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In this article we like to focus on general accompaning in Jazz-tunes, sometimes also called "Comping" .

The accompaniment of any tune by guitarrists in Jazz and especially in Jazz-Manouche is one of the most importatnt issues of all. Specially in Jazz-Manouche, which also has been called "String-Jazz", Jazz that has been played on stringed instruments solely.JazzChords C6
In the early days Jazz-Combos mostly played with a Banjo or simple guitar, beeing pure accompaniment instruments, just creating a backing rhythm with it. Thus was the role of the guitar these days.

That dramatically changed in the early years of the 20th century especially by guitarrists like Django Reinhardt, Sarrane or Baro Ferret in Europe or famous players like Charlie Christian in the USA. They introduced the guitar to music as a Solo-Instrument, changing it from pure accompaniment to a more versatile use.
The first setups of the Quintette du HotClub de France were complete innovations for his time, as they were playing Jazz solely with string-instruments, thus creating the name "String-Jazz", in comparison to all other Jazzbands of that time who were playing with brass-instrumens mostly (Clarinette, Saxophone, Trumpets).

The Quintette du HotClub de France also didnt utilize Drums or any bandsetups alike the usual bands of that time did (Drums, Bass, Brass, Banjo/Guitar), although Django Reinhardt experimented with drums in later bandsetups after the war. That said it is clear that the role of the rhythmguitar developed to be one of THE leading and central elements in Gypsyjazz or Jazz-Manouche.

So what is good Rhythm-accompaniment?
Jazz (and of course Jazz-Manouche) is all about Improvisation. That means also that the Soliste is extremely dependent on a solid basis on which he could settle his Improvisations on to. This base will be created by the rhythmguitar in Jazz-Manouche itogether with the Bass.

"Good" accompaniment, despite playing a very straight and moving rhythm (It dont mean a thing if it aint got that swing!), means to also be able to create interesting chordchanges inside the usual turnarounds of tunes, thus inspiring the solist for his own ideas for improvisation...
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