Stéphane Wrembel Translates Django Reinhardt in New Orleans

There are musicians who treat tradition like a museum, and then there are musicians who treat it like a passport. Stéphane Wrembel belongs firmly in the second category.

You may know his work from the soundtracks to Midnight in Paris or Vicky Cristina Barcelona, those melodies that drift in from another time but somehow land right in your lap. His newest release, Django New Orleans II: Hors-Série, leans into that same sensation. It’s a record that threads Django Reinhardt’s Jazz Manouche through the brass-soaked spirit of New Orleans, recorded with a nine-piece ensemble of some of New York’s most serious improvisers, and shaped by Wrembel’s own restless sense of exploration. The album moves easily from classic repertoire to new original compositions, and along the way, Wrembel steps into new territory by singing for the first time on record, offering up two Serge Gainsbourg songs with a shared Parisian accent and an almost disarming sense of vulnerability.

“Hors-Série” means special edition, but this feels more like a field journal. It captures an artist testing new ground without abandoning the old maps. Today we talk with Stéphane about that journey, about what happens when Django meets New Orleans, about why Gainsbourg mattered enough to get him to finally step to the microphone, and about treating music not as something fixed and finished, but as something alive, breathing, and in motion.