LES VIOLONS DE BRUXELLES

The Quintet

All over the world, Django Reinhardt's music is now celebrated, copied, immortalized, revitalized. Sometimes betrayed. Most of the time, the instrumental formula chosen for these tributes, these "covers," these reinterpretations or… these betrayals, is that of the legendary Quintet of the Hot Club of France: a violin, a solo guitar, one or two rhythm guitars, and a double bass.

The Violons de Bruxelles turn this almost sacred formula in the universe of what is rightly or wrongly called "Gypsy swing" upside down: while the double bass is indeed present, the rest is completely reversed: one guitar and… three violins. A delicate formula: the richness of the historic Quintet comes not only from the quality of its soloists (Django and Grappelli) but also from the incredible power of the rhythm guitars, the double bass, and that famous “pump” born from the meeting of American swing and Roma traditions. In the configuration proposed by the Violons de Bruxelles, the harmonic and rhythmic texture rests solely on the (fortunately strong) shoulders of Sam Gerstmans (an all-terrain double bassist) and Renaud Dardenne, the only guitarist of the adventure, and therefore forced to play the role of both soloist and rhythm player alone. A challenge often met. Sometimes, due to force of habit or auditory rigidity, one may regret the absence of that famous "guitar section" (as radically effective as the brass or sax sections of jazz big bands). But this impression of lack is quickly compensated by the advantages of the chosen formula.

The presence of three violinists allows for true polyphonic work in the ensembles but also offers the improviser (whether one of them, the guitarist, or the double bassist) a subtle and stimulating accompaniment – harmonic but also rhythmic through the use of pizzicato. Furthermore, the contrasting personalities of the three violinists allow for the blossoming of a kaleidoscope of styles, emotions, and swing: the deep roots of Tcha Limberger (whose singing talents are also appreciated), the passion of Renaud Crols, and the elegance of Alexandre Tripodi complement each other all the more ideally as the chosen repertoire is also varied and contrasting: Django’s compositions (Place de Brouckère) alternate with some swing standards (the superb I’m Confessin’), original compositions, and melodies from other musical galaxies. A new and original vision of the string orchestra!