By Jeffrey Pepper Rodgers - Nelson...

46 AcousticGuitar.com ACOUSTIC GUITAR December 2013

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December 2013 ACOUSTIC GUITAR AcousticGuitar.com 47

Stéphane Wrembel creates a new instrumental blend from Django-style swing, modern jazz, rock, and world music. By Jeffrey Pepper Rodgers

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In Woody Allen’s Midnight in

Paris, the frustrated writer

played by Owen Wilson is con-

tinually transported from the

present day back to 1920s Paris, where he

encounters the likes of Pablo Picasso, Ernest

Hemingway, Salvador Dalí, and Gertrude

Stein. To complete the atmosphere of that sto-

ried era, Allen needed just the right music—

and for that he turned to the French guitarist

Stéphane Wrembel, whose composition “Big

Brother” Allen had featured a few years ear-

lier in Vicky Cristina Barcelona. The song that

Wrembel composed for Midnight in Paris, “Bis-

tro Fada,” became the movie’s theme, and

Wrembel wound up performing it at the 2012

Academy Awards show. Ever since, “Bistro

Fada,” a lilting minor-key waltz with an infec-

tious melody (see transcription on page 53),

has spread rapidly among guitarists—espe-

cially fans of Django Reinhardt.

Because Wrembel grew up near Samois-

sur-Seine (where Reinhardt settled at the end

of his life), plays the style of Selmer Maccaferri

guitar associated with Reinhardt, and is fluent

in the swinging rhythms and quicksilver lead

lines of Reinhardt’s music, many fans and crit-

ics have pegged Wrembel as a disciple of the

pioneering jazz guitarist. But Wrembel’s music

ranges much more widely than that, as is clear

from his recent recording Origins (Water Is

Life), which draws on rock, Middle Eastern,

Indian, and classical music as well as swing

and jazz. And though he plays an acoustic gui-

tar (a modern version of the Selmer, built by

Bob Holo), Wrembel gets into some loud and

intense shredding—especially onstage. His

music is closer in some ways to the adventur-

ous spirit of John McLaughlin or (in quieter

moments) Ralph Towner than to the more

traditional-minded Django-philes playing in

Hot Clubs worldwide.

Wrembel originally came to the United

States to attend the Berklee College of Music.

He now lives in New York City and tours

widely with his band: Roy Williams on guitar,

Dave Speranza on upright bass, and Nick

Anderson on drums. To learn more about

Wrembel’s music, I met with him in upstate

New York at the Nelson Odeon, a century-old

grange hall turned into an intimate concert

venue. Backstage before the show, Wrembel

talked about his philosophy of composing and

improvising, and he shared some songs and

exercises on his Holo guitar.

How aware of Django’s music were you, growing up so close to Samois?This music is present everywhere in France,

but I never really paid attention to it until I

needed technical stuff from it—I am not a

Gypsy, so I don’t need to express that angle in

me. Actually, what is very interesting is

Fontainebleau, where I’m from, is the birth-

place of impressionism. So there is a very

strong impressionist vibe, and when I started

to learn piano at age four, my teacher was an

impressionist. She was a specialist in all the

moderns, like Debussy, and she was an old

lady back then, so she was good friends with

Gabriel Fauré and Ravel and all these guys.

I grew up in the ’80s, so when I was 15 and

started to play guitar, I was playing all the ’70s

and ’80s rock. When I was about 19 or 20, I

went for the first time to the Django festival

[in Samois].

So were you exposed to that style of music live as opposed to from recordings?I bought a CD when I started at the American

School of Modern Music [in Paris]. I wanted

to learn the jazz technique, because I was

pretty good at rock at this point and I wanted

to extend my knowledge. The only name I

knew was Django Reinhardt, so I bought my

first Django CD. This was my first encounter

with Django as a musician, really, so I paid

attention in a completely different way. This

is when I discovered his whole universe of

technique.

I spent years with the Gypsies learning

these techniques, and then I went to Berklee,

where I learned from great players on bou-

zouki and oud, plus more modern jazz tech-

niques of improvisation. And after that it was

country and bluegrass and all that stuff. When

I arrived in New York, I started to compose

and put all my techniques together.




Was studying Django’s style a sharp turn from what you’d done before on guitar?No. The first and most important stone in my

playing is rock—Pink Floyd, Led Zeppelin—

and everything else is an extension of that. So

learning a different technique is just a tech-

nique. I went to play a lot with the Gypsies,

and I took lessons with some of the Gypsy

guys in Paris to learn the proper right-hand

technique, which is very powerful. And then I

moved on to other things.

So you took lessons in addition to hanging out and playing?Quite a few lessons, with Serge Krief, Angelo

Debarre, these guys. And a lot of playing and

jamming in the camps in Samois, so I learned

in the traditional environment. Part of it was

natural learning and part of it was formal

training. And a big part of it was transcrip-

tion, because I figured out things about

Django by myself, too, that were not handed

to me by anyone.

When did you � rst get a Maccaferri-style guitar?That was actually when I first met the Gypsies.

What I discovered about these guitars is they

are very versatile instruments. They are a little

bit less rich in terms of bass than the Martins,

but they have way more potential for a soloist.

You can play rock, you can play classical, you

can play Django, you can play whatever

you want. They are in the center of the guitar

world. Very interesting instruments.

This guitar is really good for soloing—it

really cuts through. The neck is a little bit

smaller. It’s closer almost to an electric guitar

in some ways. There is a rock feel to it that

you don’t have in other acoustic instruments.

And it reacts very well to amplification, so

when I use it live, I tend to use it more on the

electric side than on the acoustic side. I use

my acoustic technique for the control of the

instrument, but I use more of the electric side

for the sound. That gives me a hybrid unique

sound that I’m very happy with.

In your rhythm playing, are there certain types of chord voicings you use to get that distinctive punchy sound?It depends. For example, I have a song called

“Peaceful Mind” [Example 1]. This is like big

open chords. I have also [Example 2, slow

arpeggios from “Tsunami”] or [Example 3, a

syncopated fingerstyle pattern from

“Momentum”], that kind of groove. When it’s

a little bit more swing, the chords are more

like [Example 4]. So it depends on the compo-

sition. I use different chords, but they are all

very basic. I never use complicated harmonies,

complicated chord progressions. Everything is

very simple for the comping.

In that swing style you’re using a lot of percus-sive snap—like a snare drum.For this particular angle of comping, yeah. It’s

just the usual stuff that is done in swing: you

push and you hit [for a slowed-down demon-

stration, see video on AcousticGuitar.com]. It’s

like everything in music: it’s very easy to

understand, but it’s very hard to do. It’s very

easy to understand that you have to push and

hit, and the balance creates that train effect.

But getting the feel takes a little time.

Could you show, as an example, the rhythm pat-tern in your song “The Edge”?The chords are very easy. It’s G, Cm, D7, and

G. That G [with E and A on top] is a very

impressionist chord, the upper part of it. And

the bridge is a regular B7 to E7 to A7 to D7.

That’s the chord progression [Example 5].

You are playing mostly chords without open strings to get that percussive sound, right?Yeah, because you mute with the left hand.

The right hand doesn’t touch the strings. To

get that percussion sound, you avoid the open

strings, absolutely.

Speaking of rhythm, why did you post that big library of play-along rhythm tracks on your website?

Because when I first started to play the Django

style, there was no one to play with. I wish

this had been available to me when I was

starting to train on these songs, so that’s the

reason I decided to put them online. It doesn’t

replace the experience of jamming with peo-

ple, but it’s a great tool.

These are good learning songs. What we

call a standard is really a song for learning a

craft. After that, once you have the techniques,

you move on and compose and do your own

thing. These songs are also good if you meet

people you don’t know and you want to jam;

that gives you a repertoire for at least having

a musical conversation.

“Bistro Fada” has a very different rhythmic feel than the other songs you played earlier. When you were writing that song, did you start with the chords or the melody?Oh, I did the chords first [Example 6, page

51]. This is a completely traditional type of

progression. This is like composing on a blues.

There are more chords, it’s a bit longer, but

actually it’s like an E-minor blues. I just

recorded the chords and called Dave

[Speranza], my bass player, and I said, “Come

over because you need to record this ASAP.”

So he took the train to my house. It took him

a couple of hours, and by then I had com-

posed and recorded the melody, everything.

So this progression is standard for musette?Yeah, for that Parisian style. That’s what they

wanted: they wanted something to capture

the soul of Paris. What am I going to do? I

take something very standard and compose

over it.

How would you describe that style to the uninitiated?Musette was born in the early 20th century in

Paris. You know, it’s like in New Orleans you

had people from all over the world starting to

play music together, and it gave birth to jazz?

The same thing happened at the same time in

Stéphane Wrembel

ou don t learn to impro ise better by playing scales or by playing arpeggios or anything. ou get better at impro isation by impro ising more.



AcousticGuitar.com 49December 2013 ACOUSTIC GUITAR

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Paris. You had the immigrants from central

France, from Auvergne, because back then,

going from central France to Paris was really

emigrating. It was a time when they still had

their own language, their own dance, their

own everything. They were playing the

musette, which is a little bagpipe, and they

were playing the traditional music called the

musette. And then, at the same time, Italy was

doing very bad, and you had the Italian immi-

grants coming to Paris with the new instru-

ment called the accordion. They started

playing these musette songs on the accordion.

In the middle of that you had the Gypsies, who

were playing the banjo and the banjo guitar,

who started to join. And in no time that style

was born of playing the musette, that bagpipe

music, on the accordion, with the Gypsy stuff

on it, and they developed a completely new

language. Same thing with tango: it was born

at the same time in the same kind of spirit.

Let’s talk about soloing. What do you practice to develop the kind of � uidity you have moving up and down the neck? OK, there is a very big difference between

practicing and performing. These are two dif-

ferent worlds. I hear people say sometimes,

“Oh, when I practice, I practice like I per-

form.” I think this is a big mistake because it’s

a matter of chi. Chi is the energy. So you have

yin, which is the energy that you take in, and

you have yang, the energy that you push.

Pull, push, yin, yang. When you practice yin

you have a very calm state of mind, and you

practice a very technical area. No joy, no

anger—you don’t do it with the positive

or the negative. You try to stay in the neutral,

the peaceful. Then you build up a certain

level of energy, and when you are in concert,

this energy is available to throw.

If I do a jam and I get all excited and it

feels good right before a show, I used to think,

we’re going to play a great show. Then you’re

up onstage and you feel mediocre. You’re like,

what happened? Because you depleted your-

self of your chi, your creative energy—it’s

gone. You arrive onstage and you’re depleted.

It’s like running a marathon before you run a

marathon.

I’m extremely conscious of that when I

practice. I’m very quiet inside, it’s very quiet

outside, and it’s very technical. It’s very sacred

in a way. There’s no personality in it. And

when we perform at night, all that energy that

has accumulated and all that preparation that

is done with the mind, like with the thinking

and the fingers, all that comes into place, and

then the information can go.

Is practicing slowly, with a lot of attention to phrasing and tone, the secret to playing fast?

Building a Nouveau Selmer Stéphane Wrembel’s concert guitars are built by Portland, Oregon, luthier Bob Holo (hologuitar.com) and are based on a Selmer that Django Reinhardt owned in 1938 (just prior to the famous Selmer 503 that Reinhardt played until his death). According to Holo, Reinhardt recorded many of his seminal works on the earlier guitar, which can be seen in the well-known “J’Attendrai” video.

Holo was a fan of Wrembel’s music for years before he met him and had the opportunity to build him a guitar. “As the whereabouts

of that earlier guitar aren’t known,” says Holo, “I based the design on what is known of that earlier incar-nation of Selmer, and tuned the weight, strength, and top from measurements of several other Selmers of the era that I was able to study.”

Wrembel’s guitar has a Romanian red spruce top, black walnut back and sides, and the small oval “petite bouche” sound-hole (in contrast to the D-shaped “grande bouche” soundhole on other models).

Holo made a few design modi-fications based on conversations

with Wrembel, including a 648-mm (25.5-inch) scale length (Reinhardt’s earlier Selmer was 640 mm) and an extended finger-board for additional range. The 648-mm scale, says Holo, is the same as on a Gibson L5C and “lends a nice little bit of round-ness and bite without becoming strident.”

Wrembel owns a matching set of Holo’s guitars, built from the same flitches of wood and tuned identically, and his bandmate Roy Williams plays the same model. These are the only three guitars of this design that Holo has built.

Stéphane Wrembel

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04 -057.252_ . .indd 50 10/10/13 2:37 PM



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I would like to show you an exercise that is

very good. This is how I practice. First I use a

timer. I usually like to do groups of five min-

utes. I start the timer, and until the timer

stops, I’m just focused on my exercise. You

can fit way more information into five min-

utes if you don’t have to worry about time.

When I wake up in the morning, the first

thing I do is I take my guitar and I do this exer-

cise. It is very easy [Example 7]. You just move

like that—one, two, three, four—one finger

after the other. I try to have [the notes] sound

clear, and move the fingers at the last second,

leaving the fingers on the frets. That helps with

the strength of the [fretting] hand, with the

coordination of the two hands, and with the

placement, and it gives you a good habit for

the legato.

Usually, what I tell my students is you do

the exercise once—that’s it. This is how you

start your day. If you do this too much, you

can really hurt your hand, so you have to be

careful. Developing strength is good, but you

have to do it gradually.

What are the best ways to develop your abilities as an improviser?You don’t learn to improvise better by playing

scales or by playing arpeggios or anything.

You get better at improvisation by improvising

more. I’m lucky enough that I have between

five and seven shows a week, so I always

improvise at night. I don’t need to improvise

during my practice. If you don’t have a concert

or a jam with friends or anything, it’s a very

good thing to allow a certain time to just

jam—even releasing the chi. Just play it off

and replenish it the next day.

But to learn to improvise, it’s not about

how much you know. For example, a lot of

classical players know so much more than any

jazz players in terms of harmony, positioning,

scales and arpeggios, counterpoint with four

voices moving, and stuff like that. They know

crazy stuff and read everything, but they can’t

improvise on a chord. Why? Because they

didn’t develop the state of mind. Improvising

is a state of mind. In order to improvise better

you need to improvise more. That’s it. You

have to start somewhere simple and just play

with it, and then you start playing in different

chord progressions. But it’s a lot about doing

it for hours and hours and hours.

Do you see yourself ultimately more as a com-poser or as a guitarist?I don’t see myself as a composer or guitarist.

This is just a vehicle. This is just what I do,

you know what I mean? The music is the tool

I use to express, but music is not a goal. I like

to say it’s like a hammer. I use it to hammer

my layers, you know, to try to go deeper into

my psyche. Music is a language that everyone

understands, so the content of it is different

for every human being. ag

What e laysAcoustic Guitars: Stéphane Wrembel plays contemporary versions of the Selmer Maccaferri guitars played by Django Reinhardt. Wrembel’s concert guitars are built by Bob Holo (see “Building a Nouveau Selmer,” page 50). For practice, Wrembel plays a Gitane DG-255, and a Gitane DG-340 Stéphane Wrembel model with the frets removed (when the guitar was being refretted, he tried it with no frets, loved it, and asked to keep the instrument like that).

Amplification: French-made Ischell Inside Box plus CPJ contact mic (ischell.com), which Wrembel calls “a miracle.” He uses an L.R. Baggs Para DI and AER Compact 60 acoustic amps (sometimes two onstage and even a third as a monitor). His pedals include a Boss TU-2 tuner, an Electro-Harmonix octaver, and a Boss EQ that he uses only as a volume pedal.

Accessories: Heavy Wegen picks. Savarez Argentine 1610 MF strings with an .011 first string.

Stéphane Wrembel

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04 -057.252_ . .indd 52 10/ /13 2:11 PM


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Stéphane Wrembel wrote “Bistro Fada” for Woody Allen’s

Midnight in Paris. He composed and recorded the music in

just a few hours, based on a traditional musette chord pro-

gression in Em, in 3/4 time. This transcription is based on

the Midnight in Paris soundtrack (the same version appears

on Wrembel’s album Bistro Fada). An improviser at heart,

Wrembel plays the tune a bit differently each time. Note,

for instance, that his demonstration of the chords in

Example 6 (page 51) varies in a few spots from the chords

shown here. “Bistro Fada” follows a three-part form:

AABBACCA. The melody has a distinct Django-esque feel,

from the fleet-fingered runs up, down, and across the

neck, to the thick lateral vibrato that Wrembel often uses

on the last note of a phrase—plus it has the unmistakable

punchy tone of a Selmer Maccaferri–style guitar. The tune

makes ample use of triplets, both fast (with eighth notes,

as in measure 13) and slow (with quarter notes, as in mea-

sures 72–75). No matter what type of guitar you use,

“Bistro Fada” is a blast to play—and a great single-note

workout as well. —J.P.R.

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04 -057.252_ . .indd 53 10/ /13 2:11 PM



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10 8 7 10 9 8 89

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7 fr.

3

8 9 10

B

50

11 810 9 8 9

B71 1 113 2

7 fr.

8 1110

8 11 14

3

12 14 12 11 12 14 15

Emx1 1342

7 fr.

3

12 12 13 12 11 12 15 14 13 12

B71 1 113 2

7 fr.

14 12 11 1214 13 14 14 14

Emx1 1342

7 fr.

B

57

1.

3

6 7 8

2.

2 41 2 4

D.S. al Coda

B

59

54 5

CodaC

3 5 7 3 5 7

G6T 2314x

3 5 7 3 5 7 4 5 7 4 5 7

B71 1 113 2

7 fr.

Stéphane Wrembel




B

63

4 5 7 4 5 7

3

5 7 5 4 54 7

E73241x x

5 fr.

10 8 7 8 12 810 10 10

Am1 11134

5 fr.

1.

7 8 10 7 8 10

D73241x x

3 fr.

7

10 10 8 8 7

B

70

710 10 8

G6T 2314x

8

3

86

7

F 11134200

3

6 5 6

3

98

7

B7213 40x

3

9 8 8 7

D73241x x

3 fr.

2.

910

8 10 11

Am1 11134

5 fr.

B

77

12 12 15

C69

2113x x

15 14 17 15 14

C dim72314x x

15 1514

G6T 2314x

3

12 14 12 11 12

E73241x x

5 fr.

15 1213

A71 1 13 24

5 fr.

12 13 15

12

D73241x x

3 fr.

12

G6T 2314x

2 41 2 4

B71 1 113 2

7 fr.

B

85

5 7 5 4 5

EmD

3 4 5 4 3 48 4 7 6 5

4 64 5 7 8

8 97 8

6

3

7 8 7 6 7 10 8

7

B7

B

92

4 5 7 4 5 75 5 5 2 4 5 2 4 5

4 4 4

3

7 8 7 6 76 9

7 98

7 10 7




B

99

87

9

Em

2 41 2 4

B7

5 7 5 4 5

Em

3 4 5 4 3 48 4 7 6

3

5 5 6 5 4 5

B

105

7 46 5

7 5

E7

3

4 5 47 6

46

E7/G

7 6 7

Am

∑

8 7 5 8 7 55 5 5

B

111

7 5 4 7 5 4

Em

4 4 4

3

4 5 4 3 4 5

C7

4 3 4 64

B7

54

5

Em

2

Stéphane Wrembel

Hand Madesmall Guitars with a BIG Sound

LISTEN to this guitar atbit.ly/listencg(quick link to youtube)

[email protected]

�e Original Guitar Chairthe details make the di�erence

Proudly made in the USA1-877-398-4813

www.OriginalGuitarChair.com


mailto:[email protected]

http://www.OriginalGuitarChair.com


http://miranda-tech.com/

Date post:	01-Feb-2018
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