An history of the jazz era in the 1920s and the swing era in the 1930s

Webb Cuts Basie At The Savoy Another of the many jazz magazine articles on the site detailing the history of jazz music. This piece recounts the Count Basie vs. On this page of our journey into the history of jazz music we focus on pre Big Band era jazz music history as recorded before

An history of the jazz era in the 1920s and the swing era in the 1930s

Beat[ edit ] During the s the older two-beat style of jazz was superseded by four-beat jazz, facilitated by replacement of the sousaphone with the string bass. Four beat rhythm was the foundation of the Chicago style jazz developed by Louis Armstrong and Earl Hines, and of the swing era rhythmic styles.

The change in rhythm started first with solo pianists and small ensembles, then larger ensembles towards the end of the decade. Toward the end of the twenties the two-beat styles seemed all but exhausted. First in Chicago, then in Harlem and Kansas City, a new way of playing developed around Chicago musicians migrating to Harlem brought their rhythmic ideas with them.

As is so often the case in jazz, there are confusing exceptions to this general outline. Rhythm sections[ edit ] In Maythe No. In big bands, rhythm sections fused into a unified rhythmic front: Each of the leading bands presented a distinct, well-designed rhythmic attack that complemented its particular style.

The rhythm sections of Ellington, Basie, and Lunceford, for example, sounded nothing alike. Just as the soloists were champing at the bit of big-band constraints, rhythm players were developing techniques and ideas that demanded more attention than they usually received.

An history of the jazz era in the 1920s and the swing era in the 1930s

In the s, rhythm instruments made dramatic advances toward the foreground of jazz. In the process, they helped set the stage for bebop. InDuke Ellington discovered virtuoso young bassist Jimmie Blanton and hired him into his Orchestra.

Blanton revolutionized the bass as a featured instrument in the band, until he tragically left the band in late due to terminal tuberculosis. Towards the end of the s the roles of the piano, bass, and drums in the rhythm section changed significantly under the influence of the Count Basie Orchestra.

Early swing drumming relied heavily on the bass and snare drums, with a secondary role for the high hat cymbal in timekeeping. Jo Jones inverted that relationship, making the high hat the primary timekeeper and using the bass and snare drums for accents and lead-ins.

Basie introduced a rhythmically sparse style of piano playing emphasizing accents, lead-ins, and fills. Both of those changes increased the importance of the bass and guitar in timekeeping, ably held by Walter Page and Freddie Green. The lighter and sparser, yet more dynamic, sense of rhythm expressed by the Basie rhythm section lent greater freedom for the band's soloists and set a trend that would culminate in the rhythmic ideas of bebop.

Instruments[ edit ] To help bands adjust to the new groove, major changes were made in the rhythm section. While the bass drum continued to play a rock-solid four beat pulse, the tuba, commonly used in large dance bands of the s, was replaced by the string bass.

During the early years of recording, the tuba was able to project a clear, huffing sound. With Walter Page 's bass replacing the tuba in Bennie Moten 's Kansas City Orchestra, the way was laid clear for the band to develop the kinetic style of swing it would show under the leadership of Count Basie.

The banjo, with its loud and raucous tone, was replaced with the guitar, which provided a more subtle and secure pulsation chunk-chunk in the foundation rhythm.

As the saying went, the guitar was more felt than heard. Listeners felt the combined sound of bass, guitar, and drums as a sonic force that pushed through cavernous dance halls.

Swing arrangements often emphasized the reed section to carry the melody, with trumpets providing accents and highlights. For this reason the types of solo improvisations would change dramatically during the thirties.An overview of jazz in the s, from The Great Depression to Charlie Parker.

from The Great Depression to Charlie Parker. Swing became popular in this decade. Jazz by Decade: - Search the site GO. Music. Jazz History Basics Rock Pop Alternative Music Who Were the Swing Era's Most Influential Jazz Musicians?

By . The swing era (also frequently referred to as the "big band era") was the period of time (–) when big band swing music was the most popular music in the United this was its most popular period, the music had actually been around since the late s and early s, being played by black bands led by such artists as Duke Ellington, Jimmie Lunceford, Bennie Moten, Cab.

The Big Band Era – The Swing Era The Big Band era is generally regarded as having occurred between and It was the only time in American musical history that the popularity of jazz eclipsed all other forms of music. The Jazz Age: The American s The s was a decade of major cultural conflicts as well as a period when many features of a modern consumer culture took root.

In this chapter, you will learn about the clashes over alcohol, evolution, foreign immigration, and race, and also about the growth of cities, the rise of a consumer culture, and the.

Depression Era: High Style in Hard Times. Dressing for the occasion is now a habit with the masses as well as the 'idle rich’. tuxedo ad, Oct 10,  · Classic s big band swing music for ballroom dancing at Pax41 Music Time Machine.

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Jazz History: The Standards (s)