these are some of the finest Gypsy swing musicians anywhere, deeply rooted in tradition but unafraid to push it forward.
Motéma Records
Samson Schmitt – guitar; Ludovic Beier – accordion/accordina; Pierre Blanchard – violin; bassist Antonio Licusati – bass; Francko “Locomotive” Mehrstein – rhythm guitar
Evolution opens with a Gypsy swing band firing on all cylinders. Tempos are brisk, lines dart and leap across the instruments, and the ensemble responds to each phrase with quick, instinctive interplay. The swing is unmistakable, but the textures are richer than a typical guitar-and-violin front line—accordion and violin carry much of the melodic weight, while guitar shifts seamlessly between lead and accompaniment.
What stands out is how clearly each voice is defined. The rhythm guitar and bass lay down a steady pulse, but they also leave space when needed, giving the soloists room to stretch. Fast tunes are packed with notes and precision, while the slower pieces lean into softness—long tones, sustained notes, and quietly shaped melodies.
At fast tempos, the Django Festival Allstars stay remarkably clear and coordinated. The rhythm guitar and bass lock into a tight pulse while violin and lead guitar fire off rapid, sharply defined lines, each solo landing cleanly before the band snaps back to the theme. “Casse Noisette” makes that control impossible to miss.
Speed is part of the Allstars ’identity, but Evolution is just as compelling when the band slows down. On “Around Toots,” a tribute to Toots Thielemans, Ludovic Beier’s accordina takes center stage, its reedy, breath-like tone floating above bass and rhythm guitar. Samson Schmitt’s guitar solo lets notes resonate in space, understated and emotional, before the accordina returns to close the tune quietly in a moment of real tenderness.
There’s a gentle, swaying rhythm, the pulse soft but steady as guitar, violin, and accordion take turns shaping long, drawn-out phrases. The melody arrives almost in a whisper, each line measured to let the emotion unfold naturally. That intimacy comes through on “Lovely Wife,” one of the album’s most romantic and unhurried moments.
When the band flips back into high gear, they do it with precision and energy. On “Swing and Ready,” a thumping bass and percussive accordion set a tight foundation while the lead guitar bursts into fast runs, weaving in triplets and single-note lines up and down the neck. The violin darts through the upper register, bowing rapid phrases that thread around the other instruments, and the groove never loosens its grip.
“Piazza Italia” opens with the lead guitar plucked harder than usual, each note sharp and staccato, while the rhythm guitar strums furiously alongside. The accordion slips in, echoing and perfectly answering the guitar’s urgent, darting lines. The rhythm section keeps the pulse steady, reinforcing how conversational this band can be at any tempo.
Late in the album, “Stenli” brings the accordina back into focus, its unique color threading through violin and lead guitar as they trade solos that leap from low-register runs to bright upper-register lines. The rhythm guitar taps out a rimshot-like pulse while the bass anchors the groove. By the time the tune fades, it’s clear: these are some of the finest Gypsy swing musicians anywhere, deeply rooted in tradition but unafraid to push it forward.
