Stompin’ at the Savoy
Waltz for Esben
After You’ve Gone
Je Suis Seul Ce Soir
How High the Moon
Hayo Cue Cae
My Blue Heaven
Dorado Schmitt (violin, guitar, vocals): Amati Schmitt (guitar): Franco
Rehstein (guitar): Esben Strandvig (guitar): Xavier Nikq (bass)
Recorded Fredericia, Denmark 8th to 10th February 2015
Released with very limited promotion in March 2016, Sinti du Monde is given
a re-promotional push here. Dorado Schmitt has long been versed in the arts
of Gypsy Jazz and his Jazz Manouche credentials are second to none in the
metier. He plays both guitar and – less often here - violin and is joined
by his guitarist son Amati (with a name like that he should be a fiddle
player), Franco Rehstein and Esben Strandvig (two further guitarists) and
bassist Xavier Nikq.
Recorded without embellishment or overdubbing this is music of flair and
character strongly predicated on that of the Quintet of the Hot Club of
France. Whether soloing on electric or acoustic guitar Dorado Schmitt
proves a worthy inheritor of Django Reinhardt’s legacy. His vibrato-rich
soloing on Rose Room is full of virtuosic flurries, the tight
rhythm propelling him with irresistible force. Whereas on acoustic guitar
one can hear the nylon, rounded and colourful, as the crisp buoyant rhythm
section animates Stompin’ at the Savoy.
Three of the eleven tracks are his own compositions. For Francko
is a slowly loping chanson with blues hues, beautifully textured, the
soloist humming along, Ballade Romanez is slower and richly
lyrical and rhapsodic, whilst Waltz for Esben - on which he plays
violin – reveals his manouche fiddle style (far more Gypsy than Grappelli
ever was) and moments of Classicism. After You’ve Gone hearkens
back to the vitalising energy of the QHCF, whilst there’s a Latino slant to How High the Moon.
Maybe it was my imagination that Je Suis Seul Ce Soir seemed to be
recorded in a slightly different acoustic – or maybe the microphones were
differently placed. Hayo Cue Cae is another relaxed rather sunny
Latin piece where Dorado’s articulation and tone colours are very different
to his manouche stylings. It reveals his care for apposite voicings and
This beautifully recorded disc certainly more than deserves re-promotion.
If you love manouche you’ll assuredly love this album.