The days of the "hot club" sound were over, as both men had pursued independent musical paths. Reinhardt had moved to an electric guitar sound influenced by bebop.
His sons, Lousson and Babik , played in a style influenced by American jazz. Followed Reinhardt's death in , the generation of gypsy players that played in public through the s and s performed mainly upon amplified instruments in a modern, electric style, though with a European "inflection" in which some traces of Reinhardt's influence remained. However from around the s onwards, a new generation of gypsy players emerged who were interested in the original, hot-club style and repertoire; some, such as the older German violinist and bandleader Schnuckenack Reinhardt b.
Gradually through the s and onwards, virtuoso gypsy performers such as Fapy Lafertin b. After years of playing cafe-style jazz with a pianist and conventional rhythm section, in violinist Grappelli returned to the "hot club" style once more with the support of acoustic guitars and double bass at the instigation of guitarist Diz Disley.
What today is called "gypsy jazz" was not played exclusively by gypsies even from the start: of the original Quintette, only Django and his brother Joseph were gypsies although later, various other gypsy players were called upon to perform rhythm guitar duties , and Django himself played in a straight non "gypsy" jazz context on many occasions with other artists.
Similarly, late-era Reinhardt recordings are generally closer to bebop and well away from the classic "hot club" sound, and arguably do not fall under the term "gypsy jazz" as generally used today. In addition, many gypsy guitarists of the s and decades immediately following—including Django's own sons Lousson and Babik —did not generally play gypsy jazz in the hot club style, although they were indeed gypsies who were playing jazz.
Likewise, a number of today's "gypsy jazz" exponents are non-gypsies, in addition to the more well known gypsy players. Thus, the term has become attached to the style of playing rather than strictly reflecting the ethnic affiliation of the players. Django himself would not have known the term "gypsy jazz" in any case; for him he was simply playing jazz, and the Quintette was simply a popular jazz or dance band outfit of the day,  albeit with the virtuoso soloing of its lead instrumentalists on guitar and violin taken to a new level.
The Quintette du Hot Club de France played acoustically without a drummer, facilitating the use of the acoustic guitar as a lead instrument. Guitar and violin are still the main solo instruments, although clarinet, saxophone, mandolin, and accordion are sometimes used. The rhythm guitar is played using a distinct percussive technique, "la pompe", which essentially replaces the drums.
Most gypsy jazz guitarists, lead and rhythm, play a version of the Selmer-Maccaferri guitar design favored by Reinhardt. Ensembles aim for an acoustic sound even when playing amplified concerts, and informal jam sessions in small venues such as the annual Django Reinhardt festival at Samois-sur-Seine are part of the scene.
Reinhardt and his band used a range of guitar models available in France, but dominant among them was the Selmer guitar a. Selmer-Maccaferri or Maccaferri guitar designed and signed by Mario Maccaferri ; Maccaferri parted company with Selmer in and later models were just known as "Selmer".
These guitars were made in two first versions, the earliest with a large "D" shaped sound hole, and later models with a smaller "O" shaped sound hole. Vocal Jazz Giants, Vol.
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