Henri Baumgartner (1929–1992), known professionally as Lousson Reinhardt, was a French gypsy jazz guitarist and the first son of Django Reinhardt by his first wife, Florine Mayer. Biography Django Reinhardt married Florine Mayer in 1927 according to gypsy custom although their marriage was not registered, and therefore not recognised under French law. Their son Henri, nicknamed "Lousson" from the French "l'ourson" meaning "bear cub", was born in 1929, however shortly after this the couple separated and Florine remarried; his birth certificate thus bears the last name Baumgartner from Mayer's second husband. Henri/Lousson learned to play guitar from his relatives; he is pictured playing with Django and others in a photograph dating from the mid 1940s and played rhythm guitar with Django's "Nouveau Quintette" on a tour of Belgium in November-December 1948, of which an official release exists. Lousson was frequently on the road in the 1950s and 1960s and never recorded commercially except for an unreleased 1960s studio recording from Paris with violinist Vivian Villerstein. A private and rather shy individual, Lousson performed in bars in Paris through the 1960s, most frequently accompanied by fellow guitarist Jean-Marie Pallen, and appeared several times at the Django Reinhardt memorial festivals Samois-sur-Seine. According to author Michael Dregni, Lousson spent a number of years travelling in Italy, then returned to France in the early 1990s. Private recordings exist from a 1966 performance in Paris. He is seen at the start and end of the 1959 French film Les Pittuiti's performing "Les Deux Guitares" with Eugène Vées, and also appears briefly in a 1978 Sten Bramsen documentary Django made for Danish television. Lousson's guitar style has been described as following the "most modern" of Django's styles as well as being influenced by Wes Montgomery and Jim Hall. At Samois in 1978 he is pictured using a Gibson ES-175 hollow bodied jazz guitar belonging to Django's brother Joseph. Francis-Alfred Moerman, who accompanied Sarane Ferret for many years, played with Lousson for several years in the 1960s and said, "Playing with Lousson was an extraordinary experience; he really had his father's genius in his fingers... he really was unlucky—his talent was awesome, but he played in the 1960s, which were the worst years for jazz players, so he was never successful and left no [official] recordings." Feeling unappreciated by critics and not accepted by French authorities as the legal heir of Django, Lousson retired from playing in