SEPTEMBER 18, 2015: UNIT 5:THE SWING ERA POPULAR MUSIC IN AMERICA Dr. Love, professor

CHAPTER 21 – BIG BAND SWING Benny Goodman’s band was playing the Palomar Ballroom in 1934, which was being broadcast across the nation They decided to pull out a swing tune and the crowd went crazy—so did the national audience Many cite this event as what started the swing era

CHAPTER 21 – BIG BAND SWING Big Band Swing The Swing era was roughly between Popular urban black dance orchestras set the stage: Duke Ellington Fletcher Henderson Bennie Moten (Kansas City) which Count Basie took over in 1935 After Goodman’s swing explosion, other bands joined the scene: Glenn Miller Artie Shaw Both Dorsey brothers Count Basie Duke Ellington

CHAPTER 21 – BIG BAND SWING The Sound of Big Band Swing The big band evolved directly from the jazz-influenced dance orchestras of the 1920s Two important developments: Expansion and transformation of the dance orchestra Fundamental change in the rhythmic foundation of the music Bands now had bigger sections, usually: 5 saxophones (2 alto, 2 tenor, 1 baritone) with possibility of doubling on clarinet 4 trumpets 4 trombones 4 rhythm section Strings Vocalist(s) Duke Ellington’s band only had 15 and was the minimum size during the era The expansion of the dance orchestra coincided with an increase in the use of riffs “Melodies” often consisted of a conversation among the sections—often trading riffs back and forth Adaptation of call and response One or more sections typically supported solos with riffs

CHAPTER 21 – BIG BAND SWING Swing Rhythm and the Rhythm Sections The rhythm section laid down the steady pulse that provided the foundation for all these riffs Some changes in the rhythm section from : Acoustic guitar replaced the banjo String bass replaced the tuba Drum set gained a new component—the hi-hat cymbal Rhythm also changed from the two-beat foxtrot beat to the four-beat swing rhythm The bass and guitar (and bass drum of the drum set) marked each beat The backbeat was played on the hi-hat and a stronger strum on the guitar The novel element in swing was the persistent timekeeping by a full rhythm section This supported the extensive syncopation in the riffs and call-and-response exchanges between sections Swing SWINGS because of the interplay between the timekeeping of the rhythm section and the syncopations everywhere else!

CHAPTER 21 – BIG BAND SWING “Wrappin’ It Up” (1934) Fletcher Henderson and His Orchestra A good example of swing Melody grows out of a simple riff Rhythm section is piano, acoustic guitar, string bass, and drums—more like a modern rhythm section Call-and-response feature among the sections, sometimes brass “respond to” the saxes, or vice versa Henderson laid the groundwork for big band swing: Saxes and brass exchanging riffs over a propulsive four-beat rhythm

CHAPTER 21 – BIG BAND SWING Fletcher Henderson and the Roots of Big-Band Swing From the tough times of the Depression, particularly for black folks, a few black bands found popularity and success Fletcher Henderson ( ), from a middle-class family from Georgia Came up north and found work as a song-plugger and jack-of-all- trades for Black Swan Records Went on to form a great dance band, performing at the Roseland Ballroom Musicians that played for him include Louis Armstrong, Coleman Hawkins, and Lester Young Was a great arranger, led the way for others to write for big bands Henderson’s arrangements were the ones Goodman used to popularize swing

CHAPTER 21 – BIG BAND SWING Glenn Miller: Singing, Swing, and Popular Success Swing as jazz was usually an instrumental music Swing as popular music was usually a vocal music Most swing hits had a vocal—popular songs played in a swing style Miller’s band was no exception—arguably the most popular big band of the time His band could move between swing and sweet with ease “In the Mood” a swing hit (mostly instrumental, by the way) and “Moonlight Serenade” (sweet) Big hit of 1941 was “Chattanooga Choo Choo” (H. Warren, M. Gordon, 1941) sold more than a million copies in one month Appeared in the 1941 film, Sun Valley Serenade Swing tune, based on a riff Featured vocals, sung by Tex Beneke and the Modernaires Bass has a walking line (one note per beat) Rhythm section is a full one—playing a 4-beat swing rhythm Lots of syncopation in the horn punches Call-and-Response among the sections (larger than F. Henderson’s band) First record certified “Gold” by the RIAA (Recording Industry Association of America) [gold record must sell 500,000 units]

CHAPTER 21 – BIG BAND SWING In 1942, Miller and his band joined the US Army Air Corps Played music for the troops and recorded for the war effort His plane disappeared en route to France from England Miller’s death seemed to signal the end of the swing era The Swing era can be framed by Goodman’s appearance at the Palomar Ballroom and by Miller’s death Some bands kept going—many musicians from the big bands went into the recording studios Big Bands played swing music but there was still a great amount of sweet music, crooners were just as popular Bands were divided about half and half Most specialized in one style or the other, BUT could certainly do both Sweet, like Swing, was a style of music as well as a type of playing Sweet music was a tamed fox trot—made of romantic songs, ballads, etc. Melody was the main component Less syncopation More moderate tempos Whereas swing jumped, sweet flowed

CHAPTER 22 – JAZZ IN THE SWING ERA Small-Group Jazz in the Swing Era Big bands were commercially successful and well known Small groups remained a vital part of jazz through the 1930s and into the early 1940s But jazz musicians wanted to improvise—not so much of an opportunity in the big bands Small groups afforded more opportunity for improvisation Most important bandleaders of the swing era performed and recorded with small groups

CHAPTER 22 – JAZZ IN THE SWING ERA Benny Goodman ( ) clarinet bandleader Dubbed “The King of Swing” HIGHLY popular bandleader and one of the best clarinettists of the century Band was hard-driving, excellent swing feel and his technically impressive clarinet playing made for a successful package, well-polished 1938 Famous Carnegie Hall concert—the first formal jazz concert Led many prominent combos which were widely popular also “I’ve Found a New Baby” features: Good example of a jazz performance of a popular song Presents a clear performance of the timekeeping in the rhythm section that was the foundation of the swing style Illustrates different types of solo improvisation in the clarinet, guitar, and piano Swing as a rhythmic feel and swing as a style are both apparent It swings because of the rhythmic interplay of the soloists with the rhythm section This song is a good example of swing as jazz—not really meant for dancing

CHAPTER 22 – JAZZ IN THE SWING ERA Goodman, Music and Race Goodman was one of the first to racially integrate his band Teddy Wilson ( ), black pianist Lionel Hampton ( ), black vibraphonist Also performed with members of Count Basie and Duke Ellington bands at the famous 1938 Carnegie Hall concert Charlie Christian ( ), black guitarist

CHAPTER 22 – JAZZ IN THE SWING ERA Count Basie: Improvisation in Big Band Swing Count Basie ( ) bandleader and pianist Many of the band’s hit were arrangements that grew out of “head” charts These are arrangements that are created on the spot, with little preplanning Basie’s band was the “swingingest” of the swing bands—put out a great rhythmic excitement and energy He had strong jazz soloists and a spontaneity that is hard to come by More background on Basie: He was born in New Jersey, he grew up hearing the leading stride pianists; also played the vaudeville circuit Influenced by Fats Waller, some by Earl Hines and Teddy Wilson Basie developed a smooth, simple style while still discreetly prompting the band 1927 he got a job accompanying movies 1928 joined Walter Page’s Blue Devils and then Moten’s band 1935, When Moten died, Basie formed a 9-piece group that included Lester Young and Jo Jones “The Barons of Rhythm” Broadcast live from the Reno Room

CHAPTER 22 – JAZZ IN THE SWING ERA In Kansas City, members of Bennie Moten’s and Walter Page’s Blue Devils combined into Basie’s band This big band style was simpler than Henderson’s or Ellington’s Relied on short phrases, “riffs,” exchanged between the sections, call-and– response, lots of soloists, and plenty of blues Band was noted for its emphasis on simplicity and relaxed swing feel “Head” arrangements Many important and influential band members Organized the first “modern” rhythm section—role models for timekeeping and accompanying Basie, great comping style, light touch, often using the high range of the piano Freddie Green ( ), guitar, crisp relaxed strokes on all four beats Walter Page ( ), bass, light and flexible bass lines, a master at walking bass Jo Jones ( ), drums, light precision within a loose but assured manner and ride rhythms, especially on the high-hat Basie eventually wound up at the Famous Door (NYC) with a 15-piece band During WWII big bands slowed down—after the War, ran a smaller group, an octet 1952 he was back with an orchestra with saxophonists Frank Foster, Eddie “Lockjaw” Davis, trumpeters Thad Jones and Joe Newman. Also recorded with such notable vocalists as Frank Sinatra, Tony Bennet, Sammy Davis, Jr. Sarah Vaughan, and Bing Crosby

CHAPTER 22 – JAZZ IN THE SWING ERA Duke Ellington, Painter in Sound Ellington ( ), pianist, composer, bandleader, had the most distinctive big band of the swing era The sound color he was able to get from his band is his most distinguishing characteristic He used the different timbres from the sections very imaginatively This comes from three sources: His own musical imagination His long apprenticeship in New York nightclubs A core of musicians, some of whom were with him a very long time He got his start in his hometown, Washington, DC Moved to New York: at the Cotton Club from Their shows were broadcast nationally over the radio “Jungle music” was a popular style that featured novel effects and driving rhythms from his players

CHAPTER 22 – JAZZ IN THE SWING ERA Later he would turn to larger, longer forms, like church music, film-scoring and multi-movement suites His players had a high degree of individuality and Ellington wrote a number of pieces specifically for his players He had an excellent command of using the different combinations of instruments to achieve sound colors Ellington will be remembered as the greatest composer in the history of jazz His music demonstrates his special sound world: Vibrant and varied timbres Exotic harmonies Careful use of register and dynamics A clear sense of pacing He also imparted a solution to a major issue in jazz composition: a sense of structure Ellington brought such a fine combination of craft and imagination to jazz

CHAPTER 22 – JAZZ IN THE SWING ERA Swing in the Postwar Years Swing lifted people’s spirits as America was coming out the Depression By the end of WWII, swing was over, but the sound of swing didn’t go away In postwar years, swing split off into three directions: Jazz-influenced popular singing Bebop Upbeat style of R & B