Born to Swing Volume 4 (1996)

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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