Jazz Born To Swing Born to Swing Volume 4 (1996)
Born to Swing Volume 4 (1996)
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
download: uploaded anonfiles mega 4shared mixturecloud yandex mediafire ziddu