id	author	title	date	pages	extension	mime	words	sentence	flesch	summary	cache	txt
currentmusicology-5332	Givan, Benjamin	“Django’s Tiger”: From Jazz to Jazz Manouche	2014	34	.pdf	application/pdf	13928	966	62	“By jazz tsigane,” he writes, “we mean jazz music created by musicians of the Gypsy [‘tsigane’] race” (54).29 Jalard’s essentialism persists in scholarship as recent as the American author Michael Dregni’s 2008 book–length chronicle of jazz manouche, though it generally takes a subtler rhetorical form: rather than explicitly invoking race, Dregni traces the music’s transmission through kinship lineages, both literal and metaphoric (Dregni 2008).30 He highlights the contributions of Reinhardt’s guitar–playing sons, Lousson and Babik, grandson David Reinhardt, and great–grandson Dallas Baumgartner, even though, with the exception of the last mentioned, they have been electric 14 Current Musicology guitarists favoring a post–bebop idiom rather than the Quintet’s acoustic interwar style (2008, 213–22, 278–87).31 Dregni’s historical narrative is also replete with rhetorical allusions to essentialized, putatively natural characteristics of Romani culture and music, even at times perpetuating longstanding negative stereotypes.32 Metaphorically, the notion of jazz manouche as a biological inheritance emerges most unambiguously in his “Gypsy Jazz Family Tree.” At the twentieth century’s close, Williams identified five principal factors that contributed to the rise of jazz manouche: a worldwide trend among jazz musicians, in the 1980s and ’90s, toward exploring jazz styles of earlier generations; a small coterie of amateur enthusiasts who began recording and distributing the music, as well as publishing related articles and pedagogical books; a concurrent revival of interest in the musette mu- sic, and “swing–musette,” of the interwar years; the emergence in Europe of “Gypsy festivals” (“festivals ‘tziganes’”) that often presented public concerts of music associated with Romani communities;18 and finally, a late–twen- tieth–century fad for “anything with an ethnic character” (Williams 2000, 417).19 Subsequent research by Siv B. Lie (2012) has found that, since the turn of the millennium, jazz manouche’s popularity has been further fueled 12 Current Musicology by French governmental subsidies that have, rather ambivalently, promoted the music as an emblem of, on the one hand, French national patrimony in general and, on the other, Manouche culture in particular.	cache/currentmusicology-5332.pdf	txt/currentmusicology-5332.txt