Gypsy jazz (also gypsy jazz or “jazz Manouche”, more rarely - in the effort around political correctness - jazz of the Sinti and Roma mentioned) is first a variant of the Swingjazz.
Its beginnings can be attributed to the activities of the brothers Pierre Joseph “Baro” Ferret and Jean “Matelo” Ferret in the France, the end of the 1920er the Valse Musette with Swingartikulation played and primarily with the style means of the chord dismantling (Arpeggio) improvised. A widening found this beginning in the play of the guitarist Django Reinhardt, in particular in the Quintette you Hot club de France with the violonist Stéphane Grappelli, born in Belgium, the most popular European jazz formation of the 1930er years. The compositions Reinhardts and of it used extended chords construct on the same scales. Other Sinti guitarists worked in Paris in at that time likewise much liked to Musetteensembles. Until today the Swing Musette - beside pieces of Django Reinhardt - is an important component of the Gypsy jazz repertoire.
Gypsy jazz is the first jazz style developed in Europe. He found long world-wide acknowledgment (e.g. annual festival „DjangoFest “in the USA), but still in Europe most practicing musicians and the largest audience. Django Reinhardt was a first representative of this jazz direction, which world fame attained. Up-to-date Stochelo Rosenberg the world-wide most well-known interpreter is at present supposed. Further outstanding guitarists of the swingorientierten Gypsy jazz are Biréli Lagrène, Tchavolo Schmitt (admits film Swing from Tony Gatlifs), Dorado Schmitt as well as its son Samson Schmitt, Fapy Lafertin, Jimmy Rosenberg, Angelo Debarre, Babik Reinhardt, Patrick Saussois, Raphael Fays, Ritary Gaguenetti, Dario Pinelli, Robin Nolan, Mandino Reinhardt, Stephane Wrembel, Lulu white, Yorgui Löffler and the 1990 born Diknu Schneeberger. Among the rhythm guitarists Holzmanno winter stone and Paul “Hono” winter stone particularly protrude.
In the traditional form of the Gypsy jazz the tone qualities of the Hot club Quintetts until today are dominant: Violin, solo and two rhythm guitars, retort bass. On the Schlagzeug guitar company (“la pompe”) with its Swing drive can to be done without because of that typically perkussiven. In addition, clarinet and accordion are partly used.
For the more traditional form of the Gypsy jazz it is typical that she is strongly familiar bound tradiert. Usually it is passed on by the father to the son, by the uncle at the nephew etc., without it is in writing noted. It is usual that beginners listen for hours, who learn out little individual song and which older players their play techniques to crib from. Within the kinship those of volume insist sons with their father and their cousin as exempt private companies, in those on tour more or less go and due to the intensive making music experiences their play way perfecting.
Jazz of German Sinti
The term „music of German gypsies “, to which by Sinti jazz or jazz of German Sinti should be replaced, was responsible in the 60's for a variant of the Gypsy jazz, which was played by West German Sinti musicians in the periphery of the Violinisten Schnuckenack Reinhardt and by Häns'che white and which itself stylistic at the model of the swingenden Django Reinhardt with its „Hot club “- occupation oriented. From this tradition-led parliamentary group of Sinti musicians a group of younger musicians separated during the 1980er. These tend partly more strongly toward decaying jazz.
In more recent time the Sinti jazz experienced one Renaissance in the German-speaking countries. Here the Zigeli winter quartet from Stuttgart and Wawau eagle from Karlsruhe are to be called; in Vienna Harri Stoika and Zipflo Weinrich are very active.
Innovative play ways
A modale play way contrary to the traditionally chord-oriented (Arpeggio s.o.)  Improvisation style is usually natural with representatives of a Gypsy decaying jazz; the more current Idiom jazz skirt, with one at radio and soul or also at the Latin jazz oriented play way lie for it more near than that of the Swing of the 1930er. Partly the music serves to articulate a political commitment against authority arbitrariness and social discrimination.
Also in other countries younger Sinti left the Swingidiom. As the first the French guitarist Boulou Ferré is to be called here, which could already break open around 1970 from the paternal tradition (Matelo Ferret) over training with Olivier Messiaen toward Free jazz. Not completely as independently as with Boulou and its brother Elios Ferré ran the separation process with other guitarists, as for example Christian Escoudé or Biréli Lagrène, which applied toward jazz skirt and fusion, but partly also in elegant arrangements the tradition of the Musette reflected. From Austria Harri Stojka and Karl Ratzer are to be called here.
Further well-known single representatives and groups, who continue to develop the Gypsy jazz innovatively, are the Oechsner white ensemble, Lulo and Markus Reinhardt, Hannes Beckmann, Ferenc Snétberger and the group Grandpa Tsupa.
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