01. Glenn Miller - American Patrol
02. Glenn Miller - Pavanne
03. Glenn Miller - Pagan Love Song
04. Glenn Miller - Stardust
05. Glenn Miller - Keep 'Em Flying
06. Bunny Berigan - Frankie and Johnny
07. Bunny Berigan - Mahogany Hall Stomp
08. Bunny Berigan - I Can't Get Started
09. Bunny Berigan - Little Gate's Special
10. Earl Hines - Sweet Georgia Brown
11. Earl Hines - Bubbling Over
12. Earl Hines - Father Steps In
13. Earl Hines - Boogie Woogie on St Louis Blues
14. Earl Hines - Deep Forest
15. Fletcher Henderson - St Louis Shuffle
16. Fletcher Henderson - Hot and Anxious
17. Fletcher Henderson - Sugar Foot Stomp
18. Fletcher Henderson - Limehouse Blues
19. Fletcher Henderson - Christopher Columbus
20. Benny Goodman - Down South Camp Feeling
21. Benny Goodman - Life Goes to a Party
22. Benny Goodman - If Dreams Come True
23. Benny Goodman - Big John's Special
24. Benny Goodman - Solo Flight
25. Benny Goodman - A String of Pearls

Swing jazz would have its beginnings in the late 1920s, not coming out fully until the early to mid-30s. It would reach its peak during the 40s, followed by a quick and steady decline into the shadows by the 50s. There it remained until around 1990 when it started regaining a following.

Before Swing Jazz

The Jazz Age -- the 1920s -- among other things, was marked by dixieland and hot jazz bands, the flapper, the Charleston, the creation of Lindy Hop, and the very beginnings of swing jazz music.

Between 1900 and 1920, the more common early types of American music included concert bands and Dixieland -- an early style of jazz. These early types were distinguished by their ensemble playing, and out of which developed the hot jazz bands of the mid to late 20s. These hot jazz bands, with the help of Louis Armstrong, would evolve into swing jazz music of the 30s.

Swing Jazz

Changes that marked the introduction of swing jazz included the use of a more free flowing rhythm using four beats to a bar instead of the two beats that was common in New Orleans dixieland jazz. The rhythm itself would be supplied by a piano and/or a set of drums or an occassional guitar. The tuba of the older styles was replaced by a string bass.

Another change was the common use of riffs, or short melodic ideas that were used repeatedly in call-and-response patterns between instrumental sections of a band. The sections were often composed of a brass section such as trumpets and trombones; and a reed section with instruments such as the saxophone and the clarinet. The call-and-response style was much in imitation to call-and-response style found in the African-American Southern Baptist churchs.

Many of the early swing jazz bands grew to have 16 or more instruments playing with and against each other. At this point, many of these swing jazz big bands rightly referred to themselves as orchestras.

There were different styles of swing jazz. There were the hot bands, such as Count Basie and Tommy Dorsey, which often played quick hard-driving jump tunes. There were also the sweet bands, such as the Glenn Miller Orchestra, who played less improvised tunes with more emphasis on sentimentality. In general, hot tunes were fast-paced, sometimes heart-racing songs, while the sweet tunes were the slower-paced, often heart-felt songs. This is what Duke Ellington alludes to in the song "It Don't Mean a Thing (If It Ain't Got That Swing)" when he writes "It don't matter if you play it sweet or hot."

With swing jazz, band members were given more opportunities to solo during a song, becoming more visible, and even to gain a following of fans. Some players, such as drummer Gene Krupa, would use such fame to start bands of their own.

The role of the band leader also changed. Bandleaders use to stand in front of the band and wave a baton, such men as Paul Whiteman. With swing jazz, the bandleader often played an instrument as well, such as during a solo such as clarinet playing bandleader Benny Goodman, or throughout the song like piano player bandleader Count Basie.

Often, music will influence the way a dance evolves. However, with swing jazz, it may have been the other way around. The bands playing to live dancing audience would tailor the music for the dancer's benefit. Quickly, the music evolved to fit the dancing, creating a symbiotic relationship between the two so great, they are referred to by the same term: "swing." ---history.just-the-swing.com

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01. Jimmy Dorsey - Don't Be That Way
02. Jimmy Dorsey - John Silver
03. Jimmy Dorsey - Major and Minor Stomp
04. Jimmy Dorsey - Turn Right
05. Tommy Dorsey - I'm Getting Sentimental Over You
06. Tommy Dorsey - Melody in F
07. Tommy Dorsey - Song of India
08. Tommy Dorsey - Boogie Woogie
09. Tommy Dorsey - Quiet Please
10. Erskine Hawkins - Gin Mill Special
11. Erskine Hawkins - Tuxedo Junction
12. Erskine Hawkins - After Hours
13. Jimmie Lunceford - Rhythm is Our Business
14. Jimmie Lunceford - T'ain't What You Do
15. Jimmie Lunceford - Uptown Blues
16. Jimmie Lunceford - Lunceford Special
17. Stan Kenton - Taboo
18. Stan Kenton - Adios
19. Stan Kenton - El Choclo
20. Count Basie - One o' Clock Jump
21. Count Basie - Blue and Sentimental
22. Count Basie - Jumpin' at the Woodside
23. Count Basie - Clap Hands, Here Comes Charlie
24. Count Basie - Rockin' the Blues
25. Count Basie - Red Bank Boogie

While New Orleans jazz has improvised ensembles, when jazz started becoming popular in the 1920s and demand was growing for larger dance bands, it became necessary for ensembles to be written down, particularly when a group included more than three or four horns. Although swing largely began when Louis Armstrong joined Fletcher Henderson's Orchestra in 1924 and Don Redman began writing arrangements for the band that echoed the cornetist's relaxed phrases, the swing era officially started in 1935 when Benny Goodman's Orchestra caught on. Swing was a major force in American popular music until the big-band era largely ended in 1946. Swing differs from New Orleans jazz and Dixieland in that the ensembles (even for small groups) are simpler and generally filled with repetitious riffs, while in contrast the solos are more sophisticated. Individual improvisations still paid close attention to the melody but due to the advance in musicianship, the solo flights were more adventurous. The swing-oriented musicians who continued performing in the style after the end of the big band era (along with later generations who adopted this approach) were also playing "mainstream." The many stars of swing during the big-band era included trumpeters Louis Armstrong, Bunny Berigan, Harry James, and Roy Eldridge; trombonists Tommy Dorsey and Jack Teagarden; clarinetists Benny Goodman and Artie Shaw; tenor saxophonists Coleman Hawkins, Lester Young, and Ben Webster; altoists Johnny Hodges and Benny Carter; pianists Teddy Wilson, Art Tatum, Earl Hines, Count Basie, and Nat King Cole; guitarist Charlie Christian; drummers Gene Krupa and Chick Webb; vibraphonist Lionel Hampton; bandleader Glenn Miller; and singers Billie Holiday, Ella Fitzgerald, and Jimmy Rushing. ---Rovi

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01. Cab Calloway - Minnie the Moocher
02. Cab Calloway - Come On With the Come On
03. Cab Calloway - Jonah Joins the Cab
04. Lucky Millinder - Trouble in Mind
05. Lucky Millinder - Apollo Jump
06. Lucky Millinder - Mason Flyer
07. Lucky Millinder - Shipyard Social Function
08. Gene Krupa - Drummin' Man
09. Gene Krupa - Let Me Off Uptown
10. Gene Krupa - After You've Gone
11. Gene Krupa - Rockin' Chair
12. Harry James - Back Beat Boogie
13. Harry James - Flight of the Bumble Bee
14. Harry James - Trumpet Blues and Cantabile
15. Bob Crosby - South Rampart Street Parade
16. Bob Crosby - I'm Prayin' Humble
17. Bob Crosby - Boogie Woogie Maxixe
18. Bob Crosby - Sugar Foot Stomp
19. Chick Webb - Stomping at the Savoy
20. Chick Webb - Don't Be That Way
21. Chick Webb - Liza (All The Clouds Roll Away)
22. Chick Webb - Undecided / Chick Webb
23. Lionel Hampton - Flying Home
24. Lionel Hampton - Flying Home No. 2
25. Lionel Hampton - Hamp's Boogie Woogie

Jazz began to "swing" as musicians began to adopt swing eighths, th estring bass, high hat cymbals, and a looser, more rythmic feeling . This change occurred gradually starting in the twenties with musicians such as Louis Armstrong, and continued on into the 40's. A lot of the music that came out of this period was played by bands of ten musicians or more. Because of this the swing era is also often known as the big band era. Some big bands didn't include a lot of improvisation. Other big bands such as that of Count Basie placed great emphasis on improvisation.

Jazz music had been played as a form as entertainment since its inception. During the swing era jazz music developed into tremendous music to dance to. Jazz groups seldom performed just for listening. Swing dansing was an extremely popular past time. During this era, jazz achieved wide popular appeal. One of Count Basie's recordings, One O'Clock Jump, sold over a million copies. The beginnings of the swing era can be traced to developments of larger bands by Fletcher Henderson in New York, and Bennie Moten in Kansas City. Fletcher Henderson along with his brother Horace and with Don Redman created the pattern for swing arrangments. Henderson helped establish the independent use of trumpet, trombone, saxophone, and rhythm sections with the use of soloists. A swing score generally has specific notes for each instrument to play in every measure. Then the music arranger decides which measures will be used for solo improvisation. The score is then taken to a music copyist who extracts the individual parts for the various instruments.

When the depression hit the U.S. in 1929 the entire music business sudddenly failed. Some players, such as Benny Goodman were able to find employment in staff radio jobs. Others, such as Louis Armstrong and Duke Ellington left the United States for Europe. Some jazz authorities believe that the swing era was launched in 1934 when Benny Goodman left the radio business to form his own band. However, by 1934 Duke Ellington as well as Fletcher Henderson had already formed large swing bands that played in the Kansas City area.

Swing bands started to play a large part in people's lives in the late 30's as people tried to shake off the depression by dansing. Large ballrooms were extremely common and therefore large bands were also needed.

Ellington's Big BandBands of the swing era produced a much fuller sound than the sound produced by earlier dixieland jazz bands. The resulted from the use of two to three times as many players. Because there were more players, swing music was organized in a homophonic construction. This resulted in the music sounding less complex and more organized in its effect. Block chords used by swing bands are a prime example of homophonic construction.

The swing era is dominated by the big bands that played to huge audiences during this period. Two of the largest big bands were Count Basie's and Duke Ellington's. Benny Goodman also led several influential swing bands. Within the big bands there were also many individuals who distinguished themselves. Lester Young and Coleman Hawkins were two extremely talented saxophone players who became well renowned for their improvisational prowess. Ella Fitzgerald wowed crowds with her silky smooth voice and upbeat scat singing. --- library.thinkquest.org

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01. Artie Shaw - Begin the Beguine
02. Artie Shaw - Nightmare
03. Artie Shaw - Non-Stop Flight
04. Artie Shaw - One Foot in the Groove
05. Les Brown - Bizet Has His Day
06. Les Brown - Twilight Time
07. Les Brown - Leap Frog
08. Woody Herman - At The Woodchopper's Ball
09. Woody Herman - Blue Flame
10. Woody Herman - Hot Chestnuts
11. Woody Herman - Ingie Speaks
12. Fats Waller - I Got Rhythm
13. Fats Waller - Skrontch
14. Fats Waller - The Sheikh of Araby
15. Fats Waller - Chant of the Groove
16. Charlie Barnet - Echoes of Harlem
17. Charlie Barnet - The Moose
18. Charlie Barnet - Drop Me Off in Harlem
19. Charlie Barnet - Skyliner
20. Duke Ellington - Mood Indigo
21. Duke Ellington - It Don't Mean a Thing
22. Duke Ellington - Solitude
23. Duke Ellington - The Sergeant was Shy
24. Duke Ellington - Take the 'A' Train
25. Duke Ellington - Things Ain't What They Used to Be

By the late twenties, musicians had begun modifying the forms of "jazz." In the 1930s a new form of jazz had emerged, called "swing." Swing music was characterized by very large bands, fixed, usually written arrangements, and solos by individual musicians in turn instead of group improvisation. Swing bands typically used an upright or double bass instead of the tuba which had often characterized dixieland, and played repeated "riffs" to give the music its propulsive rhythmic force. Swing appears to have emerged from an adaptation of the commercially successful but bland, neo-jazz played by show and dance orchestras like Paul Whiteman's. In the hands of brilliant arrangers like Fletcher Henderson, however, swing combined harmonic sophistication with danceable rhythms and compelling individual improvisations.

Swing bands ranged from "Kansas City" style groups like Count Basie's, which emphasized a very bluesy, intensely riff oriented style, to New York based bands like Duke Ellington's or Glenn Miller's which experimented with a more orchestral range of colors. For many students of American music, "big band" swing represents a pinnacle of American musical form, combining harmonic sophistication, improvisational brilliance, and danceable accessibility. Others have criticized swing as overly commercial, regimented, and mechanical. --- chnm.gmu.edu

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