:54 von baro



Article Guitarist Acoustic



Rassurez-vous, son père Dorado, celui qui a introduit la bossa dans le swing manouche, est au violon, à la pompe et au cajon et son frère Bronson à la guitare rythmique. Les morceaux choisis sont, soit du fils Sonny Amati, soit du père Dorado, soit du père spirituel Django Reinhardt, soit encore de l’oncle bienveillant Georges Brassens, car, choix judicieux de Sonny Amati Schmitt, Georges Brassens fait partie de la famille. Un coup de pouce de plus pour lui, il fait aussi partie de la mienne. Sonny Amati Schmitt a un toucher de guitare sans virtuosité gratuite, qui sert souvent à masquer le vide chez certains de ses collègues, mais une esthétique de grâce et de sentimentalité à la Dorado, c’est-à-dire non dénuées d’excès comme les aime son père. Quand on pleure, c’est avec de vraies larmes, quand on est heureux, c’est avec jovialité. Le jeune Sonny Amati Schmitt (il est de 1995) nous donne quatre compositions, bien dans la tradition, trois reprises assez originales de Django (« Swing 48 », « Troublant boléro » et « Coquette ») et tout le reste, mis à part les « Copains d’abord » vient de son père Dorado, avec les succès « For Grappelli » et « For Schelli ». La galaxie Schmitt compte désormais une étoile en devenir de plus : Sonny Amati. Retenez ce prénom.





Rest assured, his father Dorado, the one who introduced bossa to gypsy swing, is on violin, pump and cajon and his brother Bronson on rhythm guitar. The pieces chosen are either by son Sonny Amati, or father Dorado, or spiritual father Django Reinhardt, or even benevolent uncle Georges Brassens, because, a judicious choice of Sonny Amati Schmitt, Georges Brassens is part of the family. Another helping hand for him, he's also part of mine. Sonny Amati Schmitt has a guitar touch without gratuitous virtuosity, which often serves to mask the emptiness in some of his colleagues, but an aesthetic of grace and sentimentality à la Dorado, that is to say not devoid of excess like loves them his father. When we cry it is with real tears, when we are happy it is with joviality. The young Sonny Amati Schmitt (he is from 1995) gives us four compositions, well in the tradition, three quite original covers of Django ("Swing 48", "Troublant boléro" and "Coquette") and all the rest, apart from “Friends First” comes from his father Dorado, with the hits “For Grappelli” and “For Schelli”. The Schmitt galaxy now has one more star in the making: Sonny Amati. Remember this first name.
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Maro Drom » Reinhardt’s Continued Influence
Maro Drom

Reinhardt’s Continued Influence
09.10.2020 - 21:39 von baro


Pair of Festivals Display Django Reinhardt’s Continued Influence
INTERVIEW, NEWS, DORADO SCHMITT, STEPHANE WREMBEL
By Bill Milkowski   I  May. 18, 2018



In the span of five days in May, two major Django Reinhardt tributes took place in Manhattan, drawing hordes of Djangophiles from across the tri-state area and beyond.

Pat Philips-Stratta (in association with Leonardo and George DiCaprio) held her Forever Django bash on May 1 at Carnegie Hall. That celebration of the legendary gypsy-jazz guitarist evolved out of her longstanding Django Reinhardt Festival at Birdland, which kicked off in 2000. Billed as “Passing the Family Torch,” the Carnegie concert marked the official ascendancy of 38-year-old guitarist Samson Schmitt, who is taking the reigns from Django disciple and family patriarch Dorado Schmitt, 61, in the lead guitar role with the Django Festival All-Stars, whose new album, Attitude Manouche, drops June 15 on Resilience Music Alliance.

“It is important for me to take this gift that my father has given me and, while respecting the tradition, create something of my own and take the music farther,” said Samson while warming up in his dressing room ahead of the performance on a manouche guitar. With Dorado’s youngest son, 22-year-old Amati, flashing his own dazzling fretboard facility alongside the elder Schmitt and his older brother, and Samson’s two children—17-year-old rhythm guitarist Stan and 13-year-old singer Stephanie—also performing at the show, this Carnegie Hall Djangofest was strictly a family affair.

“I was driven to learn how to play this music,” said the elder Schmitt through an interpreter. “It was a huge challenge, because Django was not just about technique, he was also about melody and he played with heart. You can hear all of his deepest emotions and feelings in his music.”

And Schmitt, the very personification of savoir faire in his Djangoesque pencil-thin mustache, shock of white hair and matching white suit, squeezed every drop of emotion out of every note on his “Nuages” solo at the Carnegie show, as guest vocalist Melody Gardot looked on adoringly.

Schmitt’s father, a guitarist and violinist, introduced him to Reinhardt’s music, though he admits that Django was not his first guitar hero. “I started with rock ’n’ roll,” he confessed. “I even tried to play a few Jimi Hendrix songs. Later, I discovered George Benson and Wes Montgomery. It was much later that my father said to me one day, ‘Listen to Django and you will understand.’ And ever since then, Django has been my inspiration. I consider him to be the Mozart of guitar music. In my opinion, Django is still the greatest jazzman today.”

On May 5, Stephane Wrembel held his 12th Django A GoGo at Town Hall. A native of France and a New Yorker since 2003, Wrembel is best known for his “Bistro Fada,” the theme song from Woody Allen’s 2011 Midnight In Paris. His annual concert always has culminated in a week-long gypsy-jazz guitar camp in Maplewood, New Jersey, where he instructs all levels of guitarists on the finer aspects of Reinhardt’s techniques. This year’s Django A GoGo featured such accomplished Djangophiles as Holland’s Stochelo Rosenberg and Paulus Schafer, Finland’s Olli Soikkeli and France’s Pierre “Kamlo” Barré and Simba Baumgartner, the great-grandson of Django Reinhardt.

“I grew up in Fontainebleau hearing Django’s music everywhere,” said Wrembel, who plays a hand-made Bob Holo manouche-style guitar. “We used to go have drinks in bars and Django’s music would always be in the background. The presence of Django has always been there, but I never really paid attention to it for some weird reason. My big guitar guys growing up were Mark Knopfler, David Gilmour, Jimmy Page, Frank Zappa. I also loved Steve Vai and Joe Satriani, and in fact, I learned Satriani’s whole Surfing With The Alien album note for note. But when I finally paid closer attention to Django’s music as a player, it struck me like lightning how incredible it was.”

Judging by the enthusiastic crowds at both sold-out events, it’s clear that the spirit of the Belgian-born Romani still is alive and well 84 years after Django and the Quintet of the Hot Club of France began its groundbreaking run in Paris.

Meanwhile, Étienne Comar’s biopic Django, set in Nazi-occupied Paris in 1943, has been making the rounds of art-house theaters across the country, eliciting acclaim for the French-Algerian actor Reda Kateb’s portrayal of the legendary guitarist.

Suddenly, everything’s coming up Django. DB
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Maro Drom » la maison de django et a vendre
Maro Drom

la maison de django et a vendre
15.12.2019 - 22:00 von baro




DOMAGE la maison de django et a vendre
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Maro Drom » Django le film
Maro Drom

Django le film
23.11.2019 - 10:05 von baro


Django le film - avec Reda Kateb



Librement adapté du livre "Folles de Django" d’Alexis Salatko (qui cosigne également le scénario), le long métrage d’Etienne Comar s’appuie sur une fameuse anecdote de la biographie de Django Reinhardt : l’échec, en pleine occupation allemande, de sa rocambolesque escapade en Suisse via Thonon-les-Bains où il séjournera environ un mois (et qui lui inspirera sa Folie à Amphion). Ayant eu vent à Paris d’un projet de la Kommandantur d’une tournée du H.C.F. en Allemagne, le guitariste tentera en effet à l’été 1943 de passer clandestinement la frontière helvétique. Rattrapé par les autorités et brièvement emprisonné à Thonon, il ne devra son salut qu’à la mansuétude du commandant allemand de la place sans doute féru du jazz du génial manouche.




Der Spielfilm von Etienne Comar ist frei nach dem Buch "Folles de Django" von Alexis Salatko (der auch das Drehbuch mitgeschrieben hat) adaptiert und basiert auf einer berühmten Anekdote aus der Biographie von Django Reinhardt: Misserfolg in voller deutscher Besetzung Von seiner unglaublichen Reise in die Schweiz über Thonon-les-Bains, wo er ungefähr einen Monat bleiben wird (und was seinen Wahnsinn in Amphion beflügeln wird). In Paris von einem Projekt der Kommandantur einer Tournee des H.C.F. In Deutschland wird der Gitarrist in der Tat im Sommer 1943 versuchen, die Schweizer Grenze zu schmuggeln. Von den Behörden getroffen und kurz in Thonon inhaftiert, verdankt er seine Rettung der Nachsicht des deutschen Kommandanten des Ortes, der wahrscheinlich leidenschaftlicher Jazz der genialen Zigeuner ist.




Der Spielfilm von Etienne Comar ist frei nach dem Buch "Folles de Django" von Alexis Salatko (der auch das Drehbuch mitgeschrieben hat) adaptiert und basiert auf einer berühmten Anekdote aus der Biographie von Django Reinhardt: Misserfolg in voller deutscher Besetzung Von seiner unglaublichen Reise in die Schweiz über Thonon-les-Bains, wo er ungefähr einen Monat bleiben wird (und was seinen Wahnsinn in Amphion beflügeln wird). In Paris von einem Projekt der Kommandantur einer Tournee des H.C.F. In Deutschland wird der Gitarrist in der Tat im Sommer 1943 versuchen, die Schweizer Grenze zu schmuggeln. Von den Behörden getroffen und kurz in Thonon inhaftiert, verdankt er seine Rettung der Nachsicht des deutschen Kommandanten des Ortes, der wahrscheinlich leidenschaftlicher Jazz der genialen Zigeuner ist.

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