Swing era
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The document summarizes the history of swing music and big bands from the 1930s-1950s. It describes the sections of typical swing bands, influential bandleaders like Duke Ellington and Count Basie, how swing became popular music, and the evolution of big bands after World War II including those led by Stan Kenton and Woody Herman.
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Swing era
- 1. Swing Era Height of Popularity 1935-45 Began from Bands like James Reese Europe Fletcher Henderson, 1st Important Band Swing was Replaced by Bop in the 1940s After Era: Big Band Music Most Colleges have Jazz Ensembles 09/24/14 1
- 2. The Sections of the Swing Band Sax (3-5) Can include Clarinet, Flute Trumpet (2-5) Trombone (2-5) Rhythm Piano, Bass, Drums Bass = String Bass, Tuba Can include guitar/banjo, vibes 09/24/14 2
- 3. Duke Ellington’s Band 1930s 09/24/14 3
- 4. Stan Kenton Band 1950s 09/24/14 4
- 5. The Arranger Composes and/or arranges the individual parts for the instruments May be the Band Leader Can be a member of the band Can be self-employed 09/24/14 5
- 6. Arrangement Often called a Chart The arrangement: Compare & Contrast Sections Blend Sections Leaves space for solos 09/24/14 6
- 7. The Song May be a popular song Newly composed Riff tune Various riffs pieced together Sometimes not written, head chart 09/24/14 7
- 9. Fletcher Henderson 1st Important Big Band Established the Format for Arrangements 1st Recorded 1923 Armstrong Joined for a Year in 1924 (major influence) 09/24/14 9
- 10. Fletcher Henderson 09/24/14 10
- 11. The Stampede: The Arrangement The Stampede By Fletcher Henderson May 14, 1926 09/24/14 11
- 12. The Stampede: 1st Section Introduction 1-bar Piano riff 1-bar sax riff 1-bar trumpet riff 1 bar band answer 4-bar trumpet solo Compare & Contrast of Sections 09/24/14 12
- 13. 2nd Section Trombone Solo Accomp. Band Riff Band plays final bars with a piano break 09/24/14 13
- 14. 3rd Section Sax Solo Brass Accomp. • Long-note chords 09/24/14 14
- 15. 4th Section 4-Bar Interlude 2-Bar Sax Section 2-Bar Band 09/24/14 15
- 16. 5th Section Trumpet Solo Accomp. Sax long note chords Banjo backbeat (2&4) 09/24/14 16
- 17. 6th Section 2-Bar Piano Interlude 2-Bar Band Answer 09/24/14 17
- 18. 7th Section Clarinet Trio Accomp. Banjo on all 4 beats Clarinet Break 09/24/14 18
- 19. 8th Section Trumpet Solo Accomp. Sax long-note chords 4-Bars Band 09/24/14 19
- 20. 9th Section Trombone Solo Accomp. by Band Trumpet Tag 09/24/14 20
- 21. Edward Kennedy “Duke” Ellington (1899-1974) Most Prolific & Creative Arranger/Composer in Jazz History Pianist Composing: wrote Popular Songs, Instrumental Portraits of People & Places, Extended Compositions, Movie Scores, Sacred Concertos 09/24/14 21
- 22. Duke Ellington 09/24/14 22
- 23. Duke Ellington Arranging Style: wrote for “individuals” rather than instruments, voicing across sections of the band, 09/24/14 23
- 24. Duke Ellington Late 1920s House Band at the Cotton Club Wrote “Jungle Style” for their “Floor Shows” 09/24/14 24
- 25. Duke Ellington Duke Ellington 1930s Movie 09/24/14 25
- 26. Duke Ellington 09/24/14 26
- 27. Duke Ellington 09/24/14 27
- 28. Duke Ellington “The Mooche” 1928 Black and Tan Fantasy III 09/24/14 28
- 29. Duke Ellington Popular Songs/Jazz Standards Take The A Train (1941) 09/24/14 29
- 30. A Train: AABA Song Form Each section is 8 bars long Sax, Trumpet, Trombone Sections of the band are distinct Format: Intro, 32-bar melody, trumpet solo, interlude, call & response between sax section & trumpet, final melody, ending 09/24/14 30
- 31. AABA Song Form Introduction 4 bars piano stating the whole tone scale 09/24/14 31
- 32. A A-Section 8 bars Sax section has the melody Trombones & trumpets each with a different response “second A” is a direct repeat 09/24/14 32
- 33. B-Section 8 Bar B-Section Sax section has the melody Trombones respond 09/24/14 33
- 34. Final A-Section 8 Bars Sax Section has the melody Brass section (tpt. & trb.) responds with a different riff Ellington’s piano interjections are heard in the background 09/24/14 34
- 35. Trumpet Solo AABA Solo is “one chorus” 32 Bars Begins with a quote from “Old Man River” Sax section plays background, combination of riffs and long-note chords At end of B-Section room is left for piano and bass interjections 09/24/14 35
- 36. Interlude 4 Bar Interlude, not part of the original form Band plays a call-response figure that sounds like 3/4 instead of 4/4 Brass play on “one”, sax section answers Count 123-123-123-123-1234 09/24/14 36
- 37. A-A Sax & Trumpet 4 Bars: Sax section plays an ascending then descending melody 4 Bars: Trumpet Plays a Solo while saxes accompany with long note chords 09/24/14 37
- 38. B Trumpet solo cont. 8 Bars: Trumpet Solo continues but Trombone section is added to the Accompaniment 09/24/14 38
- 39. Return of Melody The Final A-Section, 3 times Sax Section has melody Brass Section has a new riff in background Brass use of mutes for “Ooo-wah” On 3d time through Ellington play the whole tone scale used in the intro Repeats are softer, “Ellington Ending” 09/24/14 39
- 40. Duke Ellington A Train Take the A Train from Reveille with Beverly 09/24/14 40
- 41. Duke Ellington Voicing Across Sections & Painting With Sound “Mood Indigo” 1931 09/24/14 41
- 42. Duke Ellington Writing for Individuals like Tricky Sam Nanton (a usual listening question) “What Am I Here For” 1942 (“ya-ya” trombone solo) “Magenta Haze” Johnny Hodges (big slippery vibrato) 09/24/14 42
- 43. Duke Ellington Extended Compositions Black Brown Beige (1944) • Three Movements: 1st Mvt. Opening Tricky Sam Come Sunday Johnny Hodges Big Band Theme 09/24/14 43
- 44. Duke Ellington 09/24/14 44
- 45. Kansas City Style Swing City administration allowed for a robust nightlife Simple Arrangements Riff Tunes, melody and/or background Head Charts 09/24/14 45
- 46. Count Basie 1904-1984 • Basie’s “New” Piano Style was the style of the future, “Comping” • Old Style was Stride • Basie Lightened, cut boom-chick • Played chords in syncopated places • Solos: sparse, upper register tinkling “Taxi War Dance” 09/24/14 46
- 47. Count Basie 09/24/14 47
- 48. Count Basie • Formed in Kansas City 1930s • Discover on Radio Broadcast by John Hammond • Toured to New York 1937 • Larger Bands, began to need written arrangements 09/24/14 48
- 49. Count Basie • Important even after the Swing Era • Evolved in the 1950s • Basie Ending • Dynamic Contrast • Even Slow Music Had a Groove • Basie: Corner Pocket • Goin' To Chicago (Blues Shouter) 09/24/14 49
- 50. Count Basie “One O’Clock Jump” One O'Clock Jump 09/24/14 50
- 51. Count Basie Riff Tune “Jumpin’ At The Woodside” 09/24/14 51
- 52. Swing Becomes Pop Music • Young Musicians from Chicago Jazz Land in New York and Become Part of the Music Industry. • First Play in Radio Orchestras • By 1935, Leading Radio Orchestras 09/24/14 52
- 53. Swing Becomes Pop Music • Jazz-Laced Band Music Called “Hot” • Benny Goodman, Clarinet, NBC Radio Show, Leads Hot Band • Goodman Says “Swing Era Started Aug. 25, 1935” • Bands Were A Complete Show 09/24/14 53
- 54. Benny Goodman • “King of Swing” • 1st Famous “Hot” Band (White) • Band Featured Dance Music & Clarinet Solos “Don’t Be That Way” Benny Goodman: Sing Sing 09/24/14 54
- 55. Goodman Quartet • Small “Chicago-Style” Jazz Group Within The Big Band • First Well-Known Integrated Combo • Lionel Hampton (vibes), Teddy Wilson (piano), Gene Krupa (drums) Benny Goodman Quartet 09/24/14 55
- 56. Goodman Quartet “Ding Dong Daddy” 09/24/14 56
- 57. Glenn Miller • Band Leader, Trombone • Glenn Miller Sound is Slow, Sweet Sax Sound. • Most Popular Band in 1941 • Theme Song “Moonlight Serenade” 09/24/14 57
- 58. Glenn Miller • Most Famous Swing Era Recording is • “In The Mood” • In The Mood: movie • Some Very Popular Songs • Chattanooga Choo-Choo 09/24/14 58
- 59. Glenn Miller 09/24/14 59
- 60. Glenn Miller • Joined Army Air Corps WWII • Lost At Sea 09/24/14 60
- 61. Mickey Bands • Not All Swings Bands Played Jazz • Some Played “Sweet” Dance Music Like Wayne King 09/24/14 61
- 62. Swing Era Ends • Swing Era Ends with the End of WWII • War Rationing & Cabaret Taxes help Kill It • Band Singers Become More Popular than Bands • Some Bands Continue as Pure Jazz Bands 09/24/14 62
- 63. Post Swing Big Bands • Big Bands are Still Around: Professional & Colleges • Various Names Have Been Used: Jazz Ensemble, Lab Band, Stage Band, Dance Band 09/24/14 63
- 64. Stan Kenton • Began Band in 1941, survived after the period • California Pianist and Prolific Arranger • Band Featured Brilliant Brass Section (loud, high notes) • Helped Jazz Education 09/24/14 64
- 65. Stan Kenton Band • “Artistry Jumps” (Brilliant Brass) • High Note Trumpet Player, Maynard Ferguson began with Kenton • Employed Many Important “West Coast” Jazz Musicians • “Lover” • Stan with Maynard on Sullivan 09/24/14 65
- 66. Woody Herman Band • Clarinetist, Began in the Late 1936 • Survived through the 1980s • Employed Younger Musicians • Caldonia • Late 1940s was “Four Brothers Band” • Four Brothers 1963 • In 1970s, Played Some Jazz-Rock • Fanfare for the Common Man 09/24/14 66
- 67. Thad Jones-Mel Lewis Band • “Kicks Band” Monday Nights in New York • Featured Basie-Like Groove • Groove Merchant • Complex Sax Section Writing 09/24/14 67
- 68. CSC Jazz Ensemble • Concert April 26, 2008 7:30 PM • Jazz Birds @ Wrecker’s 09/24/14 68