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Reinhardt’s Melodic Formulas (“Licks”)

Here are forty-one melodic formulas that comprise part of Django Reinhardt’s musical vocabulary. This isn’t an exhaustive list—there are more. It’s just some of the common ones.

A lot more information about these formulas, including several complete solo transcriptions illustrating their use, can be found in the third chapter of my book, The Music of Django Reinhardt (University of Michigan Press, 2010). The book doesn’t include tablature notation.

For quite a few of the listed formulas, I’ve shown more than one variant (for example, the first one shows four variants: F1a, F1b, F1c, and F1d). The variants are grouped together because they share melodic features—they’re not necessarily fingered similarly.

The tablature beneath the standard staff notation shows plausible ways of fingering each formula. Naturally, there are lots of alternatives, and I haven’t necessarily tried to guess how Reinhardt himself might have fingered them. What’s more, since I’m a very bad guitarist, I probably haven’t even always indicated the most logical fingering; sorry—I tried.

I’ve transcribed a representative instance of each formula as played by Reinhardt on a specific recording. Beneath the staff notation, I’ve indicated the track title, date, and measure number where each selected example occurs. (The measures are numbered by chorus and by bar number within each given chorus. For instance, “2.3” means the third bar of the second chorus.)

Above the staff notation, I’ve shown the harmonies over which Reinhardt played each transcribed formula. I’ve used both lead-sheet symbols and Roman numerals—so, if the harmonic indication says “D7 (V7),” the chord is a D7, functioning as a dominant-seventh (V7) in the key of G major (or G minor). Of course, Reinhardt would transpose most of these formulas up and down the fretboard. He also used some of them in a variety of harmonic contexts—in one or two cases I’ve shown two melodically identical versions of a given formula, with contrasting harmonic settings.

If you think you’ve learnt something worthwhile from Django Reinhardt, please consider making a donation to the European Roma Rights Centre:

http://www.errc.org

If you can’t make a donation, you might still find the ERRC website quite informative. For instance, here are some press releases about the current situation facing Roma in France:

http://tinyurl.com/n4rkccg

The best way to become a creative improviser is to make up your own licks. The best way to learn somebody else’s licks is by ear. But if you’re interested in understanding Django Reinhardt’s music, the following pages provide some useful information. The most important thing is to have fun! —Ben Givan, June 2014 Transcribed by Ben Givan

(I) a) Bb Emin (II) b) C7 (V) F (I) œ œ œ œ F1 b œ œ n## œ nn œ œ œ œ ˙ V b œ Œ n œ œ œ b b

6 8 8 5 T 6 5 8 5 6 7 4 5 5 A 8 5 2 B

“Charleston” “A Little Love, “Chicago” “Runnin’ Wild” (4/21/37), 2.7 A Little Kiss” (4/26/37), 2.4 (4/26/37), 4.27 (4/26/37), 1.4

c) A7 (II7) Emin7 (II7) F (I) œ # œ œ ˙ # œ œ œ œ n œ V # nb œ œ œ

7 8 5 5 8 9 7 7 10 10 7 7

“H.C.Q. Strut” “Love’s Melody” “I’m Coming (8/25/39), 2.9 (2/1/46), 2.9 Virginia” (3/7/38), 3.9

d) G (I) D (I) œ # œ # œ œ V œ œ ˙ # œ

3 10 3 10 7 4 7 5

“Dinah” “I’se a Muggin’” (12/34), 1.15 (5/4/36), 2.25 Transcribed by Ben Givan

(V7) (IV7/IV) a) A7 Dmin (II) b) Bb7 œ bœ œ # œ œ œ n œ œ œ b bœ œ F2 V # n œ b J œ

9 7 7 5 9 8 8 6 9 6 9 7 7

“A Little Love, “Three Little “Bugle Call Rag” A Little Kiss” Words” (6/14/38), (7/7/37), 9.2 (4/26/37), 1.5 2.29

(V7) c) D7 Cmin (IV) d) Eb (IV) œ # œ œbœ œ œbœ n b œ œ œ V œ œ œ j œ œ œ j b bb bœ œ œ bœ œ œ 5 3 5 3 8 4 1 4 1 11 8 2 0 2 0 8 1 1 3 0 3 0

“The Sunshine of Your “Sweet Chorus” “Charleston” Smile” (4/35), 2.21 (10/15/36), 1.15 (4/21/37), 2.19

F (I) e) G7 (II7) œ œ œ œ œ œ œ #œ nœ œ œ V b b J œ

10 8 10 9 12 10 10 13 10 10 10 0

“Honeysuckle “Babik” (Take 1) Rose” (1/31/38), 1.6 (5/21/47), 3.21 Transcribed by Ben Givan

(I) a) C b) G (I) Bb7 (V7/bVI) œ œ œ œ œ # œ œ œ # bœ œ nœ F3 V œ œ œ œ bœ

10 8 5 3 8 6 10 8 5 3 8 6 4 0 7 8

“Miss Annabelle “Confessin’” “How High the Lee” (4/26/37), 3.7 (3/35), 2.15 Moon” (3/26/47), 3.7

a) E7 (V7) b) Amin (II) œ nœ œ nœ #œ œ F4 # # j nœ œ œ n# nœ #œ œ V # œ œ œ n J

10 13 10 13 11 12 9 12 9 12 7 10 10 6 9

“Anniversary Song” “Brazil” (7/18/47), 2.25 (7/6/47), 2.13

c) D7 (III7) E 7 (V7) A (I) d) b 3 b bœ œ œ œ œ bœ œ #œ œ œ œ œ bb bb b œ œ œ œ nœ J V b nœ bœ œ 3 3 3 8 11 101110 9 12 11 7 10 8 11 6 8 9 8 7 6 5 8

“Chez Moi a Six “Distraction” (4/16/42), 2.24 Heures” (5/8/42), 3.17 Transcribed by Ben Givan

e) Fmin (V) f) D7 (V7) G (I) œ œ bœ nœ œ b œ œ bœ œ n# bœ #œ œ V b œ œ œ œ n œ œ

11 14 12 13 10 13 7 8 8 10 11 5 8 10 8 7 10 7

“All the Things You Are” “Nagasaki” (1-2/49), 2.3 (10/15/36), 1.15

g) C7 (bVII) œ # œ œ bœ V # œ bœ œ

10 8 11 7 9 5 8

“Love’s Melody” (2/1/46), 2.23

(I) (VII) a) D (I) b) Bb (I) c) D C#m7(b5) œ # œ œ n œ # œ œ œ œ F5 # œ œ œ œ œ nbb œ œ œ nn # œ œ V 3

10 7 10 14 12 7 9 7 6 7 7 10 11 14 7 8 11 12

“Moonglow” “I Got Rhythm” “Them There Eyes” (10/21/35), 1.15 (1-2/49), 3.9 (6/14/38), 2.2 Transcribed by Ben Givan

B7 (V7/II) œ œ œ œ œ F6 ## j œ œ V œ 3

5 9 7 9 7 7 6 7

“My Sweet” (1/31/38), 3.11

(I) Bb œ œ œ F7 b R œ œ œ œ V b 3 œ 3

10 11 11 12 12 12 12 13

“Hangin’ Around Boudon” (7/7/37), 2.7

G (I) œ # œ œ œ œ F8 V œ œ œ œ

8 7 10 8 9 7 10 9 10 “How High the Moon” (3/26/47), 2.17 Transcribed by Ben Givan

F (I) C7 (V7) œ bœ œ œ œ œ œ œ F9 V b J

12 11 10 10 13 11 10 12

“Honeysuckle Rose” (1/31/38), 1.8

(IV) a) C (I) b) Bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ F10 #œ œ œ œ œ œ œ œ œ œ œ œ œ V J b

12 15 12 12 15 10 13 10 10 13 10 13 13 13 11 11 11 11 11 12 12 12 12 12 14 14

“Dynamisme” (5/8/42), 4.9 “Japanese Sandman” (5/17/39), 2.19

c) D (I) Bmin (VI) œ œ # œ œ œ V # œ œ œ

10 14 12 11 11 12 9 12

“Daphne” (9/29/37), 3.11 Transcribed by Ben Givan

a) A7 (V) nœ #œ œ F11 # bœ nœ #œ nœ nœ bœ nœ œ V # œ #œ œ œ nœ #œ

9 10 11 9 12 13 10 10 12 9 12 8 9 12 13 10 11

“A Little Love, A Little Kiss” (4/26/37), 3.5

B (I) Faug (V) b) b œ œ œ nœ #œ œ œ nœ bœ œ œ b œ œ nœ bœ œ œ V b J

10 13 12 9 8 11 10 11 11 10 11 10 9 8 10 12 12

“Hot Lips” (4/22/37), 2.7

c) Bb (I) œ œ j œ œ bœ nœ bb œ #œ nœ œ bœ nœ œ J V 3 13 12 15 14 12 13 11 14 12 12 12 13 14

“Blue Light Blues” (3/7/38), 7.6 Transcribed by Ben Givan

D (I) A7 (V) d) 3 # #œ #œ œ nœ nœ #œ œ V # #œ nœ nœ œ #œ #œ

9 10 11 12 10 10 12 8 10 7 9 10 11

“Ain’t Misbehavin’” (4/22/37), 3.29

a) C (I) b) D7 (V7/II) c) A7 (V7) œ œ œ œ œ #œ nœ œ # œ œ œ bœ F12 V œ œ bœ œ b J n # œ

10 10 7 13 10 8 9 11 10 9 9 8 7 10 9 8 7

“Three Little “Avalon” “Coquette” Words” (6/14/38), (7/35), 3.27 (1/31/46), 2.4 2.26

Dmin (II) G7 (V7/IV) (bVI7) d) e) f) Eb7 œ œ œ œ œ œ œ œ bœ œ # œ œ œ œ nœ # bœbœ œbœ j V 3 3 œ bœ œ bœ 12 10 10 12 10 12 10 12 10 12 11 10 12 11 10 6 8 6 8 5 6 5 4 “Tornerai” “Nagasaki” “Stompin’ at Decca” (2/1/38), 4.12 (10/15/36), 1.5 (1/31/38), 2.4 Transcribed by Ben Givan

a) D7 (V7) b) C7 (V7) c) Fmin (II) œ # n œ œ œ ˙ F13 œ œ b œ bœ œ J bbb nœ bœ œ V œ #œ nœ J 10 8 6 11 8 5 4 3 4 9 8 12 5 4 3

“Stompin’ at Decca” “Honeysuckle “Songe d’Automne” (1/31/38), 2.24 Rose” (1/31/38), (5/21/47), 3.2 1.9

E7 (V7) D7 (V7/IV) 3 d) œ ˙ # œ œ œ V œ œ œ #œ # œ œ nœ

10 10 12 9 11 7 9 7 6 12 11 10

“Minor Swing” “Daphne” (9/29/37), 3.13 (1–2/49), 2.14

a) F7 (IV7) b)Bmin (III) Bbdim (bIII) c) F#min (II) œ œ œ œ œ œ. œ œ œ F14 œ bœ œ œ œ # #œ œ œ œ #### nœ #œ J œ œ V J J œ

10 8 10 7 11 9 10 8 8 10 7 8 8 6 7 7 7 8 11 8 10 9

“Festival Swing” “I Wonder Where “My Melancholy (12/26/40), 12.5 My Baby is Baby” (3/22/39), 3.6 Tonight” (5/17/39), 4.25 Transcribed by Ben Givan

a) G7 (V7) b) Amin (I) œ œ œ œ œ œ œ œ œ œ œ F15 V #œ

10 8 7 8 5 6 6 5 4 5 6 5

“Blues Clair” “Minor Swing” (2/26/43), 1.9 (11/25/37), 3.2

(I) c) Bb d) Dmin (II) œ œ œ #œ œ œ œ nœ œ #œ œ œ b œ œ œ n V b B 3 n b 10 11 10 9 10 11 10 13 9 12 10 13 11 10 12

“Charleston” (4/21/37), 3.1 “Ol’ Man River” (11/14/47), 2.9

C (I) œ œ œ œ œ œ œ œ œ F16 J V 3

10 12 13 12 13 12 10 13 12

“R-Vingt Six” (3/26/47), 2.5 Transcribed by Ben Givan

(II) Gm7(b5) bœ bœ œ œ œ bœ œ œ F17 V b J

8 11 9 8 11 9 8 10

“Blue Lou” (3/26/47), 2.1

a) Emin (II) b) D (I) œ F18 ## œ ## œ œ œ V œ œ œ œ J

5 7 10 4 7 9 2 4 5

“A Little Love, “My Sweet” (1/31/38), 2.20 A Little Kiss” (4/26/37), 3.4

(I) (I) a) G b) Eb F19 # œ œ œ œ bœ œ œ n b œ œ œ œ V b b bœ œ œ œ œ œ

9 12 9 12 8 8 12 8 6 8 5 5 8 6 6 8 5

“Lady Be Good” “Big Boy Blues” (9/29/37), Intro.7 (11/19/37), 2.3 Transcribed by Ben Givan

(I) c) Bb œ œ œ b œ œ bœ œ nœ œ V b 10 10 10 8 8 7 7 8 8

“Chez Moi a Six Heures” (5/8/42), 2.27

B7 (V7/VI) Emin (VI) A7 (V7/V) F20 # > > > > > > V œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

0 0 0 0 0 0 0 4 4 4 4 4 4 4 4 4

“Limehouse Blues” (5/4/36), 4.11

C (I) œ F21 œ #œ œ #œ œ œ œ V #œ œ œ œ

4 5 4 5 4 5 4 5 4 5 4 5

“Appel Indirect” (6/14/38), 1.1 Transcribed by Ben Givan

Gmin (I)

F22 bb #œ œ #œ V œ œ œ œ œ œ œ

0 6 0 7 0 6 0 0 0 0

“Swing ’48” (7/6/47), 3.8

a) C (I) b) G (I) 3 3 3 F23 # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ V 3 3 3 3 3 œ œ œ œ œ œ œ œ œ œ œ œ 0 2 3 2 0 0 2 3 2 0 0 2 3 3 3

0 2 3 3 2 0 0 2 3 3 3 3 “Exactly Like You” (4/21/37), “Dinah” (12/34), 2.25 2.1

a) G (I) C7 (I7) b) G (I) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # # F24 V

15 14 17 14 15 14 17 14 15 14 17 14 15 17 15 15 17 15 17 17

“Dinah” (12/34), 2.1 “Stompin’ at Decca” (1/31/38), 2.32 Transcribed by Ben Givan

(bVI7) a) G (I) Eb7 b) D7 (II7) æ F25 # #œœ æ n œ æ æ æ V æ #œœ œæœ æ œæœ æ œ œ æ œ #œœ æ æ œ æ 0 0 æ 4 0 5 0 3 0 0 4 0 0 4 0 4 5 0 5 4 5 “I’ve Had My “Solitude” (4/21/37), 2.27 Moments” (9/35), 2.17

A7 (V7/V) #œ œ œ œ œ œ œ œ F26 # # œ œ œ œ œ œ œ œ V

11 12 11 12 11 12 11 12 11 12 11 12 11 12 11 12 11 12 11 12 11 12 11 12

“Limehouse Blues” (5/4/36), 5.13

a) G (I) b) D (I) #œ œ # œ œ bœ œ œ#œ œ # œ œ œ nœ œ œ œ F27 bœ#œ œ œ œ œ œ œ # nœ#œœ œœ œ œ V œ J 0 3 3 6 6 9 9 2 5 5 8 8 11 11 2 2 5 8 1 4 4 7 7 10 10 0 3 3 6 9 2 5 5 8 8 11 11

“Nagasaki” (10/15/36), 1.23 “Love’s Melody” (2/1/46), 2.8 Transcribed by Ben Givan

Ab (I) nœ 3 3 F28 bbbb ‰ nœ œ œ V 3 J nœ œ œ œ 10 7 7 8 5 5 6

“Confessin’” (3/10/53), 3.10

Bm7(b5) (VI) Bbdim (bVI) Amin (V) Abdim (bV) œ bb˙ œ ˙ bœ b˙ F29 V b n˙ bœ œ bœ

10 9 8 7 10 9 8 8 7 7 9 8 7 6

“Just One of Those Things” (5/21/47), 2.43

A7 (V7/.V) œ F30 # #œ œ œ J V œ œ œ œ #œ 0 3 7 0 2 0 2 0 4 “Sweet Georgia Brown” (1/31/38), 2.23 Transcribed by Ben Givan

a) D7 (V7) œ œ bœ #œ nœ œ bœ F31 # œ œ bœ œ nœ nœ œ #œ V œ œ œ œ œ œ bœ œ nœ 2 3 3 4 4 5 5 6 3 5 6 7 2 3 4 5 0 4 0 5 0 6 0 7

“Confessin’” (3/35), 2.23

b) G (I) # œ bœ nœ œ #œ œ V œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

4 0 3 0 4 0 5 0 6 0 7 0 2 0 2 0 2 0 0 0 0 7 7 7 “Lady Be Good” (12/4/34), 2.25

(bVI7) Eb7 nœ œ bœ œ œ œ nœ bœ F32 # œ bœ œ bœ nœ nœ bœ V

13 12 11 13 12 11 13 12 11 13 12 11 12 11 10

“Mixture” (4/16/42), 2.18 Transcribed by Ben Givan

F7 (V7/IV) (IV) Bb œ œ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ nœ œ bœ F33 V b œ

13 12 11 11 10 7 6 14 13 12 12 12 11 10 10 9 8 8 7

“Japanese Sandman” (5/17/39), 3.18

E7 (V7) a) A (I) F#min (VI) Bmin (II) œ œ #œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ F34 ### jœœ jœnœ œœ œœ œ 3 ‰#œ 3 ‰œ 3 ‰ 3 V J J 5 9 6 7 6 6 9 7 9 7 7 10 9 10 9 9 12 10 12 10 7 8 7 11 6 6 7 9 7 8 9 11

“Porto Cabello” (5/21/47), 1.17

(II) Cmin (III) Cbdim (bIII) Bbdim œ œ œ nœ œ œ œ nœ œ bœ !œ œ b b œ œ nœ œ V b b œ 3 nœ 3

8 11 10 11 10 10 9 10 9 9 9 12 8 10 10 9 12 11

“Hungaria” (take 1) (3/21/39), 5.13 Transcribed by Ben Givan

Dmin (IV) E 7 (V7) b) b 3 #œ bœ œ œ œ œ nœ œ œ nœ œ bœ bœ F35 œ œ bœ œ b b œ œ œ 3 b b 3 3 œ nœ bœ œ V 3 3 3 œ 3

9 11 10 6 7 8 9 5 8 6 12 10 9 6 10 6 6 12 11 10 8 7 6 5 8

“Anniversary Song” “Distraction” (4/16/42), 2.23 (7/6/47), 2.9

Dm7( 5) (II) c) b d) A7 (V7) œ œ œ œ œ œ bœ œ bœ œ # œ nœ œ œ œ bœ œ J # œ œ œ #œ œ V 3 3 3 3 3 3 J

13 15 13 10 9 8 7 15 13 8 5 13 15 7 6 5 6 15 14 13 12

“Dynamisme” (5/8/42), 4.13 “Coquette” (1/31/46), 2.12

C (I)

F36 j œ œ œ #œ œ œ œ #œ œ V œ œ œ #œ œ œ œ œ

10 8 7 8 10 9 8 9 12 10 9 10 10 12 10 9 10 “Ol’ Man River” (11/14/47), 2.1 Transcribed by Ben Givan

a) F (I) F37 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b 3 nœ œ bœ œ V 3

10 12 10 9 10 12 10 9 12 10 12 10 9 10 12 10 9 13 12 “Marie” (1-2/49), 3.5

b) F7 (V7/II)

œ œ b b bœ œ œ œ œ œ œ œ V b b œ œ

11 11 10 13 11 10 13 111311 10 13 “Confessin’” (3/10/53), 3.12

a) Emin (III) Amin (VI) Dmin (II) G7 (V7) b) D (I) A7 (V7) ˙ ˙ F38 œ œ œ œ œ œ œ œ œ ## nœ (œ) œ (œ) V J J J ‰ J ‰ œ œ œ œ

7 7 7 7 5 5 5 5 14 14 14 14 12 12 12 12

“Exactly Like You” “Ain’t Misbehavin’” (4/21/37), 3.23 (4/22/37), 2.25 Transcribed by Ben Givan

c) E (I) F#min (II) B7 (V7) d) Gmin7 (IV) A7 (V7) # # œ œ œ ‹œ œ n # nœ #œ nœ #œ nœ #œ V # # œ œ n #

8 8 8 8 10 10 10 10 10 10 7 7

“My Melancholy Baby” “Daphne” (1/31/38), 3.30 (3/22/39), 2.30

e) Bmin (VI) Emin (II) A7 (V7) D (I)

## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ V 3 3

0 0 0 5 7 5 0 0 5 7 5 0 0 0 5 7 5

“Ain’t Misbehavin’” (4/22/37), 2.7

F7 A7 a) (V7) b) (V7/V) œ œ b˙ œ œ ˙ œ œ ˙ œ œ œbœ œnœ F39 b œ œ œ n# #‹ ‹ ‹ V b 3 3 3 n ‹ ‹ ‹ 3 3 3 7 6 7 11 13 11 13 11 13 8 8 8 10 12 10 12 10 12 6 6 6 7 7 7

“Hot Lips” (4/22/37), 2.30 “It Had to Be You” (2/1/38), 2.5 Transcribed by Ben Givan

F (I) F7 (V7/IV) œ œ œ bœ bœ œ œ œ œ #œ œ œ nœ bœ œ œ bœ F40 nœ œ bœ œ V b 3 3 3 3 3 3 3

12 13 12 11 12 11 10 11 10 9 10 9 8 9 8 7 8 7 6 7 6

“Rose Room” (4/22/37), 2.20

C (I) Gmin (I) bœ F41 œ œ œ œ œ œ b œ œ œ œ j V œ b œ œ œ #œ œ

9 12 13 10 12 10 12 9 10 12 13 10 13 10 12 9 10

“Blues Clair” “Minor Blues” (2/26/43), 4.11 (4/16/47), 5.11 Biographical and Historical Bibliography

N.B. This is not a comprehensive listing.

For books and DVDs on how to play this music, consult www.djangobooks.com.

______

Some Books about Django Reinhardt

Antonietto, Alain, and François Billard. Django Reinhardt: Rhythmes Futurs. : Fayard, 2004.

Bessières, Vincent, and Michael Dregni. Django Reinhardt: Swing de Paris. Paris: Éditions Textuel, 2012.

Balen, Noël. Django Reinhardt: Le Génie Vagabond. Monacho: Rocher, 2003.

Colombo, Robert G. Django Oltre il Mito: La Via Non American al . Genova: Erga Edizioni, 2007.

Delaunay, Charles. Django Reinhardt. New York: Da Capo Press, 1961.

Dregni, Michael. Django: The Life and Music of a Gypsy Legend. New York: Oxford University Press, 2004.

Fargeton, Pierre. La Modernité Chez Django: L’influence du Be-Bop sur le Langage de Django Reinhardt, entre 1947 et 1953. Aubauis: Mémoire d’Oc, 2005.

Franco, Maurizio. Django Reinhardt: Dalla Chitarra Gitana al Jazz. Milano: Sinfonica Jazz, 2002.

Gerber, Alain. Insensiblement (Django). Paris: Fayard, 2010.

Givan, Benjamin. The Music of Django Reinhardt. Ann Arbor: University of Michigan Press, 2010.

Hodeir, André. “Django Reinhardt’s Solo in ‘Solid Old Man.’” In Toward Jazz, trans. Noël Burch, 186–88. New York: Da Capo, 1962.

Jiménez, Juan P., and Emilie Durand. Django Reinhardt: Un Gitano en Paris. Lleida: Milenio, 2012.

Marty, Pierre. Django Ressuscité: Contribution à l’étude d’une auto-rééducation fonctionelle... en 1928. Perigueux: Copédit, 2005.

Nabé, Marc-Édouard. Nuage. Paris: Le Dilettante, 2009.

Schmitz, Alexander, and Peter Maier. Django Reinhardt: Sein Leben, Seine Musik, Seine Schallplaten. Gauting-Buchendorff: Oreos Verlag, 1985.

Williams, Patrick. Django. Marseille: Éditions Parenthèses, 1998.

Williams, Patrick, et al. Les Quatre Vies Posthumes de Django Reinhardt: Trois Fictions et une Chronique. Marseille: Éditions Parenthèses, 2010.

Vernon, Paul. Jean “Django” Reinhardt: A Contetual Bio-Discography: 1910–1953. Aldershot: Ashgate, 2003.

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Some Books about Jazz Manouche

Awosusi, Anita, ed. Die Musik der und Roma: Band 2: Der Sinti-Jazz. Heidelberg: Dokumentations- und Kulturzentrum Deutscher Sinti und Roma, 1997.

Dregni, Michael, with Alain Antonietto, and Anne Legrand. Django Reinhardt and the Illustrated History of . Denver: Speck Press, 2006.

Dregni, Michael. Gypsy Jazz: In Search of Django Reinhardt and the Soul of Gypsy Swing. New York: Oxford University Press, 2008.

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Some Books on Jazz in France (and Related Subjects)

Archer-Straw, Petrine. Negrophilia: Avant-Garde Paris and Black Culture in the 1920s. New York: Thames and Hudson, 2000.

Blake, Jody. Le Tumulte Noir: Modernist Art and Popular Entertainment in Jazz-Age Paris, 1900–1930. University Park, Penn.: Pennsylvania State University Press, 1999.

Bricktop, with James Haskins. Bricktop. New York: Welcome Rain Publishers, 1983.

Chesnel, Jacques. Le Jazz en Quarantaine: 1940–1946: Occupation/Liberation. Paris: Isoète, 1994.

Fry, Andy. Paris Blues: African American Music and French Popular Culture, 1920 - 1960. Chicago: University of Chicago Press, 2014.

Gendron, Bernard. Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde. Chicago: University of Chicago Press, 2002.

Goddard, Chris. Jazz Away from Home. New York: Paddington Press, 1979.

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