The electric version of Django

[docsteve]

BTW ever tried even "4 to the bar" "against" (wrong word somehow) someone playing "la pompe"? Works great ...

I played four to the bar (with 1 and 3 ringing out and short 2 and 4) at a Joscho Stephan workshop. He didn’t like it.


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[Bop Head]

[...]

Because I had mentioned it above for completeness:

[Bop Head]

I played four to the bar (with 1 and 3 ringing out and short 2 and 4) at a Joscho Stephan workshop. He didn’t like it.


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No I meant even without much accent (like in the Charlie Christian on acoustic example) against this:

[docsteve]

I don't know how to describe it otherwise but it was more like CC's rhythm playing on Profoundly Blue, albeit at a faster tempo. In fact, I initially got my jazz rhythm playing from these exact recordings.

You mean something like:

4-to-the-bar
down - down - down - down
vs La Pompe
down - down up - down - down up?

or in metric notation, where – is a long syllable and u is a short syllable.

4-to-the-bar
– u – u
1 2 3 4

vs
La Pompe (without the upstrokes)
u u u u
1 2 3 4

?

[Bop Head]

I don't know how to describe it otherwise but it was more like CC's rhythm playing on Profoundly Blue, albeit at a faster tempo. In fact, I initially got my jazz rhythm playing from these exact recordings.

You mean something like:

4-to-the-bar
down - down - down - down
vs La Pompe
down - down up - down - down up?

or in metric notation, where – is a long syllable and u is a short syllable.

4-to-the-bar
– u – u
1 2 3 4

vs
La Pompe (without the upstrokes)
u u u u
1 2 3 4

?

For even four-to-the-bar swing rhythm I play all downstrokes on the downbeats.

The length for all four is clearly defined like this (probably what you would call "four long syllables"): If we look at swung eighth notes the ones on the downbeats have the length of two triplet eights, the "ands" have the lengths of one triplet eighth. I let the chords sound for the full length of the swing eights on the downbeats and make a rest on the "ands". All four strokes are even meaning they have the same length and no accents.

La Pompe is different. Like Nousche Rosenberg says in the video, it has to sound like a swing rhythm on a snare drum played with brushes.

If you put those two feels together you get a great groove. I played 2.5 h almost nonstop at a manouche session at a small Cafe in Munich the week before Christmas. There were no Sinti, only German and French Django-philes (line-up was 3-4 guitars, double bass, clarinet, soprano sax and tenor sax), no one complained about me not playing traditional manouche la pompe style and people were dancing.