{"id":1166,"date":"2019-09-14T10:38:50","date_gmt":"2019-09-14T08:38:50","guid":{"rendered":"https:\/\/jazzresearch.org\/?p=1166"},"modified":"2023-06-06T13:03:22","modified_gmt":"2023-06-06T11:03:22","slug":"vol-15-2019-frank-murphy-stephane-grappelli-and-the-hot-club-quintet","status":"publish","type":"post","link":"https:\/\/jazzresearch.org\/en\/studies-in-jazz-research\/vol-15-2019-frank-murphy-stephane-grappelli-and-the-hot-club-quintet\/","title":{"rendered":"Vol. 15 (2019) Frank Murphy: St\u00e9phane Grappelli and the Hot Club Quintet"},"content":{"rendered":"<p><em><strong>Frank Murphy<\/strong><\/em><\/p>\n<h5>St\u00e9phane Grappelli and the Hot Club Quintet<\/h5>\n<p>Early writing about jazz was frequently limited to matters of a biographical or discographical nature, but the situation has fortunately improved. Jazz research today shows a better understanding of the functioning of the music and the conceptual aims of improvisation; it is hoped that this publication will contribute to the latter area.<\/p>\n<p>This study is dedicated to the work of the French violinist and pianist St\u00e9phane Grappelli, specifically to a series of recordings made between 1934 and 1948 with the H.C.Q. (Hot Club Quintet). The quintet was singular in its instrumentation, lacking drums but compensating with two rhythm guitarists; a double bassist and two soloists of note \u2013 Grappelli and guitarist Django Reinhardt \u2013 rounded out the ensemble. The analyses of Grappelli\u2019s musical style during his time with the H.C.Q. will provide interesting insight into his style and contribute to a greater understanding.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Frank Murphy St\u00e9phane Grappelli and the Hot Club Quintet Early writing about jazz was frequently limited to matters of a biographical or discographical nature, but the situation has fortunately improved. Jazz research today shows a better understanding of the functioning of the music and the conceptual aims of improvisation; it is hoped that this publication [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-1166","post","type-post","status-publish","format-standard","hentry","category-studies-in-jazz-research"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"en","enabled_languages":["de","en"],"languages":{"de":{"title":true,"content":true,"excerpt":false},"en":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/1166","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/comments?post=1166"}],"version-history":[{"count":4,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/1166\/revisions"}],"predecessor-version":[{"id":1458,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/posts\/1166\/revisions\/1458"}],"wp:attachment":[{"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/media?parent=1166"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/categories?post=1166"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzresearch.org\/en\/wp-json\/wp\/v2\/tags?post=1166"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}