SWING AND THE BIG
BANDS
MUH 271 Jazz History

much of the most popular music called jazz reflects a "slapstick"
phase.

new interest in the blues.

"As jazz expands in the 1920s, it becomes increasingly difficult to
sort out the many strands of direct or indirect influences, of
concurrent or successive developments, and of regional musicalsocial characteristics" (Schuller 1968, p. 242).
JAZZ IN THE 1920S

Original Dixieland Jazz Band opened at one of the Reisenweber
restaurants (Jan. 1917).

possibly first to introduce the New Orleans style to New York.

Reaction of other band leaders:

attempted to cash in on its popularity.

attack the music, presumably on esthetic-musical grounds.
THE ODJB IN NEW YORK

important transitional figure.

his bands could play with impeccable intonation and execution.

most noted for '"pushing the limits," creating excitement and
rhythmic momentum.

"Europe, in fact, accomplished what other orchestras failed to
do: playing ragtime pieces in orchestration as fast as the piano
players did" (Schuller 1968, p. 242).
JAMES REESE EUROPE

“. . . a new generation of Negro musicians, unheralded and
practically unnoticed, was quietly slipping into New York"
(Schuller 1968, pp. 251-2).

jazz in some form had always been available.

see jazz as a profession capable of providing income. .

Ability to read music.
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Technical ability on their instrument.

Knowledge of music theory.
“NEW” OR YOUNGER JAZZ MUSICIANS

The most talented musicians “developed in their own directions
and hoped they would be recorded,” (Schuller 1968, p. 243)
while others imitated those who had already proven successful.

Cross-fertilization - the reading, non-improvising, instrumentally
schooled musician combined with the less literate, though not
necessarily less gifted, counterpart.
NEW GENERATION CONT’D.

Recording and broadcast industries.

a new, larger listening audience.

breaking down regional boundaries, increasing awareness of
musicians.
TRANSMISSION OF THE MUSIC

By the end of the 1920s, the primary vehicle for jazz had become
the "Big Band.“

pre-existing format:

society and syncopated dance bands of the early 1900s.

“polyphonic” conception of jazz (collective improvisation) gave
way to a more homophonic approach (written arrangements).

Increased emphasis on block chords, parallel voicing, and
“section” writing.
BIG BANDS

Typical instrumentation included:

Woodwinds – Saxophones (often 5) who may double on clarinet
or flute.

Brass – Trumpets (3-4) and Trombones (3-4).

Rhythm section – piano, bass, drums, guitar.
LARGER ENSEMBLES

In "The Big Bands," George T. Simon lists five factors that
contributed to the success of certain bands:

Business affairs (financial support, management, recordings, radio,
etc.)

the band's musical style, generally established by the band's musical
director (leader and/or arranger).

the musicians - ability to read, improvise, attitude, cooperation.

singers.

the leader assumed the most vital and responsible role.
FACTORS LEADING TO SUCCESS