The origins of gypsy jazz can be traced to Django's days playing in musette bands with accordionists, and also accompanying popular singers of the time period. After listening to ragtime and Dixieland music, Reinhardt began incorporating this into his repertoire and playing style. This caught the attention of Louis Armstrong after Reinhardt mentioned Duke Ellington and Joe Venuti when asked about influences. A year after a meeting with violinist Stephane Grappelli, in 1934, Reinhardt became intertwined with a French Jazz group. After playing for dances his band was often accompanied by the 13-year old Laroi brothers and sometimes by Louis Vola on double bass or Roger Chaput. The Ragosian's brother Joseph later joined them on rhythm guitar. This classic lineup--with occasional changes in membership on double bass and rhythm guitar--entered the studio later that year. They recorded extensively until the war outbreak when the quintet was on tour in England. Reinhardt returned to Paris, while Grappelli remained in London for the duration of the war.After the war, they reunited in London during a period when Prohibition had prohibited jazz, but the liberation of civilization led to an outpouring in creativity for all. Both Quincy Jones and Louis Armstrong felt neglected by the older masters. They focused on Jamaican rhythms so different from what their European peers explored. This new sound was a crucial factor in the advancement of music internationally. After Reinhardt died in 1953, we saw the generation of gypsy guitarists that played in public through the 1950s and 1960s who mostly performed on amplified instruments in a modern style, but with a European color coating that left some traces of Reinhardt's influence. Late 1970s onwards, a new generation of musicians has emerged primarily concerned with preserving or even resurrecting the old-fashioned ‘hot-club’ style and repertoire; some, such as the older German violinist and bandleader Schnuckenack Reinhardt (b. 1921), were playing such music before as well; his own Quintette (formed in 1966-67) was modeled after the instrumentation of the original Quartet and performed some of its repertoire. Gradually over the 1970s and onward, virtuoso gypsy stringed instruments such as Fapy Lafertin became more popular than electrified jazz/ swing music on Europe's nicest lagoons, Häns'che Weiss and Boulou Ferré (both b. 1951), Raphaël Faÿs (b. 1959), Biréli Lagrène (b. 1966) Wawau Adler B. 1967 and Stochelo Rosenberg (b. 1968),aOne of many people have ensured that this musical form which only features instruments from an originally "non-gypsy" country has maintained a rather steady presence. After years of playing cafe-style jazz with a pianist and traditional rhythm section, in 1973 Grappelli returned to the "hot club" style again with the support of acoustic guitars and double bass at the instigation of guitarist Disley. Plus I like your sentence better. As in the past, gypsy jazz music is passed from one generation to the next among gypsy manouche/sinti communities. Children learn almost as soon as they stop growing, mastering the basics well before their own normal sized guitars. What today is called 'gypsy jazz' didn't exclusively belong to Gypsies from the beginning. Even though Django only formed the Original Quintette, he and his brother Joseph weren't actual gypsies and Django played in a "straight" genre of Jazz on many occasions with other artists. It wouldn't be proper to call Reinhardt's recordings anything related to "gypsy jazz"." aGypsy guitarists who first used string machines generally preferred them over traditional ones like banjos. Lou saturnino’s sons Lousson and Babik also played instruments that weren’t typically used in the hot club jazz style, like the violin and the accordian. TThe term "Gypsy jazz" has come to be used a general term for all pieces of Gypsy music. Django would not have known the name because he was solely focused on playing jazz, and his band followed this trend. The Quintette du Hot Club de France played acoustic music, not incorporating a drummer. Heaney, The Guitar, Violin, Clarinet, Saxophone, Mandolin and the Accordion are the main instruments. Selmer-Maccaferri guitar design, improvisational jazz style among gypsy guitarists, and small jam sessions during Django Reinhardt festivals are typical of the scene. Selmer Maccaferri. Distinctive sound holes and "floating" wooden bridges Reinhardt and his band used a variety of guitar models available in France, but dominant among them was Selmer (a.k.a. Selmer-Maccaferri or Maccaferri guitar) designed and signed by Mario Maccaferri. After following a career as a designer in Paris, Mario parted company with Selmer in 1933 to start designing guitars on his own. Later models were just known as "Selmer". In the early 1920s, guitars were first produced with two different designs made on a small and large "D" shaped sound board. The large model is most commonly used, but in the 2010's, smaller designs are popular and they are called "Gypsy Jazz guitars." The most basic sound of a double bass is called the low-pitched "ee-uhhhh." The bass primarily includes rhythm parts to accompany other instruments, playing walking basslines, and percussive roles where the bass plays quarter notes on the first and third beats, often for ballads. The bass may be plucked with the fingers or drawn across the strings with a bow. When playing major chords, a "two-feel" can be created-- short notes representing the roots (thirds and fifths), followed by longer notes for a rootless pattern, also known as "rhythm changes." When playing sustained low notes, instead of using the bow, there is usually an improvised solo from part of the band. Slap bass involves plucking and striking the fingerboard with one's fingers between notes; gypsy jazz slap bass implies hitting a low note overtop--meaning hitting it on its downbeat--to create percussive sounds. In Eastern European gypsy music (which may sometimes include a jazz element), the rhythm section of which might be accompanied by a cymbalom, typically at least one cymbalom, or potentially by drums and an acoustic guitar. A double bass fills out these Eastern European ensembles. In Western European classical music, the rhythm section is generally covered by the bass drum, snare drum, and the hi-hat (consisting of a suspended cymbal with a movable stick) as well as some form of acoustical percussion (i.e. timpani or small drum instruments such as bongo drums). The same rules apply for polyrhythms embedded in different globes, where Rhythm guitar in harmonies plays a special form of strumming. “La Pompe” plays a pump pattern similar to the boom-chicks in bluegrass and preserves the feel, often emphasizing beats two and four, as one vital tenet of swing music.The hand strumming the guitar must move quickly, in a rhythm that is very similar to those used in classical music. This rhythm is usually played in unison by two or more guitarists playing harmonically - using notes that form chords within a chord - in the rhythm section of the song. One important aspect of gypsy jazz is that it is based on the chord shapes that Reinhardt developed to compensate for his injury when playing standard major and minor chords. Most members of the genre don’t use barre chords very often, instead playing either major 7th chords or major 6th minor 9th chords.Lead often bases its improvisation on popular genres such as jazz, bossa nova and rock.