Dave Frank 


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● Set-list:
01. Opening [00:00]
02. Rehearsal [05:30]
03. Interview With Joe [13:35]
04. Right Hand Technique [17:56]
05. Accompanying Other Musicians [18:47]
06. Playing With Piano Players [24:55]
07. THE CONCERT [29:43]
08. “Satin Doll” [31:10]
09. “You Don’t Know What Love Is” [38:50]
10. “Stella by Starlight” [44:46]
11. A Lesson With Joe [47:35]
12. “Joe’s Blues” [1:05:57]
13. “All the Things You Are” [1:14:30]
14. “Solo Piece” [1:21:20]
15. Conclusion [1:24:22]
● Personnel:
Joe Pass – guitar
Bob Magnusson – bass
Joe Porcaro – drums
● “An Evening With Joe Pass” (1994)
▶ Joe Pass – Full Length Concerts – http://bit.ly/1szpGQK



Uniquely, Django Reinhardt fits several simultaneous archetypes. He is the streetwise kid turned celebrity. He is the miraculous surivor of an accident who went on to overcome his handicap. He is the illiterate who used musical notes as a universal language. He is the whimsical musician who defied every setback. Django was already a legend in his own lifetime, and this film tells of the life and times of a genius to whom death came too early. Yet another, final archetype. But above all it allows us to discover the dazzling talent of one of the greatest jazz guitarists of the twentieth century. Recorded in Paris and Île-de-France, 2010.

“Anouman” played by David Reinhardt (guitar solo); “Anouman” played by David Reinhardt (trio formation); “All love” composed by Babik Reinhardt , played by David Reinhardt (guitar solo), Django Reinhardt and Stéphane Gra pelli playing “J’attendrai” in BBC Studios, London


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Django Reinhardt (g solo)
Pierre “Baro” Ferret (g);
Emmanuel Soudieux (b)
1939 June 30 – Swing, Paris

Recorded just two months before the outbreak of a war that would change his life and career forever, Django Reinhardt’s trio version of “I’ll See You In My Dreams” is a brilliant summation of his late- 30s solo style with intriguing notions for future developments. The solo is almost entirely in single lines, and as we listen to Django create this two-and-a-half minute masterpiece, it is like we are inside his head as he discovers and develops his ideas. The precise musical logic that had always been present in Django’s playing is found here in extremely sharp focus as he takes motive after motive and turns them every which way until each turns into a new phrase that he can manipulate. In one case, that motive is one note, and as he plays that note a couple dozen times, he subtly changes the sound by changing the way he attacks the string. If his harmonic experiments are limited to a short passage early on, he finds a new challenge in offsetting rhythms and near the end of the side, there is a marvellous sequence with quarter-note triplet figures against the steady four-beat of Ferret and Soudieux. Reinhardt would have another 14 years on the planet, but even if his career would have ended with World War II, recordings like this one would have ensured his immortality.