swing 1930s dance

swing definition: 1. to move easily and without interruption backwards and forwards or from one side to the other…. 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. [5] In the late 1980s to early 1990s, new urban-styled swing-beat emerged called new jack swing (New York go-go), created by young producer Teddy Riley. Some bands used string or vocal sections, or both. 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. The Basie and Ellington bands flourished creatively and commercially through the 1960s and beyond, with both veteran leaders receiving high acclaim for their contemporary work and performing until they were physically unable. The rhythm section consisted of a sousaphone and drums, and sometimes a banjo. 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. Swing was sometimes regarded as light entertainment, more of an industry to sell records to the masses than a form of art, among fans of both jazz and "serious" music. The resurgent commercial success of Frank Sinatra with a mildly swinging backup during the mid-1950s solidified the trend. Hot swing music is strongly associated with the jitterbug dancing that became a national craze accompanying the swing craze. Charleston, social jazz dance highly popular in the 1920s and frequently revived. 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. Cook, Richard (2005), Jazz Encyclopedia, London: Penguin. Vocalist Peggy Lee joined the Goodman Orchestra in 1941 for a two-year stint, quickly becoming its star attraction on its biggest hits. When you take lessons at the new Madison location of Fred Astaire Dance Studios, you’ll receive quality instruction of multiple dance styles and approaches. [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. Before the 1930s, small ensembles, usually consisting of a trumpet, trombone, clarinet, tuba or bass, banjo or piano, and drums, performed jazz. 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 A dance floor full of jitterbuggers had cinematic appeal; they were sometimes featured in newsreels and movies. Big Bands . That's why they introduced "swing" which is not a musical form" (no comment on Fletcher Henderson, Earl Hines, Duke Ellington, or Count Basie). During the Henderson band's extended residency at the Roseland Ballroom in New York, it became influential on other big bands. Small band swing was recorded for small specialty labels not affected by the ban. As the swing era went into decline, it secured legacies in vocalist-centered popular music, "progressive" big band jazz, R&B, and bebop. This propulsive effect was introduced by stride pianists in the 1920s and has been a common feature of jazz through the decades. The level of improvisation that the audience might expect varied with the arrangement, song, band, and band-leader. In 1935 the Benny Goodman Orchestra had won a spot on the radio show "Let's Dance" and started showcasing an updated repertoire featuring Fletcher Henderson arrangements. Then by 1936, dancers were ready to cut loose again, with the new hits of the Shag, Big Apple and the late blossoming of Lindy Hop and jitterbug. The Victor Recording Orchestra won the respect of the Fletcher Henderson Orchestra in a Battle of the Bands; Henderson's cornetist Rex Stewart credited the Goldkette band with being the most influential white band in the development of swing music before Benny Goodman's. [15][16] Whiteman's Orchestra enjoyed great commercial success and was a major influence on the sweet bands. Swing music encouraged people to cast aside their troubles and dance. Swing music was mostly performed by big bands and reached broad audiences over the radio, on records, and in dance halls nationwide. Big band swing remained popular during the war years, but the resources required to support it became problematic. 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. Fred Astaire Dance Studio of Madison West is the premier dance studio for adult ballroom dancing. Popular music was centered on vocalists, and a full-time big band to back up a vocalist was increasingly seen as an unnecessary expense. 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. However, swing also refers to the style of jazz that was popular from roughly 1930 until around World War II. Some "progressive" big bands such as those led by Stan Kenton and Boyd Raeburn stayed oriented towards jazz, but not jazz for dancing. 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. His approaches to rhythm and phrasing were also free and daring, exploring ideas that would define swing playing. ", "The missing link in the evolution of JUMP BLUES", "Squirrel Nut Zippers Reissuing 'Hot' - Listen to Unreleased 1991 Song 'The Puffer': Exclusive", Mondavi swings to the jive of Big Bad Voodoo Daddy, Blowin' Hot and Cool: Jazz and Its Critics, "The 1942 Recording Ban and the ASCAP/BMI War", https://en.wikipedia.org/w/index.php?title=Swing_music&oldid=1023325641, Short description is different from Wikidata, Articles with unsourced statements from August 2020, Creative Commons Attribution-ShareAlike License. Founding leader of the New Deal Rhythm Band John Holte led swing revival bands in the Seattle area until 2003. But instead of a small ensemble, swing music featured a section of three or four trumpeters, three or four trombonist, five saxophonists who often doubled on clarinets, a piano, a bassist instead of a tuba player, a guitarist, and a drummer. Biography of Buddy Rich, Legendary Jazz Drummer, Ensembles: Making Beautiful Music Together. It originated in Afro-American area of Harlem in the late 1930s and early 1940s. By the early 1920s guitars and pianos sometimes substituted for the banjo and a string bass sometimes substituted for the sousaphone. The term “swing” has broad associations. As the 1920s turned to the 1930s, the new concepts in rhythm and ensemble playing that comprised the swing style were transforming the sounds of large and small bands. Lower manpower requirements and simplicity favored the rise of small band swing. Gypsy Jazz: In Search of Django Reinhardt and the Soul of Gypsy Swing. That stopped recording of instrumental music for major labels for over a year, with the last labels agreeing to new contract terms in November 1944. Before the 1930s, small ensembles, usually consisting of a trumpet, trombone, clarinet, tuba or bass, banjo or piano, and drums, performed jazz. Coleman Hawkins arrived back from an extended stay in Europe to New York in 1939, recorded his famous version of “Body and Soul”, and fronted his own big band. Another blow fell on the market for dance-oriented swing in 1944 when the federal government levied a 30% excise tax on "dancing" nightclubs, undercutting the market for dance music in smaller venues. [1] During the World War II era Swing began to decline in popularity, and after war, bebop and jump blues gained popularity. Another modern development consists of fusing swing (original, or remixes of classics) with hip hop and house techniques. Swing music has a compelling momentum that results from musicians’ attacks and accenting in relation to fixed beats. Both genres are connected with a revival of swing dances, such as the Lindy hop. Harker, Brian C., 1997, Early Musical Development of Louis Armstrong, 1921–1928, unpublished PhD Dissertation, Columbia University, 390 p. plus Appendix. Wartime restriction on travel, coupled with rising expenses, curtailed road touring. Leading artists include Caravan Palace and Parov Stelar. Swing dancing originated in the late 1920s as the "Lindy Hop," and would later incorporate other styles including The Suzie Q, Truckin', Peckin' Jive, The Big Apple, and The Shag in various combinations of moves. The Chick Webb Orchestra remained closely identified with the Savoy Ballroom, having originated the tune "Stompin' at the Savoy", and became feared in the Savoy's Battles of the Bands. Nat King Cole followed Sinatra into pop music, bringing with him a similar combination of swing and ballads. 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. Many of the bands played neo-swing which combined swing with rockabilly, ska, and rock. 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. Those restrictions made broadcast swing much less appealing for the year in which the ban was in place. 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. The bands in these contexts performed in relative anonymity, receiving secondary credit beneath the top billing. 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). Influences incorporated into it include Louis Jordan and Louis Prima. 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. Directed by Thomas Carter. Big band jazz remains a major component of college jazz instruction curricula. Henderson's next business was selling arrangements to up-and-coming bandleader Benny Goodman. 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. Vocalists were becoming the star attractions of the big bands. Oxford University Press. The doo-wop vocal group the Marcels had a big hit with their lively version of the swing-era ballad “Blue Moon”. For one thing, it refers to a particular lilting rhythmic style that is based on a triplet subdivision of the beat. [20][21] Emblematic of the evolving music was the change in the name of Moten's signature tune, from "Moten Stomp" to "Moten Swing". "Swing house" was particularly popular during the late 1980s and early 1990s. These labels had limited distribution centered in large urban markets, which tended to limit the size of the ensembles with which recording could be a money-making proposition. Audiences used to traditional "sweet" arrangements, such as those offered by Guy Lombardo, Sammy Kaye, Kay Kyser and Shep Fields, were taken aback by the rambunctiousness of swing music. Some big bands were moving away from the swing styles that dominated the late 1930s, for both commercial and creative reasons. [11][12] Hines' style was a seminal influence on the styles of swing-era pianists Teddy Wilson, Art Tatum, Jess Stacy, Nat "King" Cole, Erroll Garner, Mary Lou Williams, and Jay McShann. [6] In the late 1990s and into the 2000s, there was a swing revival, led by Squirrel Nut Zippers,[7] Brian Setzer orchestra and Big Bad Voodoo Daddy.[8]. Rock music hitmakers like Fats Domino and Elvis Presley included swing-era standards in their repertoire, making crooning ballads “Are You Lonesome Tonight” and “My Blue Heaven” into rock and roll-era hits. It became a sound associated with pop vocalists such as Bobby Darin, Dean Martin, Judy Garland, and Nat King Cole, as well as jazz-oriented vocalists such as Ella Fitzgerald and Keely Smith. Swing dancing would outlive the swing era, becoming associated with R&B and early Rock&Roll. Gypsy swing is an outgrowth of the jazz violin swing of Joe Venuti and Eddie Lang. 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). Meanwhile, string bass players such as Walter Page were developing their technique to the point where they could hold down the bottom end of a full-sized dance orchestra.[14]. You can read about some of the original Lindy Hoppers in our Swing Stars section. Oxford University Press. Price, "Jazz Guitar and Western Swing", p. 82. Vocalist Ella Fitzgerald, after joining the Chick Webb Orchestra in 1936, propelled the band to great popularity and the band continued under her name after Webb's death in 1939. Bandleaders like Benny Goodman and Fletcher Henderson drew crowds of young people to ballrooms and dance … 10–13. In country music Jimmie Rodgers, Moon Mullican, and Bob Wills combined elements of swing and blues to create a Western swing. Tommy Dorsey's Clambake Seven and Bob Crosby's Bobcats were examples of Dixieland ensembles within big swing bands. Hines' melodic, horn-like conception of playing deviated from the contemporary conventions in jazz piano centered on building rhythmic patterns around "pivot notes". The Great Depression caused Americans to suffer, and dancing to swing music was a way for people to forget their worries. In the meantime, vocalists continued to record backed by vocal groups and the recording industry released earlier swing recordings from their vaults, increasingly reflecting the popularity of big band vocalists. The name came from the emphasis on the off–beat, or weaker pulse. The recording found the commercial success that had eluded its original release. Improvisation also had a featured role, and soloists would play while the rest of the band, aside from the rhythm section, dropped out or played arranged background lines. Dan Hicks and His Hot Licks, and later David Grisman, presented adaptations of Gypsy Swing, rekindling interest in the musical form. Some arrangements were built entirely around a featured soloist or vocalist. Harry James and his Orchestra"). With Robert Sean Leonard, Christian Bale, Frank Whaley, Barbara Hershey. During the World War II era Swing began to decline in popularity, and after war, bebop and jump blues gained popularity. 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. "Swing and the Lindy Hop: Dance, Venue, Media, and Tradition". Starting in 1923, the Fletcher Henderson Orchestra featured innovative arrangements by Don Redman that featured call-response interplay between brass and reed sections, and interludes arranged to back up soloists. The music brought a revival in swing dancing. 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. A group of teens adores forbidden music in … [citation needed]. 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. He also used "stops" or musical silences to build tension in his phrasing. Although they originated in different continents, similarities have often been noted between gypsy swing and Western swing]l, leading to various fusions. There is no brass or percussion; guitars and bass form the backbone, with violin, accordion, clarinet or guitar taking the lead. [27], The war's end saw the elements that had been unified under big band swing scattered into separate styles and markets. Swing dance is a group of dances that developed with the swing style of jazz music in the 1920s–1940s, with the origins of each dance predating the popular "swing era".Hundreds of styles of swing dancing were developed; those that have survived beyond that era include Lindy Hop, Balboa, Collegiate Shag, and Charleston. This page was last edited on 15 May 2021, at 19:52. In a 1939 Downbeat interview, Duke Ellington expressed dissatisfaction with the creative state of swing music;[25] within a few years he and other bandleaders would be delving into more ambitious, and less danceable, forms of orchestral jazz and the creative forefront for soloists would be moving into smaller ensembles and bebop. Ellington's venture back into big band jazz was encouraged by its reception at the 1956 Newport Jazz Festival. Hines' arranger Jimmy Mundy would later contribute to the catalog of the Benny Goodman Orchestra. In 1955, a list of top recording artists from the previous year was publicly released. 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'). Kirchner, Bill, ed. Miller's trademark clarinet-led reed section was decidedly "sweet," but the Miller catalog had no shortage of bouncy, medium-tempo dance tunes and some up-tempo tunes such as Mission to Moscow and the Lionel Hampton composition “Flying Home”. [23] In his 1941 autobiography, W. C. Handy wrote that "prominent white orchestra leaders, concert singers and others are making commercial use of Negro music in its various phases. The mother of Swing dances is Lindy Hop and this is the core dance taught by Swing Patrol. Some swing bandleaders saw opportunities in the Dixieland revival. Developments in dance orchestra and jazz music during the 1920s both contributed to the development of the 1930s swing style. Swing music was mostly performed by big bands and reached broad audiences over the radio, on records, and in dance halls nationwide. This sectionalized approach carried over into the big bands of swing music. 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. In country music, artists such as Jimmie Rodgers, Moon Mullican and Bob Wills introduced elements of swing along with blues to create a genre called "western swing". The list revealed that big band sales had decreased since the early 1950s. The growth of radio broadcasting and the recording industry in the 1920s allowed some of the more popular dance bands to gain national exposure. Moten's orchestra had a highly successful tour in late 1932. Mentioned as early as 1903, it was originally a black folk dance known throughout the American South and especially associated with Charleston, S.C. 1000万語収録！Weblio辞書 - swing とは【意味】(一定点を軸に前後にまたはぐるぐると規則正しく)揺れ動く,ぶらぶら揺れる... 【例文】swing like a pendulum... 「swing」の意味・例文・用例ならWeblio英和・和英辞書 Lionel Hampton was a leader in the R&B genre during the late 1940s then re-entered big band jazz in the early 1950s, remaining a popular attraction through the 1960s. Starting in 1928, The Earl Hines Orchestra was broadcast throughout much of the midwest from the Grand Terrace Cafe in Chicago, where Hines had the opportunity to expound upon his new approaches to rhythm and phrasing with a big band. 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. Dance highlife evolved during World War II, when American jazz and swing became popular with the … "The Sentimental Gentleman of Swing" Tommy Dorsey made a nod to the hot side by hiring jazz trumpeter and Goodman alumnus Bunny Berigan, then hiring Jimmie Lunceford's arranger Sy Oliver to spice up his catalog in 1939. In 1927 Armstrong worked with pianist Earl Hines, who had a similar impact on his instrument as Armstrong had on trumpet. The hard core dancing niche formerly occupied by hot big band swing was occupied by small "jump" bands and R&B. Artists like Willie Nelson and Asleep at the Wheel have continued the swing elements of country music. The verb "to swing" is also used as a term of praise for playing that has a strong groove or drive. The Basie orchestra collectively and individually would influence later styles that would give rise to the smaller "jump" bands and bebop. In Europe it was heard in the music of guitarist Django Reinhardt and violinist Stéphane Grappelli. Asleep at the Wheel has also recorded the Count Basie tunes “One O'Clock Jump”, “Jumpin' at the Woodside”, and “Song of the Wanderer” using a steel guitar as a stand-in for a horn section. Swingin' pop remained popular into the mid-1960s, becoming one current of the "easy listening" genre. [28] However, big band music saw a revival in the 1950s and 1960s. In Seattle the New Deal Rhythm Band and the Horns O Plenty Orchestra revived 1930s swing with a dose of comedy behind vocalists Phil "De Basket" Shallat, Cheryl "Benzene" Bentyne, and six-foot-tall "Little Janie" Lambert. Many of these singers were also involved in the "less swinging" vocal pop music of this period. Some bandleaders such as John Kirby, Raymond Scott, and Claude Thornhill were fusing swing with classical repertoire. Count Basie and Duke Ellington had both downsized their big bands during the first half of the 1950s, then reconstituted them by 1956. Learn more. In July 1942 the American Federation of Musicians called a ban on recording until record labels agreed to pay royalties to musicians. Ability to adapt performing styles to various situations was an essential skill among these bands-for-hire, with a somewhat sedated version of swing in common use for backing up vocalists. Audiences raved about the new music, and at the Pearl Theatre in Philadelphia in December 1932, the doors were let open to the public who crammed into the theatre to hear the new sound, demanding seven encores from Moten's orchestra.[14]. Swing bands usually featured soloists who would improvise on the melody over the arrangement. The Chicago style released the soloist from the constraints of contrapuntal improvisation with other front-line instruments, lending greater freedom in creating melodic lines. pp. The sudden success of the Goodman orchestra transformed the landscape of popular music in America. Swing bands and sales continued to decline from 1953 to 1954. Between the poles of hot and sweet, middlebrow interpretations of swing led to great commercial success for bands such as those led by Artie Shaw, Glenn Miller and Tommy Dorsey. Other swing revivals occurred during the 1970s. The Henderson band also featured Coleman Hawkins, Benny Carter, and Buster Bailey as soloists, who all were influential in the development of swing era instrumental styles. With its Savoy engagement in 1937, the Count Basie Orchestra brought the riff-and-solo oriented Kansas City style of swing to national attention. His approach to rhythm often used accents on the lead-in instead of the main beat, and mixed meters, to build a sense of anticipation to the rhythm and make his playing swing. Swing band arrangements were in large part composed, often of simple, repeated material, or “riffs,” that alternated between contrapuntal lines and intense unison rhythms. 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. [9] In 1925 Armstrong left the Henderson band and would add his innovations to New Orleans style jazz to develop Chicago style jazz, another step towards swing. His name became synonymous with the dynamic, exuberant style of his big band. 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. It was on earlier on the West Coast and developed the audience that later led to Goodman's Palomar Ballroom triumph. The jazz, R&B, and swing revival vocal group Manhattan Transfer and Bette Midler included swing era hits on albums during the early 1970s. Spring, Howard. New York became a touchstone for national success of big bands, with nationally broadcast engagements at the Roseland and Savoy ballrooms a sign that a swing band had arrived on the national scene. Typically included in big band swing arrangements were an introductory chorus that stated the theme, choruses arranged for soloists, and climactic out-choruses. [24] The Dixieland revival started in the late 1930s as a self-conscious re-creation of New Orleans jazz in reaction against the orchestrated style of big band swing. The trend away from big band swing was accelerated by wartime conditions and royalty conflicts.

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