Gypsy Jazz Trio marks the return of guitarist Augusto Creni and double bass player Renato Gattone to NativeDSD. In this follow-up to their album Les Chats Noir, they offer an album of music done in the style of guitarist Django Reinhardt. And to really put the icing on the cake, Creni and Gattone are joined by Moreno Viglione, who reviewers have called "dazzling", "amazing", and "a guitar god". He's often cited as one of the best guitarists in the music world today.
Many of the selections on the album were written by Django Reinhardt. But the trio also ventures outside music written by Django to include some original music of their own along with gypsy jazz takes on the theme from the TV series "I Dream of Jeannie" by Hugo Montenegro, "I Got You (I Feel Good)" by James Brown and Bach's "Badinerie".
This is a live, direct to Stereo DSD 256 recording. Moreno Viglione is featured on the left channel and Augusto Creni is featured on the right channel of this Stereo recording.
The album is a DSD Exclusive, Not Available on SACD album. NativeDSD is also making the album available in Stereo DSD 512 with a special edition created by Tom Caulfield, our NativeDSD Mastering Engineer using the Signalyst HQ Player 4 Professional DSD 512 "EC" modulators. DSD 512 fans will want to pick up both Les Chats Noir and Gypsy Jazz Trio in DSD 512 for some amazing musical enjoyment.
Forward Music Italy notes that the project (originally called The Manuche Project and highlighted in our "In The DSD Studio" series on the NativeDSD Blog) stems from the idea of making a tribute album to gypsy jazz, but it represents also a way to offer our own interpretation of the sounds and atmospheres so typical of this peculiar genre. For this reason, they chose to record all the songs as a live to DSD 256 session. Just one single session without corrections, editing or overdubs.
During the recording phase, starting with the setup of the studio and the placement of instruments and microphones, they created a real "immersive" moment, such that the listeners will have the perception of attending an actual live concert.
The root of this choice is the need to capture the real sound of acoustic instruments. It has been possible by using the original working method of Gypsy Jazz’s father, and the Hot Club de France, who gave birth to a genre that is still alive and we must preserve as an important legacy in the history of contemporary music.
In that year the recording studios were rather limited in terms of technical solutions what was recorded on the tapes reflected the real skills of the musicians and the presence of some deburring or imperfections in the performance was a “plus”, meant as the intensity of improvisation and an unrepeatable moment.