[9] In 1924 Louis Armstrong joined the Henderson band, lending impetus to an even greater emphasis on soloists. [15][16] Whiteman's Orchestra enjoyed great commercial success and was a major influence on the sweet bands. Goodman's slot was on after midnight in the East, and few people heard it. The resurgent commercial success of Frank Sinatra with a mildly swinging backup during the mid-1950s solidified the trend. Swing-era repertoire included the Great American Songbook of Tin Pan Alley standards, band originals, traditional jazz tunes such as the “King Porter Stomp”, with which the Goodman orchestra had a smash hit, and blues. Swing, in music, both the rhythmic impetus of jazz music and a specific jazz idiom prominent between about 1935 and the mid-1940s, years sometimes called the swing era. Dregni, Michael (2004). The Basie orchestra collectively and individually would influence later styles that would give rise to the smaller "jump" bands and bebop. [28] However, big band music saw a revival in the 1950s and 1960s. The list revealed that big band sales had decreased since the early 1950s. Gypsy swing is an outgrowth of the jazz violin swing of Joe Venuti and Eddie Lang. During the 1930s, swing came to symbolize joy and ease, the weight of which was reflected in Duke Ellington’s piece, “It Don’t Mean a Thing (If It Ain’t Got That Swing).”. The bands in these contexts performed in relative anonymity, receiving secondary credit beneath the top billing. Founding leader of the New Deal Rhythm Band John Holte led swing revival bands in the Seattle area until 2003. Jean Goldkette's Victor Recording Orchestra featured many of the top white jazz musicians of the day including Bix Beiderbecke, Jimmy Dorsey, Frank Trumbauer, Pee Wee Russell, Eddie Lang, and Joe Venuti. At the Palomar engagement starting on August 21, 1935, audiences of young white dancers favored Goodman's rhythm and daring arrangements. [3] Famous roma guitarist Django Reinhardt created gypsy swing music[4] and composed the gypsy swing standard "Minor Swing". During the Henderson band's extended residency at the Roseland Ballroom in New York, it became influential on other big bands. Oxford University Press. It humiliated Goodman's band,[19] and had memorable encounters with the Ellington and Basie bands. Also in New York, the Fletcher Henderson Orchestra featured the new style at the Roseland Ballroom and the swing powerhouse Chick Webb Orchestra started its extended stay at the Savoy Ballroom in 1931. [2], Swing blended with other genres to create new musical styles. Many of these singers were also involved in the "less swinging" vocal pop music of this period. This propulsive effect was introduced by stride pianists in the 1920s and has been a common feature of jazz through the decades. Samba (Portuguese pronunciation: ()), also known as samba urbano carioca (Urban Carioca Samba) or simply samba carioca (Carioca Samba) is a Brazilian music genre that originated in the Afro-Brazilian communities of Rio de Janeiro in the early 20th century. Swing dancing would outlive the swing era, becoming associated with R&B and early Rock&Roll. [17][18] As a dance music promoter and agent, Goldkette also helped organize and promote McKinney's Cotton Pickers and Glen Gray's Orange Blossoms (later the Casa Loma Orchestra), two other Detroit-area bands that were influential in the early swing era. The Duke Ellington Orchestra had its new sounds broadcast nationally from New York's Cotton Club, followed by the Cab Calloway Orchestra and the Jimmie Lunceford Orchestra. A dance floor full of jitterbuggers had cinematic appeal; they were sometimes featured in newsreels and movies. Harker, Brian C., 1997, Early Musical Development of Louis Armstrong, 1921–1928, unpublished PhD Dissertation, Columbia University, 390 p. plus Appendix. Some of the top jitterbuggers gathered in professional dance troupes such as Whitey's Lindy Hoppers (featured in A Day At the Races, Everybody Dance, and Hellzapoppin'). A typical song played in swing style would feature a strong, anchoring rhythm section in support of more loosely-tied woodwind and brass sections playing call-response to each other. Moten's orchestra had a highly successful tour in late 1932. Oxford University Press. The sudden success of the Goodman orchestra transformed the landscape of popular music in America. Swingin' pop remained popular into the mid-1960s, becoming one current of the "easy listening" genre. During the World War II era Swing began to decline in popularity, and after war, bebop and jump blues gained popularity. Some of the more commercial big bands catered to more "sweet" sensibilities with string sections. Aris Allen Men's 1930s Coffee and Cream Spectator Wingtip Dance Shoe *CLOSEOUT* $ 79.95 $ 39.95 Aris Allen Men's Wide 1930s Black and White Spectator Wingtip Dance Shoe Black territory dance bands in the southwest were developing dynamic styles that often went in the direction of blues-based simplicity, using riffs in a call-response pattern to build a strong, danceable rhythm and provide a musical platform for extended solos. Big band jazz made a comeback as well. Paul Whiteman developed a style he called "symphonic jazz," grafting a classical approach over his interpretation of jazz rhythms in an approach he hoped would be the future of jazz. Gypsy Jazz: In Search of Django Reinhardt and the Soul of Gypsy Swing. Historically-themed radio broadcasts featuring period comedy, melodrama, and music also played a role in sustaining interest in the music of the swing era. There is no brass or percussion; guitars and bass form the backbone, with violin, accordion, clarinet or guitar taking the lead. Some jazz critics such as Hugues Panassié held the polyphonic improvisation of New Orleans jazz to be the pure form of jazz, with swing a form corrupted by regimentation and commercialism. Price, "Jazz Guitar and Western Swing", p. 82. Other swing revivals occurred during the 1970s. Hines' melodic, horn-like conception of playing deviated from the contemporary conventions in jazz piano centered on building rhythmic patterns around "pivot notes". The arrangements also had a smoother rhythmic sense than the ragtime-influenced arrangements that were the more typical "hot" dance music of the day. Popular music was centered on vocalists, and a full-time big band to back up a vocalist was increasingly seen as an unnecessary expense. With its Savoy engagement in 1937, the Count Basie Orchestra brought the riff-and-solo oriented Kansas City style of swing to national attention. Louis Armstrong used the additional freedom of the new format with 4/4 time, accenting the second and fourth beats and anticipating the main beats with lead-in notes in his solos to create a sense of rhythmic pulse that happened between the beats as well as on them, i.e. That's why they introduced "swing" which is not a musical form" (no comment on Fletcher Henderson, Earl Hines, Duke Ellington, or Count Basie). Ten years ago this type of music was flourishing, albeit amidst adverse conditions and surrounded by hearty indifference....It is the repetition and monotony of present-day Swing arrangements which bode ill for the future. Duke Ellington credited the Henderson band with being an early influence when he was developing the sound for his own band. In 1955, a list of top recording artists from the previous year was publicly released. Some "progressive" big bands such as those led by Stan Kenton and Boyd Raeburn stayed oriented towards jazz, but not jazz for dancing. The Earl Hines Orchestra in 1943 featured a collection of young, forward-looking musicians who were at the core of the bebop movement and would in the following year be in the Billy Eckstine Orchestra, the first big band to showcase bebop. pp. In July 1942 the American Federation of Musicians called a ban on recording until record labels agreed to pay royalties to musicians. The Goodman band's 1938 Carnegie Hall Concert turned into a summit of swing, with guests from the Basie and Ellington bands invited for a jam session after the Goodman band's performance. Swing has its roots in 1920s dance music ensembles, which began using new styles of written arrangements, incorporating rhythmic innovations pioneered by Louis Armstrong, Coleman Hawkins, Benny Carter and other jazzmen. The name came from the emphasis on the off–beat, or weaker pulse. 10–13. The 1930s decade (and most of the 1940s as well) has been nostalgically labeled "The Golden Age of Hollywood" (although most of the output of the decade was black-and-white). Overview. With the early 1930s came the financial difficulties of the Great Depression that curtailed recording of the new music and drove some bands out of business, including the Fletcher Henderson Orchestra and McKinney's Cotton Pickers in 1934. Henderson's next business was selling arrangements to up-and-coming bandleader Benny Goodman. Django: The Life and Music of a Gypsy Legend. The doo-wop vocal group the Marcels had a big hit with their lively version of the swing-era ballad “Blue Moon”. Their repertoire overlaps 1930s swing, including French popular music, gypsy songs, and compositions by Reinhardt, but gypsy swing bands are formulated differently. Michael Verity is a jazz musician, writer, and photographer and a regular contributor many music industry niche sites. 1940 saw top-flight musicians such as Charlie Parker, Dizzy Gillespie, Don Byas, Charlie Christian, and Gene Ramey, whose careers in swing had brought them to New York, beginning to coalesce and develop the ideas that would become bebop. Kirchner, Bill, ed. Before the 1930s, small ensembles, usually consisting of a trumpet, trombone, clarinet, tuba or bass, banjo or piano, and drums, performed jazz. Artists like Willie Nelson and Asleep at the Wheel have continued the swing elements of country music. The early 1940s saw emerging trends in popular music and jazz that would, once they had run their course, result in the end of the swing era. Much of the top instrumental talent of the period were performing in small band formats ranging from R&B to bebop. Big band music would experience a resurgence during the 1950s, but the connection between the later big band music and the swing era was tenuous. Big band swing remained popular during the war years, but the resources required to support it became problematic. His name became synonymous with the dynamic, exuberant style of his big band. Some bandleaders such as John Kirby, Raymond Scott, and Claude Thornhill were fusing swing with classical repertoire. A group of teens adores forbidden music in … Lower manpower requirements and simplicity favored the rise of small band swing. Hines' arranger Jimmy Mundy would later contribute to the catalog of the Benny Goodman Orchestra. Print swing dresses skew a bit more casual, making them fun options for a swing dance party or a daytime outing with your gal pals. Dance high-life in the 1930s, 1940s, 1950s and 1960s. A Swing Revival occurred during the 1990s and 2000s led by Royal Crown Revue, Big Bad Voodoo Daddy, The Cherry Poppin' Daddies, Squirrel Nut Zippers, Lavay Smith, and Brian Setzer. Before the 1930s, small ensembles, usually consisting of a trumpet, trombone, clarinet, tuba or bass, banjo or piano, and drums, performed jazz. Swing has its roots in 1920s dance music ensembles, which began using new styles of written arrangements, incorporating rhythmic innovations pioneered by Louis Armstrong, Coleman Hawkins, Benny Carter and other jazzmen. The term “swing” has broad associations. Notable musicians of the swing era include Duke Ellington, Benny Goodman, Count Basie, Cab Calloway, Jimmy Dorsey, Tommy Dorsey, Woody Herman, Harry James, Lionel Hampton, Glenn Miller and Artie Shaw. The Stan Kenton and Woody Herman bands maintained their popularity during lean years of the late 1940s and beyond, making their mark with innovative arrangements and high-level jazz soloists (Shorty Rogers, Art Pepper, Kai Winding, Stan Getz, Al Cohn, Zoot Sims, Serge Chaloff, Gene Ammons, Sal Nistico). Electro swing is mainly popular in Europe, and electro swing artists incorporate influences such as tango and Django Reinhardt's gypsy swing. Although they originated in different continents, similarities have often been noted between gypsy swing and Western swing]l, leading to various fusions. By the early 1920s guitars and pianos sometimes substituted for the banjo and a string bass sometimes substituted for the sousaphone. Vocalist Peggy Lee joined the Goodman Orchestra in 1941 for a two-year stint, quickly becoming its star attraction on its biggest hits. One explanation for swing music’s popularity is that its driving intensity and abandon represented pleasure and freedom in a time when the country was steeped in hard times. 1960s–2000: Big Band nostalgia and swing revival, 1990s to present: swing house, electro swing and swing pop. Drummer Buddy Rich, after briefly leading one big band during the late 1940s and performing in various jazz and big band gigs, formed his definitive big band in 1966. Some big bands were moving away from the swing styles that dominated the late 1930s, for both commercial and creative reasons. Today, the best-known of these dances is the Lindy Hop, which … Panassié was also an advocate of the theory that jazz was a primal expression of the black American experience and that white musicians, or black musicians who became interested in more sophisticated musical ideas, were generally incapable of expressing its core values. Swing music was mostly performed by big bands and reached broad audiences over the radio, on records, and in dance halls nationwide. Charleston, social jazz dance highly popular in the 1920s and frequently revived. Our welcoming studio environment makes our studio the perfect place to hone your skills, no matter at what level you are. The Chicago style released the soloist from the constraints of contrapuntal improvisation with other front-line instruments, lending greater freedom in creating melodic lines. Each instrument had a specific role in the ensemble, and aside from the melody, parts were often improvised. Russell, Ross, Jazz Style in Kansas City and the Southwest, Berkeley, CA, University of California Press, 1972, 291 p. "It's not very difficult to understand the evolution of jazz into Swing. Dregni, Michael (2008). [citation needed]. In November 2013, Robbie Williams released Swings Both Ways. A subculture of jitterbuggers, sometimes growing quite competitive, congregated around ballrooms that featured hot swing music.
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