Chords for DJANGO THE BEST GUITARIST EVER

Django didn't know a note as [Ab] big as a cow. _
He had _ a broken hand, so he played [Bb] with two fingers.
He developed a [Eb] style that he had inherited [A] _ from no-one.
His own style, [Ab] immediately recognisable [Ab] when you hear him play.
A [Gb] musician with a very different sound and image
was turning it into a lead instrument which would [G] enthrall the world.
Listen [F] to Django Reinhardt.
It's the [Dm] same melody, but what a difference in interpretation.
[Dm] _ _ _ _ _ _
[E] _ Born into poverty [G] in 1910, Django started out playing the banjo.
[Gb] An illiterate gypsy, he [G] became the first genius of the jazz guitar.
[A] And in partnership with Stéphane Grappelli,
[D] in the quintet of the Hot Club of France, [C] he found [Gb] international fame.
But he was lucky to be playing [Am] at all.
One night in 1928, Django's [F] caravan caught fire.
And though he escaped with his life, his left hand was badly burned.
[G]
Bedridden for 18 months, he retaught himself to play, using [A] just two fingers.
_ [C] _ _ _ _ [G] _ _
_ _ [C] _ _ _ _ _ [Am] _
_ _ [Dm] _ John Etheridge, who played with [G] Grappelli later in his [Db] career,
[Gb] has analysed Django's style.
The finger business is very interesting,
because I thought he'd be going like this, _ [Am] or something like that,
but he doesn't.
It's almost like it moves around like one thing.
_ [B] Like that.
_ [F] _
_ _ [Ab] _ [E] _ And Stéphane Grappelli used to say, well, he had an advantage,
because all the [Abm] time there's that nanosecond of choice
[Ab] about which finger to use.
[G] So you're absolutely_
Once he'd got a handle on it,
[Ab] which of course, without practice, I can't get anywhere near,
but [Gbm] once you get a handle on it, he's flying about like really free.
[Gb] _ [C] So you could say Django Reinhardt's style was amazing,
[Em] _ despite having lost the use of his fingers.
[Dm] Or you could say Django Reinhardt's style was amazing _ because_
_ _ _ [B] _ _ Django was a gypsy through [Gb] and through,
and relished the [Ab] freedom his status as an [Gm] outsider gave him.
_ [F] _ [G] Django was like a prince, and was very, very [E] conceited.
The thing about not bothering to [Ab] turn up for [Dm] professional engagements
and things comes from [E] security, not from insecurity.
It comes from, oh, I don't want to go.
[C] I can't be bothered.
I [N] don't need it.
But Stéphane would always, oh, he's always there early, ready to play.
And so they were always falling out.
Hello, where is he?
He's never there.
[Ab] Listen, he was a genius, but so what?
He was [Gm] never there.
_ [G] _ _ For many guitarists who came [F] later,
Django seemed to [Gb] embody the spirit of the [G] instrument.
He was [Gb] my god.
One day I got a phone call and they said,
would you come and back Django [Ab] Reinhardt with Stéphane Grappelli?
I said, would I?
And so I went down there, and I can't speak French,
[G] and Django [F] couldn't speak English.
And we were sitting like we are [Ab] on a settee,
and he'd got a guitar and he went_
_ _ HE IMITATES GUITAR
And I said, encore, encore. He went_ _
I'd never [N] heard anything.
I said, encore, encore, s'il vous plaît, encore.
_ _ _ _ HE IMITATES GUITAR
And he just got the guitar and sort of [Bb] tossed it on a settee
and moved [Ab] over.
And I thought, I'm actually playing with Django Reinhardt.
And it was the most exciting [C] day because he was the best guitarist [E] ever. _ _ _
_ _ _ _ _ [Dm] _ _ _
_ [E] _ _ _ [Fm] _ _ _ _
[Am] _ _ _ _ [Dm] _ _ _ [E] _
_ _ _ _ [G] _ _ _ _