Swing music - Knowledge

1114:) demanded bigger royalties from broadcasters and the broadcasters refused. Consequently, ASCAP banned the large repertoire they controlled from airplay, severely restricting what the radio audience could hear. ASCAP also demanded pre-approval of set lists and even written solos for live broadcasts, to assure that not even a quoted fragment of ASCAP repertoire was broadcast. Those restrictions made broadcast swing much less appealing for the year in which the ban was in place. Big band swing remained popular during the war years, but the resources required to support it became problematic. Wartime restriction on travel, coupled with rising expenses, curtailed road touring. The manpower requirements for big swing bands placed a burden on the scarce resources available for touring and were impacted by the military draft. In July 1942 the 351: 1365:. Their repertoire overlaps 1930s swing, including French popular music, gypsy songs, and compositions by Reinhardt, but gypsy swing bands are formulated differently. There is no brass or percussion; guitars and bass form the backbone, with violin, accordion, clarinet or guitar taking the lead. Gypsy swing groups generally have no more than five players. Although they originated in different continents, similarities have often been noted between gypsy swing and Western swing]l, leading to various fusions. 767: 1158: 3811: 1568: 507:-like conception of playing deviated from the contemporary conventions in jazz piano centered on building rhythmic patterns around "pivot notes". His approaches to rhythm and phrasing were also free and daring, exploring ideas that would define swing playing. His approach to rhythm often used accents on the lead-in instead of the main beat, and 1166:

the demand for studio and stage orchestras as backups for popular vocalists, and in radio and television broadcasts. Ability to adapt performing styles to various situations was an essential skill among these bands-for-hire, with a somewhat sedated version of swing in common use for backing up vocalists. The resurgent commercial success of

1275:, after briefly leading one big band during the late 1940s and performing in various jazz and big band gigs, formed his definitive big band in 1966. His name became synonymous with the dynamic, exuberant style of his big band. Other big jazz bands that drove the 1950s–60s revival include those led by 1165:

Swing bands and sales continued to decline from 1953 to 1954. In 1955, a list of top recording artists from the previous year was publicly released. The list revealed that big band sales had decreased since the early 1950s. However, big band music saw a revival in the 1950s and 1960s. One impetus was

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not affected by the ban. These labels had limited distribution centered in large urban markets, which tended to limit the size of the ensembles with which recording could be a money-making proposition. Another blow fell on the market for dance-oriented swing in 1944 when the federal government levied

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interview, Duke Ellington expressed dissatisfaction with the creative state of swing music; within a few years he and other bandleaders would be delving into more ambitious, and less danceable, forms of orchestral jazz and the creative forefront for soloists would be moving into smaller ensembles and

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Continuum Encyclopedia of Popular Music of the World Volume 8- Genres North America. Horn, David. Shephard, John Editors. Bloombury Publishing 2012 p. 472 "Armstrong and Lombardo did not view their worlds as diametrically opposed, nor did many other contemporary musicians of the 1930s. ...Lombardo

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Though swing music was no longer mainstream, fans could attend "Big Band Nostalgia" tours from the 1970s into the 1980s. The tours featured bandleaders and vocalists of the swing era who were semi-retired, such as Harry James and vocalist Dick Haymes. Historically-themed radio broadcasts featuring

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joined the Goodman Orchestra in 1941 for a two-year stint, quickly becoming its star attraction on its biggest hits. Some big bands were moving away from the swing styles that dominated the late 1930s, for both commercial and creative reasons. Some of the more commercial big bands catered to more

2241:"It's not very difficult to understand the evolution of jazz into Swing. Ten years ago this type of music was flourishing, albeit amidst adverse conditions and surrounded by hearty indifference....It is the repetition and monotony of present-day Swing arrangements which bode ill for the future." 796:

to each other. The level of improvisation that the audience might expect varied with the arrangement, song, band, and band-leader. Typically included in big band swing arrangements were an introductory chorus that stated the theme, choruses arranged for soloists, and climactic out-choruses. Some

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until record labels agreed to pay royalties to musicians. That stopped recording of instrumental music for major labels for over a year, with the last labels agreeing to new contract terms in November 1944. In the meantime, vocalists continued to record backed by vocal groups and the recording

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triumph. At the Palomar engagement starting on 21 August 1935, audiences of young white dancers favored Goodman's rhythm and daring arrangements. The sudden success of the Goodman orchestra transformed the landscape of popular music in America. Goodman's success with "hot" swing brought forth

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held the polyphonic improvisation of New Orleans jazz to be the pure form of jazz, with swing a form corrupted by regimentation and commercialism. Panassié was also an advocate of the theory that jazz was a primal expression of the black American experience and that white musicians, or black

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in various combinations of moves. A subculture of jitterbuggers, sometimes growing quite competitive, congregated around ballrooms that featured hot swing music. A dance floor full of jitterbuggers had cinematic appeal; they were sometimes featured in newsreels and movies. Some of the top

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pattern to build a strong, danceable rhythm and provide a musical platform for extended solos. The rhythm-heavy tunes for dancing were called "stomps". The requirement for volume led to continued use of the sousaphone over the string bass with the larger ensembles, which dictated a more

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wrote that "prominent white orchestra leaders, concert singers and others are making commercial use of Negro music in its various phases. That's why they introduced "swing" which is not a musical form" (no comment on Fletcher Henderson, Earl Hines, Duke Ellington, or Count Basie). The

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credited the Henderson band with being an early influence when he was developing the sound for his own band. In 1925 Armstrong left the Henderson band and would add his innovations to New Orleans style jazz to develop Chicago style jazz, another step towards swing.

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that developed in the United States during the late 1920s and early 1930s. It became nationally popular from the mid-1930s. Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of

1271:. The Basie and Ellington bands flourished creatively and commercially through the 1960s and beyond, with both veteran leaders receiving high acclaim for their contemporary work and performing until they were physically unable. Drummer 1407:

is widely known for playing Swing, Jazz, and many other forms of the genre on the mandolin. He has produced many albums that feature Jazz rhythms and swing chord progressions. He is often considered "The Father of Jazz Mandolin".

1194:. Many of these singers were also involved in the "less swinging" vocal pop music of this period. The bands in these contexts performed in relative anonymity, receiving secondary credit beneath the top billing. Some, such as the 1202:

Orchestras, became well known in their own right, with Riddle particularly associated with the success of Sinatra and Cole. Swingin' pop remained popular into the mid-1960s, becoming one current of the "easy listening" genre.

582:", grafting a classical approach over his interpretation of jazz rhythms in an approach he hoped would be the future of jazz. Whiteman's Orchestra enjoyed great commercial success and was a major influence on the sweet bands. 511:, to build a sense of anticipation to the rhythm and make his playing swing. He also used "stops" or musical silences to build tension in his phrasing. Hines' style was a seminal influence on the styles of swing-era pianists 971:

brought the riff-and-solo oriented Kansas City style of swing to national attention. The Basie orchestra collectively and individually would influence later styles that would give rise to the smaller "jump" bands and

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Encyclopedia of Music in the 20th Century. Stacey, Lee & Henderson, Lol. Taylor and Francis Publishers. 27 January 2014, p. 379 ISBN 9781135929466 Guy Lombardo: the Sweetest Music This Side of heaven on Google

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revival started in the late 1930s as a self-conscious re-creation of New Orleans jazz in reaction against the orchestrated style of big band swing. Some swing bandleaders saw opportunities in the Dixieland revival.

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The early 1940s saw emerging trends in popular music and jazz that would, once they had run their course, result in the end of the swing era. Vocalists were becoming the star attractions of the big bands. Vocalist

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included swing era hits on albums during the early 1970s. In Seattle the New Deal Rhythm Band and the Horns O Plenty Orchestra revived 1930s swing with a dose of comedy behind vocalists Phil "De Basket" Shallat,

748:'s claim that "sweet" music was a "weak sister" as compared to the "real music" of America, Lombardo's band enjoyed widespread popularity for decades while crossing over racial divides and was even praised by 621:

credited the Goldkette band with being the most influential white band in the development of swing music before Benny Goodman's. As a dance music promoter and agent, Goldkette also helped organize and promote

702:-propelled, solo-oriented form of swing that had been developing in the hothouse of Kansas City. Emblematic of the evolving music was the change in the name of Moten's signature tune, from "Moten Stomp" to " 1761: 1267:

had both downsized their big bands during the first half of the 1950s, then reconstituted them by 1956. Ellington's venture back into big band jazz was encouraged by its reception at the

1446:, and six-foot-tall "Little Janie" Lambert. Bentyne would leave the New Deal Rhythm Band in 1978 for her long career with Manhattan Transfer. Founding leader of the New Deal Rhythm Band 642:

As the 1920s turned to the 1930s, the new concepts in rhythm and ensemble playing that comprised the swing style were transforming the sounds of large and small bands. Starting in 1928,

1139:, giving Sinatra top billing ("Acc. Harry James and his Orchestra"). The recording found the commercial success that had eluded its original release. Small band swing was recorded for 1107:, the first big band to showcase bebop. As the swing era went into decline, it secured legacies in vocalist-centered popular music, "progressive" big band jazz, R&B, and bebop. 784:

arrangements. Goodman's slot was on after midnight in the East, and few people heard it. It was on earlier on the West Coast and developed the audience that later led to Goodman's

1433:, presented adaptations of Gypsy Swing, rekindling interest in the musical form. Other swing revivals occurred during the 1970s. The jazz, R&B, and swing revival vocal group 932:. Miller's trademark clarinet-led reed section was decidedly "sweet", but the Miller catalog had no shortage of bouncy, medium-tempo dance tunes and some up-tempo tunes such as 1339:

followed Sinatra into pop music, bringing with him a similar combination of swing and ballads. Like Mullican, he was important in bringing piano to the fore of popular music.

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Encyclopedia of music in the 20th Century. Stacey, Lee. Henderson, Lol Editors. Routledge Taylor and Francis Group London 2014 p. 379 Guy Lombardo Biography on Google Books

1033:, after joining the Chick Webb Orchestra in 1936, propelled the band to great popularity and the band continued under her name after Webb's death in 1939. In 1940 vocalist 984:", and became feared in the Savoy's Battles of the Bands. It humiliated Goodman's band, and had memorable encounters with the Ellington and Basie bands. The Goodman band's 710:

in Philadelphia in December 1932, the doors were let open to the public who crammed into the theatre to hear the new sound, demanding seven encores from Moten's orchestra.

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in the 1920s allowed some of the more popular dance bands to gain national exposure. The most popular style of dance orchestra was the "sweet" style, often with strings.

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Crump, William D. Encyclopedia of New Year's Holidays Worldwide. McFarland & Co. Publishers. London. 2008 p. 101 ISBN 978-0-7864-3393-3 Guy lombardo on Google Books

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bands maintained their popularity during lean years of the late 1940s and beyond, making their mark with innovative arrangements and high-level jazz soloists (

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arrangements were built entirely around a featured soloist or vocalist. Some bands used string or vocal sections, or both. Swing-era repertoire included the

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and anticipating the main beats with lead-in notes in his solos to create a sense of rhythmic pulse that happened between the beats as well as on them, i.e.

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A typical song played in swing style would feature a strong, anchoring rhythm section in support of more loosely-tied woodwind and brass sections playing

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The trend away from big-band swing was accelerated by wartime conditions and royalty conflicts. In 1941 the American Society of Composers and Producers (

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Harker, Brian C., 1997, Early Musical Development of Louis Armstrong, 1921–1928, unpublished PhD Dissertation, Columbia University, 390 p. plus Appendix

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musicians who became interested in more sophisticated musical ideas, were generally incapable of expressing its core values. In his 1941 autobiography,

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As with many new popular musical styles, swing met with some resistance because of its improvisation, tempo, occasionally risqué lyrics, and frenetic

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interplay between brass and reed sections, and interludes arranged to back up soloists. The arrangements also had a smoother rhythmic sense than the

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Developments in dance orchestra and jazz music during the 1920s both contributed to the development of the 1930s swing style. Starting in 1923, the

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as soloists, who all were influential in the development of swing era instrumental styles. During the Henderson band's extended residency at the

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turned into a summit of swing, with guests from the Basie and Ellington bands invited for a jam session after the Goodman band's performance.

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consisted mainly of popular swing covers. The album sold more than 7 million copies worldwide. In November 2013, Robbie Williams released

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himself always took great pride in the number of black orchestras that imitated his style." Guy lombardo band popularity on Google Books

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Between the poles of hot and sweet, middlebrow interpretations of swing led to great commercial success for bands such as those led by

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imitators and enthusiasts of the new style throughout the world of dance bands, which launched the "swing era" that lasted until 1946.

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in Chicago, where Hines had the opportunity to expound upon his new approaches to rhythm and phrasing with a big band. Hines' arranger

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Jack Behrens.AuthorHouse, Indiana, 2010 p. 95 Shep Fields society band broadcasting on radio from the Palmer House on Books.Google.com

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industry released earlier swing recordings from their vaults, increasingly reflecting the popularity of big band vocalists. In 1943

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Dregni, Michael (2008). Gypsy Jazz: In Search of Django Reinhardt and the Soul of Gypsy Swing. Oxford University Press. pp. 10–13.

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At this time, "Sweet" dance music remained most popular with white audiences and was successfully showcased by bandleaders such as

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were fusing swing with classical repertoire. Lower manpower requirements and simplicity favored the rise of small band swing. The

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with a mildly swinging backup during the mid-1950s solidified the trend. It became a sound associated with pop vocalists such as

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genre during the late 1940s then re-entered big band jazz in the early 1950s, remaining a popular attraction through the 1960s.

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dance bands in the southwest were developing dynamic styles that often went in the direction of blues-based simplicity, using

3064: 2152: 2026: 1993: 1865: 1829: 1812: 1692: 944:". "The Sentimental Gentleman of Swing" Tommy Dorsey made a nod to the hot side by hiring jazz trumpeter and Goodman alumnus 2127: 2117:

Encyclopedia of Recorded Sound. Hoffman, Fred. 2004 Shep Fields at the Empire Room of the Palmer House Hotel on Google Books

1544:, who became popular in the late 2010s. Musically, Electro Swing is a misnomer as it usually samples music from the earlier 472:

sometimes substituted for the sousaphone. Use of the string bass opened possibilities for 4/4 instead of 2/4 time at faster

3795: 3089: 1735: 614:. The Victor Recording Orchestra won the respect of the Fletcher Henderson Orchestra in a Battle of the Bands; Henderson's 3059: 1528:

techniques. "Swing house" is a sub genre of swing that has been influenced by the likes of Louis Jordan and Louis Prima.

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were developing their technique to the point where they could hold down the bottom end of a full-sized dance orchestra.

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Russell, Ross, Jazz Style in Kansas City and the Southwest, Berkeley, CA, University of California Press, 1972, 291 p.

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dancing that became a national craze accompanying the swing craze. Swing dancing originated in the late 1920s as the "

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and the Benny Goodman Orchestra went against that grain, targeting the new swing style to younger audiences. Despite

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joined the Henderson band, lending impetus to an even greater emphasis on soloists. The Henderson band also featured

2905: 1404: 1119: 1115: 3840: 3589: 2885: 1552:. Both genres of swing house and electro swing have been connected with the revival of swing dances, such as the 1327:

have continued the swing elements of country music. Asleep at the Wheel has also recorded the Count Basie tunes "

1300: 279: 706:". Moten's orchestra had a highly successful tour in late 1932. Audiences raved about the new music, and at the 2832: 2470: 2405: 1616: 493: 488:. Louis Armstrong used the additional freedom of the new format with 4/4 time, accenting the second and fourth 168: 3467: 3026: 3001: 2926: 2857: 2847: 1466: 1423:

period comedy, melodrama, and music also played a role in sustaining interest in the music of the swing era.

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ballrooms a sign that a swing band had arrived on the national scene. With its Savoy engagement in 1937, the

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New York became a touchstone for national success of big bands, with nationally broadcast engagements at the

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Driggs, Frank; Director, Marr Sound Archives University of Missouri-Kansas City Chuck Haddix (1 May 2005).

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Prospects, An Annual of American Cultural Studies 1:179–203, October 1976, DOI: 10.1017/S0361233300004361

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a 30% excise tax on "dancing" nightclubs, undercutting the market for dance music in smaller venues.

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and other jazzmen. During the World War II era, swing began to decline in popularity, and after war,

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band to pursue solo career that included many songs that maintained a swing structure. Artists like

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arrived back from an extended stay in Europe to New York in 1939, recorded his famous version of "

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music and composed the gypsy swing standard "Minor Swing". In the late 1980s to early 1990s, new

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Dregni, Michael (2004). Django: The Life and Music of a Gypsy Legend. Oxford University Press.

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in 1943 featured a collection of young, forward-looking musicians who were at the core of the

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that curtailed recording of the new music and drove some bands out of business, including the

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Kirchner, Bill, ed. (2000), The Oxford Companion to Jazz, New York: Oxford University Press,

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was becoming the star attraction of the Tommy Dorsey Orchestra, inciting mass hysteria among

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Another modern development consists of fusing swing (original, or remixes of classics) with

1362: 3855: 3835: 3739: 3554: 3166: 2941: 2852: 1740: 1721: 1601: 1470: 1462: 977: 821: 687: 385:-influenced arrangements that were the more typical "hot" dance music of the day. In 1924 339: 331: 503:, who had a similar impact on his instrument as Armstrong had on trumpet. Hines' melodic, 8: 3584: 3184: 3031: 2936: 2525: 2490: 1328: 1324: 1042: 741: 631: 3452: 725:

in 1934. Henderson's next business was selling arrangements to up-and-coming bandleader

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were showcasing an exuberant "jump swing" style that would lead to the postwar rise of

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is mainly popular in Europe, and electro swing artists incorporate influences such as

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improvisation with other front-line instruments, lending greater freedom in creating

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Shep Fields Obituary - United Press International Feb. 23, 1981 on UPI.com/Archive

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remained closely identified with the Savoy Ballroom, having originated the tune "

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of Tin Pan Alley standards, band originals, traditional jazz tunes such as the "

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was the dominant form of American popular music from 1935 to 1946, known as the

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Spring, Howard. "Swing and the Lindy Hop: Dance, Venue, Media, and Tradition".

1537: 1443: 1264: 1199: 1104: 997: 964: 937: 878:. Audiences used to traditional "sweet" arrangements, such as those offered by 766: 691: 583: 579: 556: 543: 445: 406: 319: 220: 176: 172: 46: 1515: 634:), two other Detroit-area bands that were influential in the early swing era. 3829: 3744: 3727: 3712: 3639: 3634: 3629: 3624: 3619: 3614: 3609: 3604: 3599: 3594: 3414: 3391: 3289: 3277: 3267: 3250: 2877: 2721: 2580: 2515: 2500: 2480: 2391: 2092:"SHEP FIELDS, LEADER OF BIG BAND KNOWEN FOR RIPPLING RYTHEM (Published 1981)" 1611: 1529: 1454: 1430: 1417: 1373: 1336: 1320: 1312: 1304: 1288: 1244: 1220: 1195: 1183: 1167: 1136: 1063: 1055: 1038: 1034: 945: 875: 860: 745: 726: 575: 528: 421: 398: 327: 303: 299: 283: 275: 212: 180: 156: 131: 119: 107: 1857:

One O'clock Jump: The Unforgettable History of the Oklahoma City Blue Devils

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Benny Goodman, one of the first swing bandleaders to achieve widespread fame

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freedom. The Chicago style released the soloist from the constraints of

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Swingin' the Dream: Big Band Jazz and the Rebirth of American Culture

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In 1935 the Benny Goodman Orchestra had won a spot on the radio show

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Swing to Bop: An Oral History of the Transition in Jazz in the 1940s

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featured many of the top white jazz musicians of the day including

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had a big hit with their lively version of the swing-era ballad "

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Swing blended with other genres to create new musical styles. In

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From Jazz to Swing: African-Americans and Their Music, 1890–1935

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were examples of Dixieland ensembles within big swing bands.

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jitterbuggers gathered in professional dance troupes such as

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and Django Reinhardt's gypsy swing. Leading artists include

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With the early 1930s came the financial difficulties of the

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1990s to present: swing house, electro swing, and swing pop

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Cook, Richard (2005), Jazz Encyclopedia, London: Penguin,

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America's Music Makers: Big bands and Ballrooms 1912-2011

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included swing-era standards in their repertoire, making

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led swing revival bands in the Seattle area until 2003.

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had its new sounds broadcast nationally from New York's

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and started showcasing an updated repertoire featuring

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in New York, it became influential on other big bands.

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would outlive the swing era, becoming associated with

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Traditional New Orleans style jazz was based on a two-

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Music in the Twenties: The Jean Goldkette Orchestra,

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Louis Armstrong and Paul Whiteman: Two Kings of Jazz

1563: 326:. In the late 1990s and into the 2000s, there was a 1357:. In Europe it was heard in the music of guitarist 1103:movement and would in the following year be in the 2366:, Vol. 15, No. 2 (Summer, 1997), pp. 183–207. 2010: 2002: 1762:Mondavi swings to the jive of Big Bad Voodoo Daddy 2357:The Swing Era: The Development of Jazz, 1930–1945 1655:"The missing link in the evolution of JUMP BLUES" 1311:combined elements of swing and blues to create a 361:is sitting on the floor to the extreme left with 3827: 2371:Swing Changes: Big-Band Jazz in New Deal America 1412:1960s–2000: Big Band nostalgia and swing revival 812:Hot swing music is strongly associated with the 2256:"The 1942 Recording Ban and the ASCAP/BMI War" 2008: 1849: 1847: 1678:Price, "Jazz Guitar and Western Swing", p. 82. 2399: 1950: 1948: 1186:, as well as jazz-oriented vocalists such as 658:would later contribute to the catalog of the 555:conservative approach to rhythm based on 2/4 175:or drive. Musicians of the swing era include 2188: 2066:"The Telegraph - Google News Archive Search" 698:and the Kansas City Orchestra showcased the 322:(New York go-go), created by young producer 1844: 1457:occurred during the 1990s and 2000s led by 1211:Big band jazz made a comeback as well. The 755: 2406: 2392: 2378:Swing Shift: 'All-Girl' Bands of the 1940s 2310:The Wonderful Era of the Great Dance Bands 2196:Blowin' Hot and Cool: Jazz and Its Critics 2058: 1945: 468:sometimes substituted for the banjo and a 1652: 559:. Meanwhile, string bass players such as 247:Swing has its roots in 1920s dance music 1975: 1156: 765: 349: 294:introduced elements of swing along with 3440: 2200:by John Remo Gennari, PhD (born 1960), 2013:Kansas City Jazz: From Ragtime to Bebop 1927:"Goldkette on The Red Hot Jazz Archive" 1899: 1893: 1854:Daniels, Douglas Henry (January 2006). 1853: 1835: 1733: 3828: 2307: 2169: 1255:). Lionel Hampton was a leader in the 499:In 1927 Armstrong worked with pianist 2387: 2220: 1772: 1770: 646:was broadcast throughout much of the 357:(middle) with his orchestra in 1925. 2084: 1981: 1880: 1874: 1653:Considine, J. D. (5 December 1993). 1294: 373:featured innovative arrangements by 2221:Handy, William Christopher (1941). 2017:. Oxford University Press. p. 1881:Popa, Christopher (November 2007). 1388:" into rock and roll-era hits. The 1127:re-released the 1939 recording of " 13: 2328: 2175: 1900:Berrett, Joshua (1 October 2008). 1767: 1548:of the 1920s and doesn't actually 318:-styled swing-beat emerged called 14: 3867: 3846:African-American cultural history 3761:Album covers of Blue Note Records 1883:"Big Band Library: Paul Whiteman" 1037:was leading his own big band and 1023: 956:to spice up his catalog in 1939. 690:started its extended stay at the 678:Orchestra. Also in New York, the 3809: 1566: 1206: 1116:American Federation of Musicians 2301: 2274: 2248: 2235: 2214: 2157: 2146: 2135: 2121: 2110: 2046: 2035: 1932: 1920: 1818: 1801: 1792: 1152: 1066:and other smaller bands led by 345: 163:, when people were dancing the 3141:Institutions and organizations 1755: 1727: 1715: 1698: 1681: 1672: 1646: 1634: 1617:Swing (jazz performance style) 1147: 682:featured the new style at the 637: 630:'s Orange Blossoms (later the 1: 2838:Cool jazz and West Coast jazz 1860:. Beacon Press. p. 144. 1734:Gensler, Andy (6 June 2016). 911:Tommy Dorsey's Clambake Seven 578:developed a style he called " 1780:. Musicians.allaboutjazz.com 1622:Original Dixieland Jass Band 719:Fletcher Henderson Orchestra 680:Fletcher Henderson Orchestra 371:Fletcher Henderson Orchestra 7: 2202:University of Chicago Press 1559: 1481:. Many of the bands played 1427:Dan Hicks and His Hot Licks 242: 10: 3872: 1988:. Routledge. p. 161. 1724:Retrieved 11 December 2020 1485:which combined swing with 1467:The Cherry Poppin' Daddies 1415: 1368:Rock music hitmakers like 1269:1956 Newport Jazz Festival 986:1938 Carnegie Hall Concert 759: 588:Victor Recording Orchestra 432:, typically followed by a 298:to create a genre called " 20: 3805: 3753: 3663: 3547: 3527: 3506: 3490: 3407: 3298: 3243: 3200: 3193: 3167:See Template: Jazz theory 3128: 3050: 2914: 2876: 2820: 2742: 2524: 2421: 2245:, February 1939, pp. 2–16 1916:– via Google Books. 1906:. Yale University Press. 1503:Swing When You're Winning 752:as one of his favorites 723:McKinney's Cotton Pickers 686:and the swing powerhouse 624:McKinney's Cotton Pickers 130: 125: 118: 113: 106: 101: 77: 69: 35: 30: 3851:American styles of music 2413: 1929:. Retrieved 22 May 2017. 1627: 1444:Cheryl "Benzene" Bentyne 1403:Multi-genre mandolinist 1382:Are You Lonesome Tonight 1105:Billy Eckstine Orchestra 1097:The Earl Hines Orchestra 756:1935–1946: The swing era 664:Duke Ellington Orchestra 644:The Earl Hines Orchestra 21:Not to be confused with 1938:Nye, Russell B., 1976, 1764:Retrieved 11 March 2021 1643:Retrieved 11 March 2021 1345:is an outgrowth of the 1333:Jumpin' at the Woodside 799:Great American Songbook 660:Benny Goodman Orchestra 365:above him to the right. 3841:African-American music 2178:"Jazz History Part II" 1982:Lawn, Richard (2013). 1887:www.bigbandlibrary.com 1592:Interbellum Generation 1162: 1141:small specialty labels 839:Whitey's Lindy Hoppers 771: 672:Cab Calloway Orchestra 366: 2348:Hennessey, Thomas J. 2314:Garden City, New York 2227:. MacMillan. p. 1160: 1133:Harry James Orchestra 1129:All or Nothing at All 982:Stompin' at the Savoy 969:Count Basie Orchestra 769: 460:. By the early 1920s 353: 3555:Bibliography of jazz 3335:Continental European 2308:Walker, Leo (1972). 1778:"Fletcher Henderson" 1602:List of music styles 1471:Squirrel Nut Zippers 1463:Big Bad Voodoo Daddy 1315:. Mullican left the 978:Chick Webb Orchestra 915:Bob Crosby's Bobcats 824:, Truckin', Peckin' 688:Chick Webb Orchestra 340:Big Bad Voodoo Daddy 332:Squirrel Nut Zippers 73:1930s, United States 3796:Straight, No Chaser 3585:Straight-ahead jazz 3042:Winter & Winter 2491:French horn in jazz 2355:Schuller, Gunther. 2334:Erenberg, Lewis A. 2224:Father of the Blues 1325:Asleep at the Wheel 742:Casa Loma Orchestra 632:Casa Loma Orchestra 271:gained popularity. 3740:West African music 3565:British dance band 3355:European free jazz 3328:British dance band 2821:Musicians by genre 2601:Free improvisation 2281:Stomping the Blues 2182:www.swingmusic.net 2098:. 24 February 1981 2096:The New York Times 2072:. 24 February 1981 1641:Swing, Swing,Swing 1435:Manhattan Transfer 1363:Stéphane Grappelli 1163: 844:A Day At the Races 782:Fletcher Henderson 772: 670:, followed by the 652:Grand Terrace Cafe 572:recording industry 568:radio broadcasting 476:, which increased 456:, and sometimes a 367: 355:Fletcher Henderson 278:, artists such as 3823: 3822: 3696:New Orleans blues 3543: 3542: 3486: 3485: 3060:Beaches (Toronto) 2471:Swing performance 2376:Tucker, Sherrie. 2028:978-0-19-536435-4 1995:978-0-415-69960-0 1985:Experiencing Jazz 1867:978-0-8070-7136-6 1830:978-0-19-518359-7 1813:978-0-14-102646-6 1693:978-0-19-531192-1 1459:Royal Crown Revue 1299:In country music 1295:Cross-genre swing 1010:Charlie Christian 934:Mission to Moscow 803:King Porter Stomp 684:Roseland Ballroom 533:Mary Lou Williams 403:Roseland Ballroom 137: 136: 36:Stylistic origins 3863: 3814: 3813: 3580:Continental jazz 3473:Washington, D.C. 3438: 3437: 3340:Czech and Slovak 3198: 3197: 2982:India Navigation 2680:Progressive jazz 2534:Avant-garde jazz 2408: 2401: 2394: 2385: 2384: 2322: 2321: 2305: 2299: 2278: 2272: 2271: 2269: 2267: 2262:on 9 August 2003 2258:. Archived from 2252: 2246: 2239: 2233: 2232: 2218: 2212: 2204:(2006), pg. 58; 2192: 2186: 2185: 2173: 2167: 2161: 2155: 2150: 2144: 2139: 2133: 2125: 2119: 2114: 2108: 2107: 2105: 2103: 2088: 2082: 2081: 2079: 2077: 2062: 2056: 2050: 2044: 2039: 2033: 2032: 2016: 2006: 2000: 1999: 1979: 1973: 1972: 1970: 1968: 1952: 1943: 1936: 1930: 1924: 1918: 1917: 1897: 1891: 1890: 1878: 1872: 1871: 1851: 1842: 1839: 1833: 1822: 1816: 1805: 1799: 1796: 1790: 1789: 1787: 1785: 1774: 1765: 1759: 1753: 1752: 1750: 1748: 1731: 1725: 1719: 1713: 1702: 1696: 1685: 1679: 1676: 1670: 1669: 1667: 1665: 1659:Baltimoresun.com 1650: 1644: 1638: 1576: 1571: 1570: 1509:Swings Both Ways 1359:Django Reinhardt 1329:One O'Clock Jump 1125:Columbia Records 1120:ban on recording 1060:Claude Thornhill 950:Jimmie Lunceford 786:Palomar Ballroom 715:Great Depression 676:Jimmie Lunceford 308:Django Reinhardt 237:Django Reinhardt 233:Jimmie Lunceford 78:Derivative forms 70:Cultural origins 52:New Orleans jazz 28: 27: 3871: 3870: 3866: 3865: 3864: 3862: 3861: 3860: 3826: 3825: 3824: 3819: 3816:Jazz portal 3808: 3801: 3782:The Jazz Singer 3749: 3728:Novelty ragtime 3659: 3539: 3523: 3502: 3482: 3436: 3403: 3294: 3239: 3194:Regional scenes 3189: 3124: 3046: 2972:Groove Merchant 2962:Flying Dutchman 2910: 2872: 2816: 2738: 2670:Orchestral jazz 2650:Mainstream jazz 2638:Afro-Cuban jazz 2520: 2429:Outline of jazz 2417: 2412: 2331: 2329:Further reading 2326: 2325: 2306: 2302: 2279: 2275: 2265: 2263: 2254: 2253: 2249: 2240: 2236: 2219: 2215: 2193: 2189: 2174: 2170: 2162: 2158: 2151: 2147: 2140: 2136: 2126: 2122: 2115: 2111: 2101: 2099: 2090: 2089: 2085: 2075: 2073: 2070:news.google.com 2064: 2063: 2059: 2051: 2047: 2040: 2036: 2029: 2007: 2003: 1996: 1980: 1976: 1966: 1964: 1954: 1953: 1946: 1937: 1933: 1925: 1921: 1914: 1898: 1894: 1879: 1875: 1868: 1852: 1845: 1840: 1836: 1823: 1819: 1806: 1802: 1797: 1793: 1783: 1781: 1776: 1775: 1768: 1760: 1756: 1746: 1744: 1732: 1728: 1720: 1716: 1703: 1699: 1686: 1682: 1677: 1673: 1663: 1661: 1651: 1647: 1639: 1635: 1630: 1607:Lost Generation 1572: 1565: 1562: 1518: 1498:Robbie Williams 1420: 1414: 1297: 1209: 1188:Ella Fitzgerald 1155: 1150: 1072:Lucky Millinder 1031:Ella Fitzgerald 1026: 1002:Dizzy Gillespie 990:Coleman Hawkins 896:Hugues Panassié 850:Everybody Dance 764: 758: 750:Louis Armstrong 640: 604:Pee Wee Russell 600:Frank Trumbauer 592:Bix Beiderbecke 557:time signatures 525:Nat "King" Cole 448:consisted of a 391:Coleman Hawkins 387:Louis Armstrong 363:Louis Armstrong 359:Coleman Hawkins 348: 257:Coleman Hawkins 253:Louis Armstrong 245: 167:. The verb "to 126:Regional scenes 84:Traditional pop 26: 19: 12: 11: 5: 3869: 3859: 3858: 3853: 3848: 3843: 3838: 3821: 3820: 3806: 3803: 3802: 3800: 3799: 3792: 3789:Round Midnight 3785: 3778: 3770: 3763: 3757: 3755: 3751: 3750: 3748: 3747: 3742: 3737: 3732: 3731: 3730: 3720: 3715: 3710: 3705: 3700: 3699: 3698: 3693: 3683: 3678: 3673: 3667: 3665: 3661: 3660: 3658: 3657: 3652: 3647: 3642: 3637: 3632: 3627: 3622: 3617: 3612: 3607: 3602: 3597: 3592: 3587: 3582: 3577: 3572: 3567: 3562: 3557: 3551: 3549: 3545: 3544: 3541: 3540: 3538: 3537: 3531: 3529: 3525: 3524: 3522: 3521: 3519:Latin American 3516: 3510: 3508: 3507:South American 3504: 3503: 3501: 3500: 3494: 3492: 3488: 3487: 3484: 3483: 3481: 3480: 3475: 3470: 3465: 3460: 3455: 3450: 3448:Baltimore jazz 3444: 3442: 3435: 3434: 3433: 3432: 3425:Latin American 3422: 3417: 3411: 3409: 3408:North American 3405: 3404: 3402: 3401: 3396: 3395: 3394: 3384: 3383: 3382: 3372: 3367: 3362: 3357: 3352: 3347: 3342: 3337: 3332: 3331: 3330: 3320: 3315: 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2647: 2642: 2641: 2640: 2630: 2625: 2620: 2615: 2610: 2609: 2608: 2603: 2598: 2588: 2583: 2578: 2573: 2568: 2563: 2558: 2557: 2556: 2551: 2546: 2536: 2530: 2528: 2522: 2521: 2519: 2518: 2513: 2508: 2503: 2498: 2493: 2488: 2483: 2478: 2473: 2468: 2463: 2458: 2457: 2456: 2446: 2441: 2436: 2431: 2425: 2423: 2422:General topics 2419: 2418: 2411: 2410: 2403: 2396: 2388: 2382: 2381: 2374: 2369:Stowe, David. 2367: 2364:American Music 2360: 2353: 2346: 2339: 2330: 2327: 2324: 2323: 2320:. p. 152. 2300: 2273: 2247: 2234: 2213: 2187: 2176:Parker, Jeff. 2168: 2156: 2145: 2134: 2120: 2109: 2083: 2057: 2045: 2034: 2027: 2001: 1994: 1974: 1944: 1931: 1919: 1913:978-0300127478 1912: 1892: 1873: 1866: 1843: 1834: 1817: 1800: 1791: 1766: 1754: 1726: 1714: 1697: 1680: 1671: 1645: 1632: 1631: 1629: 1626: 1625: 1624: 1619: 1614: 1609: 1604: 1599: 1594: 1589: 1584: 1578: 1577: 1561: 1558: 1546:Charleston Era 1538:Caravan Palace 1517: 1514: 1416:Main article: 1413: 1410: 1386:My Blue Heaven 1361:and violinist 1301:Jimmie Rodgers 1296: 1293: 1265:Duke Ellington 1208: 1205: 1200:Gordon Jenkins 1154: 1151: 1149: 1146: 1025: 1024:1940s: Decline 1022: 998:Charlie Parker 948:, then hiring 938:Lionel Hampton 760:Main article: 757: 754: 692:Savoy Ballroom 639: 636: 584:Jean Goldkette 580:symphonic jazz 566:The growth of 446:rhythm section 407:Duke Ellington 377:that featured 347: 344: 338:orchestra and 320:new jack swing 280:Jimmie Rodgers 244: 241: 221:Lionel Hampton 177:Duke Ellington 142:is a style of 135: 134: 128: 127: 123: 122: 116: 115: 111: 110: 104: 103: 99: 98: 97: 96: 91: 86: 79: 75: 74: 71: 67: 66: 65: 64: 59: 54: 49: 47:Dixieland jazz 44: 37: 33: 32: 17: 9: 6: 4: 3: 2: 3868: 3857: 3854: 3852: 3849: 3847: 3844: 3842: 3839: 3837: 3834: 3833: 3831: 3818: 3817: 3812: 3804: 3798: 3797: 3793: 3791: 3790: 3786: 3784: 3783: 3779: 3777: 3775: 3771: 3769: 3768: 3764: 3762: 3759: 3758: 3756: 3752: 3746: 3745:Western swing 3743: 3741: 3738: 3736: 3733: 3729: 3726: 3725: 3724: 3721: 3719: 3716: 3714: 3711: 3709: 3706: 3704: 3701: 3697: 3694: 3692: 3689: 3688: 3687: 3684: 3682: 3679: 3677: 3674: 3672: 3669: 3668: 3666: 3662: 3656: 3653: 3651: 3648: 3646: 3643: 3641: 3638: 3636: 3633: 3631: 3628: 3626: 3623: 3621: 3618: 3616: 3613: 3611: 3608: 3606: 3603: 3601: 3598: 3596: 3593: 3591: 3588: 3586: 3583: 3581: 3578: 3576: 3573: 3571: 3568: 3566: 3563: 3561: 3558: 3556: 3553: 3552: 3550: 3546: 3536: 3533: 3532: 3530: 3526: 3520: 3517: 3515: 3512: 3511: 3509: 3505: 3499: 3496: 3495: 3493: 3489: 3479: 3476: 3474: 3471: 3469: 3468:New York City 3466: 3464: 3461: 3459: 3456: 3454: 3451: 3449: 3446: 3445: 3443: 3439: 3431: 3428: 3427: 3426: 3423: 3421: 3418: 3416: 3413: 3412: 3410: 3406: 3400: 3397: 3393: 3392:Flamenco jazz 3390: 3389: 3388: 3385: 3381: 3378: 3377: 3376: 3373: 3371: 3368: 3366: 3363: 3361: 3358: 3356: 3353: 3351: 3348: 3346: 3343: 3341: 3338: 3336: 3333: 3329: 3326: 3325: 3324: 3321: 3319: 3316: 3312: 3309: 3308: 3307: 3304: 3303: 3301: 3297: 3291: 3288: 3286: 3283: 3279: 3276: 3274: 3271: 3270: 3269: 3266: 3262: 3259: 3258: 3257: 3254: 3252: 3249: 3248: 3246: 3242: 3236: 3233: 3229: 3226: 3224: 3221: 3220: 3219: 3218:South African 3216: 3214: 3211: 3209: 3206: 3205: 3203: 3199: 3196: 3192: 3186: 3183: 3181: 3178: 3176: 3173: 3169: 3168: 3164: 3163: 3162: 3159: 3157: 3154: 3152: 3149: 3147: 3144: 3142: 3139: 3137: 3134: 3133: 3131: 3127: 3121: 3118: 3116: 3113: 3111: 3108: 3106: 3103: 3101: 3098: 3096: 3093: 3091: 3088: 3086: 3083: 3081: 3078: 3076: 3073: 3071: 3068: 3066: 3063: 3061: 3058: 3057: 3055: 3053: 3049: 3043: 3040: 3038: 3035: 3033: 3030: 3028: 3025: 3023: 3020: 3018: 3015: 3013: 3010: 3008: 3005: 3003: 3000: 2998: 2995: 2993: 2990: 2988: 2985: 2983: 2980: 2978: 2975: 2973: 2970: 2968: 2965: 2963: 2960: 2958: 2955: 2953: 2950: 2948: 2945: 2943: 2940: 2938: 2935: 2933: 2930: 2928: 2925: 2923: 2920: 2919: 2917: 2915:Discographies 2913: 2907: 2904: 2902: 2899: 2897: 2894: 2892: 2889: 2887: 2884: 2883: 2881: 2879: 2875: 2869: 2866: 2864: 2861: 2859: 2856: 2854: 2851: 2849: 2846: 2844: 2841: 2839: 2836: 2834: 2831: 2829: 2826: 2825: 2823: 2819: 2813: 2810: 2808: 2805: 2803: 2802:Vibraphonists 2800: 2798: 2795: 2793: 2790: 2788: 2785: 2783: 2780: 2778: 2775: 2773: 2770: 2768: 2765: 2763: 2760: 2758: 2755: 2753: 2750: 2749: 2747: 2745: 2741: 2735: 2732: 2730: 2727: 2723: 2722:Swing revival 2720: 2719: 2718: 2715: 2713: 2710: 2706: 2703: 2702: 2701: 2698: 2696: 2693: 2691: 2688: 2686: 2683: 2681: 2678: 2676: 2673: 2671: 2668: 2666: 2663: 2661: 2658: 2656: 2653: 2651: 2648: 2646: 2643: 2639: 2636: 2635: 2634: 2631: 2629: 2626: 2624: 2621: 2619: 2616: 2614: 2611: 2607: 2604: 2602: 2599: 2597: 2594: 2593: 2592: 2589: 2587: 2584: 2582: 2581:Flamenco jazz 2579: 2577: 2574: 2572: 2569: 2567: 2564: 2562: 2559: 2555: 2552: 2550: 2547: 2545: 2542: 2541: 2540: 2537: 2535: 2532: 2531: 2529: 2527: 2523: 2517: 2516:Women in jazz 2514: 2512: 2509: 2507: 2504: 2502: 2501:Jazz trombone 2499: 2497: 2494: 2492: 2489: 2487: 2484: 2482: 2481:Jazz drumming 2479: 2477: 2474: 2472: 2469: 2467: 2464: 2462: 2459: 2455: 2452: 2451: 2450: 2449:Improvisation 2447: 2445: 2442: 2440: 2437: 2435: 2432: 2430: 2427: 2426: 2424: 2420: 2416: 2409: 2404: 2402: 2397: 2395: 2390: 2389: 2386: 2379: 2375: 2372: 2368: 2365: 2361: 2358: 2354: 2351: 2347: 2344: 2341:Gitler, Ira. 2340: 2337: 2333: 2332: 2319: 2315: 2311: 2304: 2298: 2297:0-252-06508-5 2294: 2290: 2289:0-252-02211-4 2286: 2282: 2277: 2261: 2257: 2251: 2244: 2238: 2230: 2226: 2225: 2217: 2211: 2207: 2203: 2199: 2197: 2191: 2183: 2179: 2172: 2166: 2160: 2154: 2149: 2143: 2138: 2132: 2130: 2124: 2118: 2113: 2097: 2093: 2087: 2071: 2067: 2061: 2055: 2049: 2043: 2038: 2030: 2024: 2020: 2015: 2014: 2005: 1997: 1991: 1987: 1986: 1978: 1963: 1962: 1957: 1951: 1949: 1941: 1935: 1928: 1923: 1915: 1909: 1905: 1904: 1896: 1888: 1884: 1877: 1869: 1863: 1859: 1858: 1850: 1848: 1838: 1831: 1827: 1821: 1814: 1810: 1804: 1795: 1779: 1773: 1771: 1763: 1758: 1743: 1742: 1737: 1730: 1723: 1718: 1711: 1710:0-19-516752-X 1707: 1701: 1694: 1690: 1684: 1675: 1660: 1656: 1649: 1642: 1637: 1633: 1623: 1620: 1618: 1615: 1613: 1612:Swing (dance) 1610: 1608: 1605: 1603: 1600: 1598: 1595: 1593: 1590: 1588: 1585: 1583: 1580: 1579: 1575: 1569: 1564: 1557: 1555: 1551: 1547: 1543: 1539: 1535: 1531: 1530:Electro swing 1527: 1523: 1513: 1511: 1510: 1505: 1504: 1499: 1494: 1492: 1488: 1484: 1480: 1476: 1472: 1468: 1464: 1460: 1456: 1455:Swing revival 1451: 1449: 1445: 1440: 1436: 1432: 1431:David Grisman 1428: 1424: 1419: 1418:Swing revival 1409: 1406: 1401: 1399: 1395: 1391: 1387: 1383: 1379: 1375: 1374:Elvis Presley 1371: 1366: 1364: 1360: 1356: 1352: 1348: 1344: 1340: 1338: 1337:Nat King Cole 1334: 1330: 1326: 1322: 1321:Willie Nelson 1318: 1314: 1313:Western swing 1310: 1306: 1305:Moon Mullican 1302: 1292: 1290: 1289:Oliver Nelson 1286: 1282: 1278: 1274: 1270: 1266: 1262: 1258: 1254: 1250: 1246: 1245:Serge Chaloff 1242: 1238: 1234: 1230: 1226: 1222: 1221:Shorty Rogers 1218: 1214: 1207:Big band jazz 1204: 1201: 1197: 1196:Nelson Riddle 1193: 1189: 1185: 1184:Nat King Cole 1181: 1177: 1173: 1169: 1168:Frank Sinatra 1161:Frank Sinatra 1159: 1145: 1142: 1138: 1137:Frank Sinatra 1134: 1130: 1126: 1121: 1117: 1113: 1108: 1106: 1102: 1098: 1094: 1089: 1085: 1081: 1077: 1073: 1069: 1065: 1064:Savoy Sultans 1061: 1057: 1056:Raymond Scott 1053: 1048: 1044: 1040: 1039:Frank Sinatra 1036: 1035:Vaughn Monroe 1032: 1021: 1019: 1015: 1011: 1007: 1003: 999: 995: 994:Body and Soul 991: 987: 983: 979: 975: 970: 966: 962: 957: 955: 951: 947: 946:Bunny Berigan 943: 940:composition " 939: 935: 931: 927: 923: 918: 916: 912: 907: 902: 897: 893: 889: 885: 881: 877: 872: 870: 869:Rock&Roll 866: 862: 861:Swing dancing 858: 857: 856:Hellzapoppin' 852: 851: 846: 845: 841:(featured in 840: 835: 831: 830:The Big Apple 827: 823: 819: 815: 810: 808: 804: 800: 795: 794:call-response 790: 787: 783: 779: 778: 768: 763: 753: 751: 747: 746:Benny Goodman 743: 739: 735: 730: 728: 727:Benny Goodman 724: 720: 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The 443: 442:call-response 439: 435: 431: 427: 423: 422:improvisation 420: 416: 411: 408: 404: 400: 399:Buster Bailey 396: 392: 388: 384: 380: 379:call-response 376: 372: 364: 360: 356: 352: 343: 341: 337: 333: 329: 328:swing revival 325: 321: 317: 313: 309: 305: 301: 300:western swing 297: 293: 289: 285: 284:Moon Mullican 281: 277: 276:country music 272: 270: 266: 262: 258: 254: 250: 240: 238: 234: 230: 226: 222: 218: 214: 213:Bunny Berigan 210: 206: 202: 198: 194: 190: 186: 182: 181:Benny Goodman 178: 174: 170: 166: 162: 158: 157:Benny Goodman 154: 150: 145: 141: 133: 132:Western swing 129: 124: 121: 120:Electro swing 117: 114:Fusion genres 112: 109: 108:Swing revival 105: 100: 95: 92: 90: 87: 85: 82: 81: 80: 76: 72: 68: 63: 60: 58: 55: 53: 50: 48: 45: 43: 40: 39: 38: 34: 29: 24: 18:Style of jazz 16: 3807: 3794: 3787: 3780: 3776:(miniseries) 3773: 3765: 3735:Sophisti-pop 3165: 3156:Jazz royalty 3146:Jazz funeral 2942:Contemporary 2833:Chamber jazz 2787:Saxophonists 2757:Clarinetists 2729:Third stream 2716: 2566:Chamber jazz 2466:Scat singing 2377: 2370: 2363: 2356: 2349: 2342: 2335: 2309: 2303: 2280: 2276: 2264:. 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In a 1939 1068:Louis Jordan 1043:bobby-soxers 1027: 958: 952:'s arranger 933: 930:Tommy Dorsey 926:Glenn Miller 919: 880:Guy Lombardo 873: 854: 848: 842: 811: 791: 775: 773: 734:Guy Lombardo 731: 712: 696:Bennie Moten 641: 596:Jimmy Dorsey 565: 541: 513:Teddy Wilson 509:mixed meters 498: 482:contrapuntal 419:contrapuntal 412: 395:Benny Carter 368: 346:1920s: Roots 336:Brian Setzer 288:Milton Brown 273: 261:Benny Carter 246: 225:Glenn Miller 205:Woody Herman 201:Tommy Dorsey 197:Jimmy Dorsey 193:Benny Carter 189:Cab Calloway 139: 138: 15: 3856:Jazz genres 3836:Swing music 3718:Quiet storm 3681:Contradanza 3463:New Orleans 3458:Kansas City 3261:Jazz mugham 3256:Azerbaijani 3180:Second line 3175:Rare groove 3161:Jazz theory 3151:Jazz poetry 3136:Contrafacts 3120:Saint Lucia 3100:New Orleans 3032:Strata-East 3007:MPS Records 2937:Cobblestone 2858:Smooth jazz 2848:Jazz fusion 2792:Trombonists 2705:Sacred jazz 2690:Smooth jazz 2623:Jazz fusion 2506:Jazz violin 2486:Jazz guitar 2461:Jam session 2434:Jazz (word) 1664:23 February 1574:Jazz portal 1475:Lavay Smith 1394:the Marcels 1370:Fats Domino 1347:jazz violin 1343:Gypsy swing 1261:Count Basie 1253:Sal Nistico 1249:Gene Ammons 1229:Kai Winding 1213:Stan Kenton 1192:Keely Smith 1176:Dean Martin 1172:Bobby Darin 1148:1950s–1960s 1080:Tony Pastor 1076:Louis Prima 1045:. Vocalist 942:Flying Home 901:W. C. Handy 892:Shep Fields 822:The Suzie Q 777:Let's Dance 738:Shep Fields 704:Moten Swing 668:Cotton Club 656:Jimmy Mundy 638:Early swing 619:Rex Stewart 561:Walter Page 537:Jay McShann 470:string bass 324:Teddy Riley 312:gypsy swing 217:Harry James 185:Count Basie 153:bandleaders 140:Swing music 3830:Categories 3703:Brass band 3691:Jump blues 3535:Ethno jazz 3498:Australian 3478:West Coast 3235:Zimbabwean 3075:Copenhagen 2997:Mainstream 2807:Violinists 2797:Trumpeters 2767:Guitarists 2675:Organ trio 2660:Modal jazz 2633:Latin jazz 2613:Gypsy jazz 2511:Vocal jazz 2496:Jazz piano 2102:28 October 2076:28 October 1587:Gypsy jazz 1487:rockabilly 1448:John Holte 1355:Eddie Lang 1351:Joe Venuti 1277:Thad Jones 1273:Buddy Rich 1225:Art Pepper 1052:John Kirby 1014:Gene Ramey 922:Artie Shaw 884:Sammy Kaye 867:and early 740:, but the 612:Joe Venuti 608:Eddie Lang 521:Jess Stacy 501:Earl Hines 450:sousaphone 417:meter and 375:Don Redman 306:guitarist 302:". Famous 269:jump blues 229:Artie Shaw 209:Earl Hines 89:jump blues 23:Swing time 3671:Acid jazz 3528:Worldwide 3514:Brazilian 3311:Bulgarian 3273:Indo jazz 3223:Cape jazz 3110:North Sea 3065:Cape Town 3052:Festivals 3027:Riverside 3002:Milestone 2927:Blue Note 2922:Bethlehem 2906:post-1950 2878:Standards 2863:Soul jazz 2812:Vocalists 2772:Organists 2744:Musicians 2734:Trad jazz 2695:Soul jazz 2618:Jazz-funk 2606:Punk jazz 2596:Free funk 2591:Free jazz 2586:Folk jazz 2576:Dixieland 2571:Cool jazz 2561:Cape jazz 2476:Jazz bass 2439:Jazz band 2318:Doubleday 2210:701053921 1741:Billboard 1597:Lindy Hop 1554:Lindy hop 1500:'s album 1483:neo-swing 1398:Blue Moon 1380:ballads " 1349:swing of 1309:Bob Wills 1281:Mel Lewis 1241:Zoot Sims 1233:Stan Getz 1131:" by the 1118:called a 1047:Peggy Lee 954:Sy Oliver 906:Dixieland 888:Kay Kyser 818:Lindy Hop 814:jitterbug 762:Swing era 694:in 1931. 650:from the 628:Glen Gray 616:cornetist 544:territory 517:Art Tatum 424:led by a 330:, led by 292:Bob Wills 249:ensembles 165:Lindy Hop 161:swing era 149:big bands 102:Subgenres 3676:Afrobeat 3590:Pre-1920 3575:Jazz Age 3491:Oceanian 3441:American 3415:Canadian 3299:European 3290:Japanese 3251:Armenian 3213:Malawian 3208:Ethiopia 3095:Montreux 3090:Montreal 3085:Monterey 3022:Prestige 2992:Landmark 2977:Impulse! 2957:ESP-Disk 2886:Pre-1920 2843:Hard bop 2782:Pianists 2762:Drummers 2752:Bassists 2685:Ska jazz 2628:Jazz rap 2554:Post-bop 2544:Hard bop 2444:Big band 2243:Downbeat 1961:AllMusic 1582:Big band 1560:See also 1496:In 2001 1378:crooning 1088:Downbeat 1006:Don Byas 961:Roseland 936:and the 834:The Shag 674:and the 570:and the 478:rhythmic 438:trombone 434:clarinet 310:created 243:Overview 155:such as 57:big band 3723:Ragtime 3708:Exotica 3664:Related 3570:Ragtime 3548:History 3453:Chicago 3420:Haitian 3399:Swedish 3387:Spanish 3370:Italian 3323:British 3318:Belgian 3285:Iranian 3201:African 3129:Culture 3105:Newport 3080:Jakarta 3070:Chicago 2967:Freedom 2665:Nu jazz 2549:Neo-bop 2352:(1994). 2266:15 June 1747:14 June 1522:hip hop 1390:doo-wop 1384:" and " 1257:R&B 1237:Al Cohn 1084:R&B 876:dancing 865:R&B 648:midwest 462:guitars 426:trumpet 383:ragtime 42:Ragtime 3375:Polish 3365:German 3360:French 3345:Danish 3306:Balkan 3268:Indian 3228:Marabi 3185:Venues 2712:Stride 2655:Marabi 2645:M-Base 2526:Genres 2380:(2000) 2373:(1996) 2359:(1991) 2345:(1987) 2338:(1998) 2295: 2287: 2208: 2025: 1992: 1967:27 May 1910: 1864: 1828: 1811: 1784:21 May 1708: 1691: 1477:, and 1307:, and 1287:, and 1182:, and 1078:, and 1058:, and 1012:, and 976:. 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