When Stéphane Wrembel steps on stage, he doesn’t merely play the guitar, he channels a lineage. One that traces back to Django Reinhardt, winds through the bylanes of France, and arrives in the present moment with electrifying finesse. One of the world’s foremost exponents of Gypsy Jazz, the France-born guitarist has carved a singular space for himself by blending tradition with cinematic flair and improvisational daring. With his music immortalised in films like Midnight in Paris and Vicky Cristina Barcelona, and collaborations spanning icons from Hans Zimmer to Patti Smith, Wrembel’s sound is both timeless and vividly alive. Ahead of his Hyderabad performance at Windmills Craftworks on Feb 1 with Josh Kaye on guitar and Ari Folman-Cohen on bass, the virtuoso guitarist speaks to CE about improvisation, on-stage alchemy, and the spiritual pulse that drives his music.
What can we expect from your performance in Hyderabad?
People will hear the art of the guitar like they have never heard it before. The way the Gypsies have crafted guitar technique is not only unique to the instrument itself, but truly unique across all musical genres. The concert will of course feature music by Django Reinhardt — the greatest master of the guitar and the founder of this entire genre known as Gypsy Jazz — along with many of my own compositions, including pieces I wrote for Woody Allen, as well as a selection of other great guitar works.
How would you describe your music to someone hearing you for the first time in India?
The art of the guitar, that’s what it’s about. We are a trio with two guitars and bass, yet it grooves as if percussion were involved. The rhythm guitar plays a very specific and extremely powerful role. The music is also a spiritual and metaphysical journey, filled with many shades of tone and dynamics. It is highly interactive, alive, and a music that resonates with audiences all over the world.
How do the three of you communicate on stage without words?
Through music. We listen deeply to each other and instinctively know where the others want to go. During improvisations, the rhythm section listens closely to the soloist; sometimes the soloist sends subtle signals to change the dynamics or the groove, and the rhythm section follows that direction. This allows the improviser to explore new paths. It’s extremely interactive and quite dreamy as well.
Do you see any parallels between Indian classical improvisation and jazz improvisation?
Improvisation is improvisation. What changes is the invisible, underlying archetypal framework — the grooves, the chord progressions, the modes. But improvisation, in its essence, remains the same: creating a stream of melodies in the moment.
What is the most spontaneous moment you’ve experienced on stage that surprised you?
When we played at Carnegie Hall with Al Di Meola and Stochelo Rosenberg. During our rendition of Mediterranean Sundance, the three of us experienced a kind of floating, transcendent moment on stage.
Jazz thrives on risk and experimentation. How important is freedom in your performances?
I like to stay within a clear framework so the music doesn’t become abstract or unfocused. A strong groove and clear chord progression allow the melody and the soul to unfold beautifully. That structure actually creates freedom.
Life on the road can be intense. What keeps you grounded while constantly travelling?
We don’t party much and try to enjoy any rest time we get at the hotel. Some of us like to walk around and explore, while I personally prefer to rest and practice as much as possible. We all try to manage our chi, our vital energy, each in our own way.
Do you have any pre-show rituals before stepping on stage?
I like to practice technical material such as scales and arpeggios, review complex sections of the repertoire, breathe, drink coffee, sometimes take a quick nap or a short walk outside. It’s never exactly the same, it depends on the day. Flexibility is one of the keys to being a musician.
What are you currently listening to when you’re not playing jazz?
I love Ravel, especially his piano works. I also listen to Debussy, Satie, Segovia, Julian Bream, Ralph Towner, Pink Floyd, Dire Straits, as well as a lot of classical Indian music, Middle Eastern oud, and Brazilian guitar music.
Are there any dream collaborations on your wish list?
I would love to play one day with Trilok Gurtu on drums. I’d also dream of collaborating with Henri Texier on bass, Michel Portal on bass clarinet and why not a sarangi player?
Where are you heading next?
We’ll be returning to the United States for a tour in New England, followed by a southern US.