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PAUL VERNON CHESTER
Manouche Maestro
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DJANGO's EPIPHONE GUITAR - by Fred Sharp Babik Reinhardt presented him with the instrument, claimed that Django had played on his concert tour with Duke Ellington in 1946
By the way, when we got to his car, there was a parking violation ticket on it, which I took off and gave to him. He said it was an old one and he put it there himself, so as not to get another where he was parked. We went back to London and I had friends of mine who ran an electronic representative firm pack the guitar like a piece of equipment for shipment to the United States and left it with them to be shipped. When we returned to our home in Cleveland, Ohio there was no guitar. I waited three months and finally got around to checking the small U.S. Customs office at the Cleveland Airport. They said they had it for three months with no consignee address on it?? I proved it was mine and I asked about duty. They asked where in Europe it was made. I said it was an Epiphone and was manufactured in New York, to which they said, if it's American, there is no duty!! Anyhow, that's the long and short of it. When I had a good look at the guitar I noticed that the fingerboard was rosewood and very grooved and pitted from Django's apparently very heavy finger pressure. If you look at other photos of Django's guitars, you'll notice the heavy wear on the fingerboard.
This sounds like a supreme act of vandalism to remove the traces of Django's apparent disregard for the Epiphone instrument and yet it was given so freely by Babik. Others claim the Django's tour manager bought him a Gibson without a cut out for that tour.
DJANGO AND THE AMPLIFIED GUITAR Due to the efforts of Duke Ellington in October 1946,
Django made his first and only appearance in the USA, (Oct. 1946-Jan.
1947). Ellington, who first met Reinhardt in 1939, was anxious to have
Django return to the States with him then, but the outbreak of war
prevented this. It wasn't until seven years later that the fabulous
gypsy arrived in NYC. and performed a series of concerts as a guest
soloist with the Ellington Orchestra. Not having brought his trusty Selmer guitar from Europe, Django was forced to use an American Gibson L5 amplified guitar. Recordings made during a concert in Chicago reveal Django to be quite at home with the instrument, even utilising the sustaining power which the amplified guitar possesses. For recordings and appearances from 1947 through 1950, Django performed intermittently on the amplified guitar, opting at times to use his acoustic instrument. It wasn't until 1951 that he exclusively played his amplified instrument (the Selmer with a pickup), using this voice to express his "new" ideas and repertoire in the 1950s world of modern-jazz. Django 'n Duke Live - Honeysuckle Rose With Django on his Amplified guitar showing that he was still developing his technique in this format but giving new direction to both his rhythm and soloing delivery. Predicting in his recording the future sounds that could be expected from amplified jazz guitar. It was probably the Epiphone Amplifier but was it the Gibson L5 or the Epiphone Guitar Big Band Acoustic - Place de Brouckere Grappelli The William Markham Version The Epiphone Company, prior to their acquisition by the Chicago Musical Company in the mid 1950's crafted thousands of quality guitars. Their acoustic Emperor Deluxe Broadway and Triumph Masterbilt models, along with comparable Gibson guitars, are considered to be the best factory made archtop instruments ever made. However one of the most fascinating guitars ever built by Epiphone was not one of the Masterbilt Acoustics but a natural 1946 Zephyr (electric) owned and played by the great Gypsy Jazz guitarist Django Reinhardt. As a player Django represents one of the all time peaks of Jazz guitar supremacy. He was a talent that bordered on and sometimes achieved a state of pure genius. He did more than any other guitarist to create acceptance of solo virtuoso guitar and destroy the concept of the instrument as a device purely for rhythm. Players as diverse as Chet Atkins, Irving Ashby, Joe Pass, BB King, John McLaughlin, Larry Coryell, Les Paul, Charlie Christian, and Wes Montgomery were influenced by him. Throughout his career Django almost exclusively used several of the French Selmer-Maccaferri guitars, easily recognized by their distinctive shape and sound. After World War II he sometimes used various American-made electric instruments which had been presented to him by makers. It was on Django's only visit to the United States in 1946 that he acquired an Epiphone Zephyr #3442. Duke Ellington was a fan of Django's. They had met in Paris prior to World War II. In early 1946, "The Duke" invited him to visit the United States and tour with his band as a featured performer. Django accepted his offer and arrived in New York City in the month of October. Django did not bring his Selmer-Maccaferri guitar with him from France because he thought American guitar makers would vie with each other for the honour of presenting a guitar to him. He was mistaken about this and as a result had no instrument to play on the tour.
It is also possible that he acquired a large Electar amplifier at that time. According to Joe Sinacore the Epiphone Company gave the guitar to Django which is contrary to Charles Delaunay's biography of Reinhardt. After acquiring the Epiphone Django travelled with Duke Ellington by train to Cleveland, the first stop on the tour. (November 1946). The concert was reviewed by the Cleveland "Plain Dealer." Of Reinhardt, they said; "In the hands of this virtuoso the electric guitar acquires richer, magical qualities. His dexterity was remarkable, in intricate chords that were executed with such technical brilliance that the band musicians kept shouting "go to it Master." "The Cleveland Press" also reviewed the show, "Duke Ellington came to Cleveland yesterday...He introduced in this country for the first time the hottest guitar player in the world." After Cleveland the band played to enthusiastic crowds in Chicago, St Louis, Detroit, Kansas City, Pittsburgh, and closed with two nights (November 23rd and 24th) in New York City at Carnegie Hall. After the tour Django worked at "Cafe Society" before returning to France taking the Epiphone with him.
Reinhardt never returned to the United States. He spent the remainder of his life successfully touring the continent usually with small groups similar to the legendary "Quintet of the Hot Club of France" that he formed with violinist Stephane Grappelli in 1934. During this period the rare film footage of Django playing the natural Epiphone Zephyr through a large Electar Amplifier was made. Django's last important appearance was with Dizzy Gillespie in the Spring of 1953. The following May he died at the Hospital in Fountainbleu near his home at Samois from a stroke. He was forty three years old. In 1967 Fred Sharp, a noted guitarist and owner of the largest collection of Django Reinhardt recordings in the United States, was invited by Charles Delaunay, Django's biographer, to come to Paris. Delaunay wanted to record Fred and Babik Reinhardt, Django's son an accomplished guitarist in his own right. During their work together Babik learned of Sharp's life long interest in his Fathers music. When Fred Sharp left France, Babik presented him with a bon voyage gift...Django's Epiphone.
"This is the instrument his father played in Duke Ellington's Orchestra on his American concert tour in 1946. Django also played it at New York's old Cafe Society Uptown Club where I heard and met him." Sharp, a guitar virtuoso himself, and his singing wife Iris, flew to France to tape a new record a new record with Babik's studio Jazz band for Disques Vogue records in Paris. It was an extremely happy merger of talents, "as well as a memorable experience", the Clevelander reported. The recording date was arranged after a long exchange of letters and tapings with Babik and Charles Delaunay, production director of Disques Vogue releases."Several mutual friends also recommended me to Delaunay for this project," Freddie said. "He was impressed too, by the fact that I own 885 sides of Django's tapes and famous recordings. It is one of the largest collections in the United States." In Paris, Sharp met several noted musician who had been friends of Jean Baptiste ("Django") Reinhardt, the Belgian born gypsy jazz muscian who influenced guitarists throughout the world for over 30 years. "His son is one of the finest jazz guitarists on the contemporary scene," Sharp commented. "Babik and his combo sounded so great at Le Club du Jazz in Paris that I am hoping to arrange a tour of the States for them." Freddie, who once toured in Red Norvo's and Jack Teagarden's orchestras, was asked if he plans to play Django's guitar in future shows. "Oh no! Definitely not!" he replied. "I treasure this museum piece so much for sentimental reasons that I would not sell it for less than 50 million dollars
These large 18-19" arch-tops were revered for their volume and cutting power in an era when electrical amplification was not yet commonplace, especially in big bands.
Epiphone Emperor
The Emperor featured a carved spruce top, multi bound f-holes, raised bound tortoise pickguard, multi-bound body, carved maple back, maple sides, 7-piece maple neck, 14/20 fret bound ebony fingerboard with pearl split block inlays, adjustable ebony bridge, Frequensator tailpiece, bound peghead with pearl vine/logo inlay, and 3 per side gold tuners. The model was available in Cremona Brown Sunburst or natural finish. The acoustic arch-top version of the Emperor was discontinued around 1957, but in subsequent years the name has been used to name several electric models, such as the Emperor II, Emperor Regent, and Joe Pass Emperor. These instruments have very little in common with acoustic arch-top version that Freddie Green used. Under the ownership of Gibson, Epiphone offered a Japanese-made Emperor acoustic re-issue in limited quantities for a short time during the mid 1990's. A key factor that contributed to Freddie Green's sound and volume was the fact that he set his string height, or "action" very high. It is said that one could almost slide a finger between the strings and the fretboard. This set up increased the pressure of the strings on the bridge and subsequently transferred more energy into the top and body of the instrument, increasing its volume. This high action also made Freddie's instruments virtually unplayable by other guitarists. Freddie Green strummed his four-to-the-bar chords using a standard tortoiseshell plectrum (or pick). Freddie is said to have experimented with electric amplification and outfitted one of his Strombergs with a floating pickup for a brief period. Supposedly, members of the Basie band harassed Freddie about his new electric sound and even went so far as to remove components of his amplifier before a gig so that it wouldn't work, forcing Freddie to play acoustically. Accounts from band mates of the time suggest that these antics influenced Freddie to ultimately abandon amplification, and return to his signature acoustic delivery of sound. Epiphone Zephyr Electar
It is also possible that Django acquired a large Electar amplifier at that time. According to Joe Sinacore the Epiphone Company gave the guitar to Django which is contrary to Charles Delaunay's biography of Reinhardt. This is a late 40s Epiphone (New York) Electar Zephyr
Guitar Amplifier, Serial # 8305. This beautiful, blonde maple veneer,
art deco style amp sounds very good. With twin 6L5GC power tubes and
it's original 12" Rola speaker, the Electar produces a smooth, clean and
warm tone. Cabinet dimensions are 23" in height by 16" in width, with
the depth tapering distinctively from 9 1/2" at the bottom to 8" at the
top. This amp was introduced
1939; discontinued 1954.
Above is an original Epiphone Electar Zephyr amp from the late 40's. Epiphone began amp production on a cottage industry basis in the mid 1930's, with units hand built by a high schooler named Nat Daniel, who later went to fame as the namesake of the legendary Danelectro line. After the war, Epi expanded their amp line with a series that culminated with this model, the Zephyr. Perhaps responding to bandleader's anxieties over the ungainly and often unreliable early amplifiers for the emerging electric guitars, Epi designed a streamlined, art deco amp cabinet whose lines precisely mirrored those of the classic bandstands of the Big Band era. With controls discreetly hidden in the sloping top, and the Epiphone logo emblazoned over the tweed grille cloth, the blonde maple cabinet with the walnut stripe would blend seamlessly into the most elegant of front lines. Even the nickel-plated handle fits the concept, echoing the look of an old fashioned stand light.
Vintage Epiphone Electar Amp For Sale 1946
I've had this amp for a while, but figure there is no need for me
to keep it any longer. I'm sure that there is a vintage collector and Django
Reinhardt fan wanting to have the same amp that he acquired from Epiphone in
1946. It has more flame in the maple and is cleaner than any that I've seen. It
also has a one of a kind custom cover. I'm the second owner (I know the first
owner personally) and it is 100% original right down to the spare fuse that is
taped inside the back cover from the factory! Of course the tubes have been
changed and the amp really sounds great! It is very clean and in perfect
condition. This is a real find that is dated 10-1-46. I want to sell
this amp. Please contact me if you are interested. Thank you, -Tim Miller NB this likely to 110 Volt so for UK use modifications or a transformer may be required.
The EH-150 amp cabinet was covered in "Aeroplane cloth", luggage tweed, with contrasting vertical brown stripes. A black perforated aluminium grille protects the ten inch "Ultrasonic High Fidelity Reproducer" speaker. Later Gibson would often affix red stickers onto the back of speakers with the printed text "Ultrasonic Speaker". Especially during the '60s and '70s. Chassis were mounted at the bottom of cabinets. The features of the early EH-150 amp include one input for microphone and three inputs for instruments, separate volume controls for the microphone and instruments sections, a bass-tone expander switch, and an "Echo" extension speaker jack. For the microphone
input stage of the early EH-150 one 6F5 tube (high mu triode) was used and one
half of an 6N7 (dual high mu triode) to provide gain for the instruments input
and the second half to a second gain stage for both input stages, one 6C5 tube
(medium mu triode) to serve as a third gain stage and a transformer to split the
phase of the amplified signal into two 6N6 output tubes (direct-coupled power
triodes. The '37 EH-150 was the first ever class A tube amp with an overdrive channel. It is claimed it still sounds better than just about anything out there. It has one knob---volume!EH150 Amplifier |
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