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Reviewers: Tony Augarde [Editor], Steve Arloff, Nick Barnard, Pierre Giroux, Don Mather, James Poore, Glyn Pursglove, George Stacy, Bert Thompson, Sam Webster, Jonathan Woolf



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HOT CLUB JAZZ

Benjamin Schmid and
Diknu Schneebeerger
tracing Django Reinhardt

GRAMOLA 99069

 

 

Lulu's Swing

Viper's Dream

Babik

Ou es-tu mon amour?

Minor Blues

What is this thing called love?

My Serenade

Douce ambiance

Si tu savais

Made for Wesley

Blue Drag

Belleville

Limehouse Blues

Swing 42

Gipsy Fire

Seavas Koarl

R-vingt-six


Benjamin Schmid Jazz Quartet

Recorded December 2013, Tonstudio Baumann, Steinakirchen, Austria [70:35]


The album title succinctly sets the scene. This is something of an homage to – but certainly no slavish copy of – the Quintet of the Hot Club of France and in particular the dedication is to Django Reinhardt. This may seem odd given that Benjamin Schmid is a violinist taking on the Stephane Grappelli role but in point of fact the homage is to both great players. With him are guitarists Diknu Schneeberger and Martin Spitzer, and bassist Joschi Schneeberger. The booklet and card sleeve can’t decide on the correct spelling of ‘Schneeberger’ which makes one think they may not be related, but they are indeed father and son - Joschi is the father.

The programme is nicely varied, spiced by a few of Django’s own compositions and by Lulu’s Swing, composed by Lulu Reinhardt, Django’s grand-nephew. Schmid plays well in the lower register here, somewhat emulating Grappelli, and whilst the springy bounce-rhythm is inevitably reminiscent of the QHCF, the group manages to retain its own corporate identity. It was clever to dust off Fletcher Allen’s Viper’s Dream as it gives Schmid the chance to espouse his nicely angular bluesy lines. Romantic chanson is encountered in Ou es-tu mon amour? which Schmid plays effusively and he takes advantage of several opportunities to unleash some virtuosic bowing in What is this thing called love? Django’s My Serenade encourages Schmid to explore his neo-classical side in this repertoire, almost going off on a Dvořák-Smetana train of musical thought, and it’s good to hear Diknu Schneeberger take a fine, extensive solo on Douce Ambience, another much-less often encountered Django composition. Rinus Steinback – a name to conjure with – wrote the contemporary song Made for Wesley which Schmid and his group convert into a QHCF vehicle with sinuous ease. As for the violinist he gives real ‘lift’ to his phraseology in Belleville and some taut, even aggressive lines to Limehouse Blues. Above all there is no sign of the dreaded sin of the classical fiddler – rhythmic slackness and a tentative improvisatory approach. Schmid is well versed in this metier by now and it’s all systems go with him.

This fine band has an outstanding violin-leader, an excellent up-and-coming solo guitarist and enviably equipped supporting ensemble players. It’s also very valuable to hear some of the songs Django wrote but never had the opportunity to record. An extra star for that.

Jonathan Woolf



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