The first volume in Fremeaux's 20-part, 40-disc Django Reinhardt retrospective is very thorough, and possibly more exhaustive than any other edition. There are places where it does not mesh with established discographical references, and two titles by a singer named Chaumel are missing from the 1928 strata, but generally speaking, Fremeaux has delved deeper and redistributed more Django than any other reissue label. His earliest records were cut in 1928 at a point when he was still playing banjo behind accordionists Jean Vaissade and Victor Marceau, with xylophonist Francesco Carriolato and either an unidentified fellow whistling with his mouth or someone named Erardy operating a slide whistle. On these marvelous historic Parisian squeezebox recordings, the banjoist was identified as "Jeangot" or as "Django Renard." With the exception of the instrumental "Presentation Stomp" (recorded in 1934 by an orchestra under the leadership of jazz fiddler Michel Warlop), everything else on this collection consists of Parisian pop vocals.
Most of the discrepancies between track lists on early Django collections and the minutiae in discographical data bases are closely tied to Reinhardt's working relationship with these singers, particularly Jean Sablon and his sister Germaine. Both were active as cabaret entertainers and in the motion picture industry. On this collection, they are heard alone and in duet performance. Other vocalists who grace the early stratum are Eliane de Creus and someone by the name of Lixbot who is backed by accordionist Louis Vola (also an accomplished string bassist), and the Orchestre du Lido de Toulon. Anyone who regards this collection as little more than a prelude to Reinhardt's work with the fully established Quintette of the Hot Club of France ought to discard all preconceptions and enjoy these old recordings for what they are: a pungent shot of vintage Parisian pop culture within which Django's jazz took root, flourished, and spread throughout the world.
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