SWING AND THE BIG BANDS MUH 271 Jazz History. JAZZ IN THE 1920S  much of the most popular music called jazz reflects a "slapstick" phase.  new interest.

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Presentation transcript:

SWING AND THE BIG BANDS MUH 271 Jazz History

JAZZ IN THE 1920S  much of the most popular music called jazz reflects a "slapstick" phase.  new interest in the blues.  "As jazz expands in the 1920s, it becomes increasingly difficult to sort out the many strands of direct or indirect influences, of concurrent or successive developments, and of regional musical- social characteristics" (Schuller 1968, p. 242).

THE ODJB IN NEW YORK  Original Dixieland Jazz Band opened at one of the Reisenweber restaurants (Jan. 1917).  possibly first to introduce the New Orleans style to New York.  Reaction of other band leaders:  attempted to cash in on its popularity.  attack the music, presumably on esthetic-musical grounds.

JAMES REESE EUROPE  important transitional figure.  his bands could play with impeccable intonation and execution.  most noted for '"pushing the limits," creating excitement and rhythmic momentum.  "Europe, in fact, accomplished what other orchestras failed to do: playing ragtime pieces in orchestration as fast as the piano players did" (Schuller 1968, p. 242).

“NEW” OR YOUNGER JAZZ MUSICIANS  “... a new generation of Negro musicians, unheralded and practically unnoticed, was quietly slipping into New York" (Schuller 1968, pp ).  jazz in some form had always been available.  see jazz as a profession capable of providing income..  Ability to read music.  Technical ability on their instrument.  Knowledge of music theory.

NEW GENERATION CONT’D.  The most talented musicians “developed in their own directions and hoped they would be recorded,” (Schuller 1968, p. 243) while others imitated those who had already proven successful.  Cross-fertilization - the reading, non-improvising, instrumentally schooled musician combined with the less literate, though not necessarily less gifted, counterpart.

TRANSMISSION OF THE MUSIC  Recording and broadcast industries.  a new, larger listening audience.  breaking down regional boundaries, increasing awareness of musicians.

BIG BANDS  By the end of the 1920s, the primary vehicle for jazz had become the "Big Band.“  pre-existing format:  society and syncopated dance bands of the early 1900s.  “polyphonic” conception of jazz (collective improvisation) gave way to a more homophonic approach (written arrangements).  Increased emphasis on block chords, parallel voicing, and “section” writing.

LARGER ENSEMBLES  Typical instrumentation included:  Woodwinds – Saxophones (often 5) who may double on clarinet or flute.  Brass – Trumpets (3-4) and Trombones (3-4).  Rhythm section – piano, bass, drums, guitar.

FACTORS LEADING TO SUCCESS  In "The Big Bands," George T. Simon lists four factors that contributed to the success of certain bands:  Business affairs (financial support, management, recordings, radio, etc.)  the band's musical style, generally established by the band's musical director (leader and/or arranger).  the musicians - ability to read, improvise, attitude, cooperation.  singers.  the leader assumed the most vital and responsible role.