The History of Jazz & Swing

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Class 6 The Swing Era Begins Ange Rapa “Let’s Have Another Cup of Coffee” Fred Waring and his Pennsylvanians - 1932 Fred Waring 1900 – 1984 Waring Blendor Please sign-in on the Attendance Sheet Program Class Topic 1 Beginnings 2 The Ragtime Era 3 The Jazz Age Begins 4 The Jazz Age 5 Prelude to the Swing Era 6 The Swing Era Begins 7 The Swing Era 8 The Decline Video Reference Today… The Big Band Era (The Ballroom Era) Jazz Swing Age Era Jazz Ragtime Pop Music Development Society Music 1850 1900 1910 1920 1930 1940 1950 Review… The Road to Big Band Swing 1924-32 Armstrong Henderson Redman Webb The Lindy Hop Manning Miller A Tribute to Norma Miller… Society Dance Band Origin • symphony orchestra • European traditions Library • written arrangements • traditional dances (waltz, foxtrot, polka, Latin, etc.) • popular music Instrumentation • all types of reeds, brass, strings, drums, percussion Size • venue dependent Dixieland (New Orleans) Jazz Band Origin • New Orleans street bands Library • improvised, spontaneous, personal • Unwritten (head arrangements) Instrumentation • anything Size • typically less than 10 Swing Big Band Origin • society orchestra Library • written arrangements (traditional dances and pop) • focus: orchestrated jazz (written arr. with jazz solos) Instrumentation (typical sections) • Reed: 2-7 saxes /clarinets / flute • Brass: 2-4 trumpets, 2-4 trombones • Rhythm: piano, string bass, guitar, drums Size • greater than 10 pieces Entertainment Technology 1877 – Edison cylinder phonograph 1901 – Disk records (Victrola) Late 1920s: • Electric recording/playback • Radio receivers • Jukeboxes • Movies Benny Goodman with the Ben Pollack Californians (1925-29) Harry Goodman Glenn Miller Benny Goodman Ava Gardner and Artie Shaw John Hammond Producer – Talent Scout – Activist 1910 - 1987 .

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Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (Guest Post)*
“Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (guest post)* Chano Pozo and Dizzy Gillespie The jazz standard “Manteca” was the product of a collaboration between Charles Birks “Dizzy” Gillespie and Cuban musician, composer and dancer Luciano (Chano) Pozo González. “Manteca” signified one of the beginning steps on the road from Afro-Cuban rhythms to Latin jazz. In the years leading up to 1940, Cuban rhythms and melodies migrated to the United States, while, simultaneously, the sounds of American jazz traveled across the Caribbean. Musicians and audiences acquainted themselves with each other’s musical idioms as they played and danced to rhumba, conga and big-band swing. Anthropologist, dancer and choreographer Katherine Dunham was instrumental in bringing several Cuban drummers who performed in authentic style with her dance troupe in New York in the mid-1940s. All this laid the groundwork for the fusion of jazz and Afro-Cuban music that was to occur in New York City in the 1940s, which brought in a completely new musical form to enthusiastic audiences of all kinds. This coming fusion was “in the air.” A brash young group of artists looking to push jazz in fresh directions began to experiment with a radical new approach. Often playing at speeds beyond the skills of most performers, the new sound, “bebop,” became the proving ground for young New York jazz musicians. One of them, “Dizzy” Gillespie, was destined to become a major force in the development of Afro-Cuban or Latin jazz. Gillespie was interested in the complex rhythms played by Cuban orchestras in New York, in particular the hot dance mixture of jazz with Afro-Cuban sounds presented in the early 1940s by Mario Bauzá and Machito’s Afrocubans Orchestra which included singer Graciela’s balmy ballads.
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Artie Shaw, 1910-2004: Last Great Musician of the Big Band Era
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F. Scott Fitzgerald: Echoes of the Jazz Age (1931)
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