Concert Review

Gypsy jazz is alive and well in Swing 105

By Tom Ineck 

LINCOLN, Neb.—Gypsy jazz is alive and well and living in Nebraska, currently under the guise of Swing 105. I had the distinct pleasure of hearing this new quartet of Django Reinhardt and Stephan Grappelli devotees on two separate occasions, Sept. 2 and Nov. 11, both times at the intimate Crescent Moon Coffeehouse in downtown Lincoln’s Historic Haymarket District.

I can testify that they are the real deal, rigorously maintaining the gypsy swing tradition while daring to improvise and expand on that tradition. The band is fronted by fiddler Dave Fowler, an earnest advocate of the French string jazz that emerged in 1930s Paris and became a worldwide sensation that is still recognized by fans and musicians alike as one of the most imaginative, irresistible and unique variations on American jazz. To perform a style that requires great concentration and adept group interplay, Fowler is joined by rhythm guitarist Mike Herres, lead guitarist Alexander Zappala and bassist Brendon Sibley.

The band’s repertoire alternates freely between standards of the Great American Songbook and tunes written specifically for this French-based jazz genre. The classic “After You’ve Gone” may be followed by Reinhardt’s “Djangology” or “Blues for Ike,” depending on the mood of the players or the audience. Fats Waller’s “Honeysuckle Rose” is paired with another classic of the 1920s, “I’ll See You in My Dreams.” During one set, “Dinah” and Django’s “Dinette” were blended together.

While most listeners are familiar with the melodies of “Sweet Georgia Brown, “I Can’t Give You Anything But Love” and “It Don’t Mean a Thing (If it Ain’t Got That Swing),” they may be pleasantly surprised to hear them in the same set as the Reinhardt originals “Minor Swing,” “Blue Drag” and “Belleville.” Swing 105 takes its name and its mission seriously, combining Django’s famous compositions “Swing ‘42” and “Swing ’39” and tackling the traditional “Swing Gitane” and Reinhardt's “Daphne” with equal zeal. “Avalon” may lead to a stately bolero version of Cole Porter’s “Night and Day.”

Regardless of the set lists on any given night, you will witness a high level of attention to chord changes and the king of mutual interaction that makes this music so exciting. As Sibley maintains the bass foundation, Herres sets up a solid rhythm pattern on guitar, giving Fowler and Zappala the confidence to venture into extended solos. Zappala is especially adventurous as he ranges freely over the fretboard, alternating between slashing chords and dazzling, slurred single-note runs.

The challenge is to keep a band like this together long enough to learn and hone a repertoire and to develop an even greater comfort level with each other. Here’s hoping that Swing 105 stays at it for a long time to come.

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