by Joseph Dinkins 
Django Reinhardt has astounded and thrilled numerous generations of guitar players and jazz lovers with his amazing command of the guitar. January 24th, 1910 at Liberchies Belgium, Django was born into the open air, rambling lifestyle of his gypsy parents. At the age of eight, his mother's tribe settled near the belt of fortifications that surrounded the old Paris, near the Choisy gate. He never wore a suit or lived in a real house until he was twenty years old. These French Gypsies or Manouches were a world unto themselves, medieval in their beliefs, and distrustful of modern science. Django grew up in this world of contradictions, one foot in the bustling big city of Paris and the other in the age-old life of the nomadic gypsy. Though born into poverty Django had the soul of a nobleman and this natural elegance of bearing and attitude expressed itself in his music. 

It was at an early age Django became attracted to music. When twelve years old he received his first instrument, a banjo/guitar that was given to him by a neighbor who had noticed his keen interest in music. He quickly learned to play, mimicking the fingerings of musicians he watched. He was soon astounding adults with his ability on the guitar, and before he was thirteen he began his musical career playing with popular accordionist Guerino at a dance hall on the Rue Monge. He went on to play with numerous other bands and musicians and made his first recordings with accordionist Jean Vaissade for the Ideal Company. Since Django could not read or write at the time "Jiango Renard" was how his name appeared on these records. 

On November 2nd, 1928 an event took place that would forever change Django's life. At one o'clock in the morning the 18 year old Django returned from a night of playing music at a new club "La Java" to the caravan that was now the home of himself and his new wife. The caravan was filled with celluloid flowers his wife had made to sell at the market on the following day. Django upon hearing what he thought was a mouse among the flowers bent down with a candle to look. The wick from the candle fell into the highly flammable celluloid flowers and the caravan was almost instantly transformed into a raging inferno. Django wrapped himself in a blanket to shield him from the flames. Somehow he and his wife made it across the blazing room to safety outside, but his left hand, and his right side from knee to waist were badly burned. 

Initially doctors wanted to amputate his leg but Django refused. He was moved to a nursing home where the care was so good his leg was saved. Django was bedridden for eighteen months. During this time he was given a guitar, and with great determination Django created a whole new fingering system built around the two fingers on his left hand that had full mobility. His fourth and fifth digits of the left hand were permanently curled towards the palm due to the tendons shrinking from the heat of the fire. He could use them on the first two strings of the guitar for chords and octaves but complete extension of these fingers was impossible. His soloing was all done with the index and middle fingers! Film clips of Django show his technique to be graceful and precise, almost defying belief. 

Django was influenced by jazz recordings of Eddie Lang and Joe Venuti, Louis Armstrong and Duke Ellington. This new music found a place deep in Django's heart. It provided the perfect vehicle for his prodigious talent for improvisation. Django rarely if ever played a solo the same way twice. Numerous recordings prove this to be true. His creative genius was not only that of the master improviser, but also that of the composer, and he can be credited with numerous pieces with beautiful melodies and sophisticated, subtle harmonic structures. However, Django could not read or write musical notation and he was at the mercy of others that could to get his ideas down on paper. 

1934 proved to be the most important year of his life. The Quintet of the Hot Club of Francewas born! As the fates would have it, theQuintet was formed by a chance meeting of Django and Stéphane Grappelli. A band of fourteen musicians including Django, Stéphane, Roger Chaput, and Louis Vola were commissioned to play at the Hotel Cambridge at teatime. During intermission Django would find a corner backstage and play his guitar. One day Stéphane joined in and both were so pleased with the exchange they went on to play together more and more frequently joined by Roger Chaput (guitar), Louis Vola (bass), and eventually Django's brother Joseph (guitar). A small record company Ultraphone recorded their first sides Dinah, Tiger Rag, Oh Lady be Good, and I Saw Stars. These first records caused a sensation! The Quintet went on to record hundreds of sides and had a following on both sides of the ocean. 

1939 found the Quintet touring in England when the war broke out. Django returned to Paris while Stéphane remained in England. Django played and recorded throughout the war years substituting Hubert Rostaing's clarinet for Stephen's violin. He somehow avoided the fate of many of his kinfolk who went to their deaths in the Nazi concentration camps. After the war he was rejoined by Stéphane and they again played and recorded. He toured briefly with Duke Ellington in America and returned to Paris where he continued his career until 1951 when he retired to the small village of Samois sur Seine. 

On May 16th 1953 Django suffered a massive brain hemorrhage and died, leaving behind his wife Sophie and son Babik. His music remains as vital and exciting today as it was when he lived, a legacy of joy to all future generations that rediscover the genius of the Belgian gypsy Django Reinhardt.

 

Fats Waller was the son of a preacher and learned to play the organ in church with his mother. In 1918 he won a talent contest playing James P. Johnson'sCarolina Shout which he learned from watching a pianola play the song. He would later take piano lessons from Johnson. Fats began his recording career in 1922 and made a living playing rent parties, as an organist at movie theatres and as an accompanist for various vaudeville acts. In 1927 he co-wrote a couple of tunes with his old piano teacher James P. Johnsonfor his show "Keep Shufflin'". Two years later Waller wrote the score for the Broadway hit "Hot Chocolates" with lyrics supplied by his friend Andy Razaf. Fats' most famous song, "Ain't Misbehavin'" was introduced in this show which featured Louis Armstrong. Fats Waller's big break occurred at a party given by George Gershwin in 1934, where he delighted the crowd with his piano playing and singing. An executive of Victor Records, who was at the party was so impressed that he arranged for Fats to record with the company. This arrangement would continue until Waller's death in 1943. Most of the records he made were released under the name of Fats Waller and his Rhythm. The group consisted of around half a dozen musicians who worked with him regularly, including Zutty Singleton. Throughout the 1930s and early 1940s Fats was a star of radio and nightclubs, and toured Europe. He unexpectedtly died on board a train near Kansas City, Missouri of pneumonia in 1943. 

 

Louis Armstrong was the greatest of all Jazz musicians. Armstrong defined what it was to play Jazz. His amazing technical abilities, the joy and spontaneity, and amazingly quick, inventive musical mind still dominate Jazz to this day. Only Charlie Parker comes close to having as much influence on the history of Jazz as Louis Armstrong did. Like almost all early Jazz musicians, Louis was from New Orleans. He was from a very poor family and was sent to reform school when he was twelve after firing a gun in the air on New Year's Eve. At the school he learned to play cornet. After being released at age fourteen, he worked selling papers, unloading boats, and selling coal from a cart. He didn't own an instrument at this time, but continued to listen to bands at clubs like the Funky Butt Hall. Joe "King" Oliver was his favorite and the older man acted as a father to Louis, even giving him his first real cornet, and instructing him on the instrument. By 1917 he played in an Oliver inspired group at dive bars in New Orleans' Storyville section. In 1919 he left New Orleans for the first time to join Fate Marable's band in St. Louis. Marable led a band that played on the Strekfus Mississsippi river boat lines. When the boats left from New Orleans Armstrong also played regular gigs in Kid Ory's band. Louis stayed with Marableuntil 1921 when he returned to New Orleans and played in Zutty Singleton's. He also played in parades with the Allen Brass Band, and on the bandstand with Papa Celestin's Tuxedo Orchestra , and the Silver Leaf Band. When King Oliver left the city in 1919 to go to Chicago, Louis took his place in Kid Ory's band from time to time. In 1922 Louis received a telegram from his mentor Joe Oliver, asking him to join his Creole Jazz Band at Lincoln Gardens (459 East 31st Street) in Chicago. This was a dream come true for Armstrong and his amazing playing in the band soon made him a sensation among other musicians in Chicago. The New Orleans style of music took the town by storm and soon many other bands from down south made their way north to Chicago. While playing in Oliver's Creole Jazz Band, Armstrong met Lillian Hardin, a piano player and arranger for the band. In February of 1924 they were married. Lil was a very intelligent and ambitious woman who felt that Louis was wasting himself playing in Oliver'sband. By the end of 1924 she pressured Armstrong to reluctantly leave his mentor's band. He briefly worked withOllie Powers' Harmony Syncopators before he moved to New York to play in Fletcher Henderson's Orchestra for 13 months. During that time he also did dozens of recording sessions withnumerous Blues singers, including Bessie Smith's1925 classic recording of "St. Louis Blues". He also recorded with Clarence Williams and the Red Onion Jazz Babies. In 1925 Armstrong moved back to Chicago and joined his wife's band at the Dreamland Cafe (3520 South State Street). He also played in Erskine Tate's Vendome Orchestra and then with Carrol Dickenson's Orchestra at the Sunset Cafe (313-17 East 35th Street at the corner of Calmet Street). Armstrong recorded his first Hot Five records that same year. This was the first time that Armstrong had made records under his own name. The records made by Louis Armstrong's Hot Five and Hot Seven are considered to be absolute jazz classics and speak of Armstrong's creative powers. The band never played live, but continued recording until 1928. While working at the Sunset, Louis met his future manager, Joe Glaser. Glaser managed the Sunset at that time. Armstrong continued to play in Carrol Dickenson's Orchestra until 1929. He also led his own band on the same venue under the name of Louis Armstrong and his Stompers. For the next two years Armstrong played with Carroll Dickerson's Savoy Orchestra and with Clarence Jones' Orchestra in Chicago. By 1929 Louis was becoming a very big star. He toured with the show "Hot Chocolates" and appeared occasionally with the Luis Russell Orchestra, with Dave Peyton, and with Fletcher Henderson. Armstrong moved to Los Angeles in 1930 where he fronted a band called Louis Armstrong and his Sebastian New Cotton Club Orchestra. In 1931 he returned to Chicago and assembled his own band for touring purposes. In June of that year he returned to New Orleans for the first time since he left in 1922 to join King Oliver's Creole Jazz Band. Armstrong was greeted as a hero, but racism marred his return when a White radio announcer refused to mention Armstrong on the air and a free concert that Louis was going to give to the cities' African-American population was cancelled at the last minute. Louis and Lil also separated in 1931. In 1932 he returned to California, before leaving for England where he was a great success. For the next three years Armstrong was almost always on the road. He crisscrossed the U.S. dozens of times and returned to Europe playing in Denmark, Sweden, Norway, Holland and England. In 1935 he returned to the U.S. and hired Joe Glaser to be his manager. He had known Glaser when he was the manager of the Sunset Cafe in Chicago in the 1920s. Glaser was allegedly connected to the Al Capone mob, but proved to be a great manager and friend for Louis. Glaser remained Armstrong's manager until his death in 1969. Glaser took care of the business end of things, leaving Armstrong free to concentrate on his music. He also hired the Luis Russell Orchestra as Louis' backup band with Russell as the musical director. This was like going home for Armstrong, because Russell's Orchestra was made up of predominantly New Orleans musicians, many of whom had also played with King Oliver. The band was renamed Louis Armstrong and his Orchestra and was one of the most popular acts of the Swing era. Glaser put the band to work and they toured constantly for the next ten years. During this period Armstrong became one of the most famous men in America. In 1938 Lil and Louis finally got a divorce. Louis then married Alpha, his third wife. The endless touring was hard on their marriage and they were divorced four years later, but Armstrong quickly remarried Lucille and they remained married for the rest of his life. For the next nine years theLouis Armstrong Orchestra continued to tour and release records, but as the 1940s drew to a close the public's taste in Jazz began to shift away from the commercial sounds of the Swing era and big band Jazz. The so-called Dixieland Jazz revival was just beginning and Be Bop was also starting to challenge the status quo in the Jazz world. The Louis Armstrong Orchestra was beginning to look tired and concert and record sales were declining. Critics complained that Armstrong was becoming too commercial. So, in 1947 Glaser fired the orchestra and replaced them with a small group that became one of the greatest and most popular bands in Jazz history. The group was called the Louis Armstrong Allstars and over the years featured exceptional musicians like Barney Bigard, Jack Teagarden, Sidney ‘Big Sid’ Catlett , vocalist Vilma Middleton, and Earl Hines. The band went through a number of personnel changes over the years but remained extremely popular worldwide. They toured extensively travelling to Africa, Asia, Europe and South America for the next twenty years until Louis' failing health caused them to disband. Armstrong became known as America's Ambassador. In 1963 Armstrong scored a huge international hit with his version of "Hello Dolly". This number one single even knocked the Beatles off the top of the charts. In 1968 he recorded another number one hit with the touchingly optimistic "What A Wonderful World". Armstrong's health began to fail him and he was hospitalized several times over the remaining three years of his life, but he continued playing and recording. On July 6th 1971 the world's greatest Jazz musician died in his sleep at his home in Queens, New York.

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