Jazz Swing Era
Essay Preview: Jazz Swing Era
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LESSSON 5
The Swing Era (1932-1942)
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Post Depression (1929)
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Big Bands become prominent
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Instrumentation: 4-5 trumpets, 4 trombones, 5 saxophones (woodwinds), piano, bass, drums, guitar
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Arranger becomes much more important
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Written out arrangements with less, or little, improvisation
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Some up-tempo tunes
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Many more ballads with jazz interpretation
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Music often for dancing
Music become a big business
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Recordings were now very important
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Recording companies now exercised control over music
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Record salesbecame the determining factor of success, (popularity vs. quality issue) commercialism
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Arrangements & improvised solos confined to much less time in order to adjust to three minute records to fit in juke boxes
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Situation doesnt change until 1948 with 33 1/3 rpm records
About the record business
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Gold record: sells over a million dollars
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Platinum record: sells over a million units
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By 1988 there were 2800 record companies, but:
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In 1933, only 3 record companies existed: 1. American Record Company, which owned a. Columbia; b. Brunswick; c. Vocalian; 2. Victor Records & subsidiary, Bluebird; 3. Decca Records
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1938: Start of Comodore Records
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1939: Start of legendary Blue Note Records
Because there were hundreds of bands and band leaders, there was a perceived need for an identifying signature, gimmick or attraction
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Glenn Miller – clarinet melody over the sax section
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Tommy Dorsey – his trombone sound with sweet tone and control
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Small groups of soloists became identified with some bands, e.g., Goodman: Krupa, Hampton, Herman, Getz
1933 – Repeal of Volstead act (Prohibition)
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Ballrooms attract thousands of people
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Even in small towns thousands show up for concerts/dances
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Jazz becomes very popular
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Surge in popularity of dancing; many dance every night
Elements of Swing music
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4/4 rhythm prevalent again (like Ragtime and New Orleans Style Dixieland)
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“Walking Bass” line begins to develop
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More role playing for musicians in the band such as leaders, section players & soloists
Early Bands and Figures
in New York
Fletcher Henderson
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Arranger and pianist, worked with fellow arranger Don Redman
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Credited with setting the big band instrumentation, independent horn sections
in Kansas City
Benny Moten Band
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More riff-like, less prearranged, more blues influenced
William “Count”Basie (1904-1984)
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Was in New York in the 1920s
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Joined a road show & became stranded in Kansas City
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Joined the Benny Moten Band
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Started his own band with many of Motens players
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When Moten died Basie took over his band
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Developed the idea of “comping” or “accompanying” jazz piano
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Piano is no longer a time keeper
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Piano punctuates freely and compliments the soloists and the band
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Basie had good technique; then, during recuperation from an injury to his hand he developed the “Plink Plink” piano style (very sparse playing style)
Ben Webster (1909-1973) (more info below in the Ellington Key Personnel Section)
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Virtuoso tenor saxophonist; innovative; had a breathy tone
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With Ellington 1940-1943, 1948-49
Count Basie,
Photo from Verve records
Coleman Hawkins “Hawk” (1904-1969)
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Played piano & cello as a child
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Joined Fletcher Henderson in 1924
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1934-39: toured Europe
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1941: led the first “Bebop” recording featuring Dizzy Gillespie
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A “hot” tenor player (in contrast, Lester Young with Basie was a “cool” tenor player)
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Always used younger musicians
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His “Body and Soul” recording is a jazz landmark
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Aggressive concept, heavy vibrato
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Had a very advanced harmonic concept
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Jagged tritone substitutions and altered