Paris, August 2018, Live Music: Django Reinhardt Lives!
It’s 2018, so when I arrived in Paris this August, it was to the iPhone that I looked to find out what was what. Google Maps was the ticket. Open and type in ‘jazz’ and out came a number of jazz joints. The third seemed to fit the bill best, an evening -that very evening- tribute to the music of Django Reinhardt, a particular favourite of mine, and the world's! Le Hot Club de France! What an iconic and historically significant band that had been [actually, the Quintette du Hot Club de France], with Stéphane Grappelli on swinging violin. So, within minutes of arriving at our hotel in the centre of old Paris, Île de la Cité, the area near Notre Dame Cathedral, the evening was set in stone. We were going to a jazz club!
Le Baiser Salé, famous jazz club in Paris
Le Baiser Salé, which translates as the Dirty Kiss, is, I know now, one of the most famous and well attended jazz spots in this vibrant city of music and sights (note: it is situated in the Rude des Lombards). You arrive at the bar, the barman, in English, explains the system: come back here by 9pm, the gig starts at 10. We did. We -with wife and younger son- also had to wait for what turned into over thirty minutes, just next to the bar, as other punters began to file in behind us -we were first. There was some scramble later, as those who had apparently reserved seats online were let through, much to the dismay of some. An eldery lady had to make an announcement, and a clarification, from the steps. Steps up to the second floor, where the gig was to be played. Part of the reason for the delay, I guessed, was that the musicians had to finish rehearsals -I’d heard them from below. Their appearance and passing through us was the sign that the wait would soon be over. After the online punters were let through, we were next and ended up getting a table right up against the stage, in the right corner.
It was fairly hot in there, and we had to be patient with the drinks ordering process. Ou la la… this is why they called it Le Hot Club all those years ago, perhaps…
It was fairly hot in there, and we had to be patient with the drinks ordering process. Ou la la… this is why they called it Le Hot Club all those years ago, perhaps…
Hommage à Django, at Le Baiser Salé, Aug 17, 2018
The musicians played beautifully. Yes, it was a tribute to Django, but not a slavish one. They all possessed their own musicality and character and as a band had put together a set which worked because it was their music or their beautifully realized ensemble interpretation of great and famous pieces. Here is the set list: Blue Drag. Honeysuckle Rose. Improvisation by [guitarist] Guillaume. La Mer. Undecided. In a Sentimental Mood. J'attendrai. Les Gouttes. I got rhythm. After you're gone. (But the band also paid a tribute to the recently deceased Aretha Franklin, about three songs from the last: a spirited version of 'I say a little prayer'. This was a musical surprise: not only in terms of the change of style but in the fact that the singer used the chorus 'Answer my prayer' to have the audience join in. It became a rousing and wonderful moment for us all to share, and for Aretha.) By the way, regarding Django, to whom the evening was dedicated, I learnt something. We had just come from beautiful Belgium and I had enjoyed explaining to my son about all the famous Belgians, from Magritte to Jean Claude Van Damme. When I talked here about the Belgian Django the singer jumped in immediately to say he was in fact French! While he may have been born and raised in the adjacent country, he had been embraced and naturalized by this one. I'd learnt that Django is a French national treasure!
On the extreme left, as main solo guitarist: Guillaume Juhel, who, it was made known during the show, has just released his own CD, entitled ‘Gypsy Traffic’. I will comment on this wonderful work later. Next to him stood the tall Ghali Hadefi in command of a double bass. Then, basically centre-stage, Caloé, the female singer. Lastly, on the right, and right in front of us, so close I could almost stretch out my hand and touch the head of his guitar, was Clément Reboul, acting mainly as rhythm guitarist, but not only. When called upon to play a solo, he wowed the audience with the fleetness of his fingers and the unforced inventiveness of his constructions. Himself and Guillaume really made a great, and very balanced duo, with an interplay of vamping chords and solo trills to delight any audience, and particularly any members of that audience who especially loved guitar (like myself). Ghali was a towering and solid and singularly gifted bass accompanist, not only mooring the songs but layering them with rich dimension. I’m an instrumental freak at the end of the day, so whatever these guys were doing was plenty enough for me.
I hadn’t reckoned on the forthrightness and beauty and power of the singer. What she brought to the table, or rather to the stage, was something truly special. I don’t know if Caloé is as famous as she should be, but she should be famous, and I predict, very famous. What was transformative about her performance was her passionate engagement with each song. You know that In a Sentimental Mood contains some overwhelmingly beautiful chords, but to hear Caloé, backed up by such great musicians, interpret those chords with that angelic, if street-angelic, voice was something else. My favourite was a song sung in French which required rapid but delicately enunciated flowing words in the main verse. It was a virtuoso performance. I couldn’t believe my eyes, and later my ears, when she pulled out a violin and started into some serious cool bowing: had I died and gone to Reinhardt-Grappelli heaven? Time for another drink, that was for sure. By the way, a clip of the band can be seen here.
I hadn’t reckoned on the forthrightness and beauty and power of the singer. What she brought to the table, or rather to the stage, was something truly special. I don’t know if Caloé is as famous as she should be, but she should be famous, and I predict, very famous. What was transformative about her performance was her passionate engagement with each song. You know that In a Sentimental Mood contains some overwhelmingly beautiful chords, but to hear Caloé, backed up by such great musicians, interpret those chords with that angelic, if street-angelic, voice was something else. My favourite was a song sung in French which required rapid but delicately enunciated flowing words in the main verse. It was a virtuoso performance. I couldn’t believe my eyes, and later my ears, when she pulled out a violin and started into some serious cool bowing: had I died and gone to Reinhardt-Grappelli heaven? Time for another drink, that was for sure. By the way, a clip of the band can be seen here.
And [another drink] later on, as it was apparently the done thing to end with a ‘jam session’, I was eyeing the guitar, even if I knew I didn’t deserve to be up there. But I knew that I did love guitar, and so when the opening came up, I jumped. By that time the entire band had been replaced by ‘amateurs’, or musician guests. The first being this bloke who took up Guillaume’s place and rapped out a Django tune with all the ease of the old master himself. Gulp. A new bass player, an Asian lass on mic, and, on the right, an idle guitar. I did what I always do: ‘No, you just play', I said to the new singer '… I’ll play along’ and I did, having fun, but refusing to go extended, smiling from ear to ear to have been allowed even five minutes on this hallowed stage. My '15 seconds of fame' is immortalised here.
Le Baiser Salé. What a venue! Cramped. Could do with an air-conditioner. Might want to increase the waiters serving all from one to about four, but… brilliant place for great music. We were blessed to have partaken in a musical event, a truly Parisian musical event, in the Rue des Lombards, in the heart of swinging, happening Paris, France.
Potzi, guitarist extraordinaire.
OK, now let’s make our way across town by Metro to Montmartre! (Two days later.) What a jangling, bustling place of life! The site of Sacre Coeur cathedral, which sits atop the hill like a massive white tomb, and the winding streets below it where the artists ply their wares by the side of the street, and especially at the square. A slow circuit is a feast for the eyes, and a draw for the tourists ready to part with some silver to possess a genuine original watercolour or oil painting of the streets of dear old Paris. You can always also just grab a seat at an outdoor table at one of the lively restaurants, and this we did, hoping to breathe it all in in style. The restaurant was Au Clarion des Chassuers, in the Place du Tertre, apparently a quite famous place to dine at. We were later drawn into the interior, however, by the sound of the guitarists who were duetting happily away. Again, it was Django-style music they were playing. It was just two players, and it was just as a kind of free entertainment for the customers, but it was gusty stuff, and even at times gutsy, greatly adding to the atmosphere of wonderment and delight that is special to Montmartre.
What these two guitarists lacked in the sophistication of the band we had seen at Le Baiser Salé they made up for with their loving commitment to the spirit of Django. On the right, I would learn later, was playing Moudine Garcia, and the left, the enigmatically-named Potzi. It only occurred to me the more I listened, that they also possessed just as much virtuosity. Just that they had only two guitars, no double bass, no cool sexy singer, or proper stage. It is a very compelling sight, especially for a person who knows and loves guitar, to witness a guitar duo. Swapping vamps and solos, holding a tune, creating a drama and a narrative to wow the casual listeners, and being true to the original song. Django’s tunes are all engaging and sweet and many are humorous in feel; they are also living things which require the players to be versed in, and immersed in, the feel and the spirit of these songs over a long period. To play Django you almost have to become like Django, and in regard to the main soloist here, you could see that very clearly. (I only learnt after I had returned home, that Potzi was guitarist for a very famous and world-touring band, called Paris Combo. I also learnt that he has played at this restaurant for many years.) I later approached him to throw in a tip, and later to buy his CD, which he plucked out of a basket in front of them. Twenty euro is probably a little expensive, but I was already in their power, unable, and unwilling, to resist. Twenty euro, on top of the five for a tip, was a cheap price to be part of the spectacle of seeing two blokes re-create Django’s music here in wonderful Montmartre. The glasses of Belgian froth and deep red Burgundy probably played their part, too.
They also branched out on occasion (I now recall a moment when they did the James Bond Theme!), and, for all I know played their own creations; but when they played Stevie Wonder’s Isn’t She Lovely, I was happily in tears. The main guitarist is called Potzi, and he actually looks like Django Rheinhardt. He plays (a DuPont guitar, same as Django) with fiercely bold but delicate fingering, exuding a confidence that seemed to me as good as any famous player I’ve ever seen. No, these players are not slaves of Django. They are interpreters, and they carry on a tradition which deserves to be carried on. It is not easy to play Django well, so anyone who can should be applauded and praised, and spotlighted. These guys, and especially Potzi, possessed a rare gift and it was heaven to witness. You can see a clip of them playing Nuages here.
Report by Martin, otherwise known as Machrijam ! (See link to my humble CD !)
Report by Martin, otherwise known as Machrijam ! (See link to my humble CD !)
Play on, players of France!
You bring light and love
to your beautiful city of Paris,
and to the world !!!!!
You bring light and love
to your beautiful city of Paris,
and to the world !!!!!
CDs & links.
Guillaume Juhel, 2018, CD, 'Gypsy Traffic'. I heard it on Apple Music. Many musicians contribute to this enterprise, notably an accordian player & a violinist, to add that special French touch. The songs are beautifully created and played. High production values. Highly recommended!
Caloé, 2018, CD single, Soleil D'Hiver. On Apple Music, also. One song is Stevie Wonder's Part-Time Lover. Excellent interpretation. Note: Caloé's virtuosity in music is paralleled by her mastery of languages other than French. Her English and her English singing is faultless and cool. I've seen her singing Portuguese on YouTube and that also sounds flawless. Oh, yes, she has a YouTube Channel: click here.
Potzi, Potzi Trio Live (CD). (No year, website: www.potzi.fr but I couldn't access it.) This bloke deserves to be known widely. He can lay claim to fame with Paris Combo, but he's a guitar great in his own right. (Self-described as a Gypsy guitarist of Algerian descent, apparently.) By the way, his CD is lively and very similar to what I heard in Montmartre. It is a bit rough in terms of production, but that adds to its authenticity. It's great, actually! Type in Potzi to YouTube & you can see him in action. Check out Paris Combo on Wikipedia here.