Signature music: “In the Mood. ” Played trombone in the Dorset brothers. Played in Ben Pollack’s band. Bud Powell 0 piano, Instrumental In the development of bebop. Kenny Clarke C] House drummer at Mouton’s playhouse. Jay McMahon 0 plants and band leader; his band features the likes of Ben Webster and Charlie Parker. Swing Street CLC reference to 52nd street which hosted major Jazz clubs during the swing and the bebop era.

Mouton’s Playhouse 0 a Harlem jazz club hat saw the emergence of bebop and hosted artists such as Dizzy Gillespie, Charlie Christian. The house band included Theologies Monk on piano, Joe Guy on trumpet, Nick Fenton on bass, and Kenny Clarke on drums. Billy Straying 0 famous for his collaboration with Duke Longtime. Billy Berg’s 0 Jazz club in Hollywood. Lionel Hampton 0 one of the first to use the vibraphone in jazz. Part of Benny Goodman quartet, along with Gene Koura, Teddy Wilson and Goodman. This group was one of the first racially integrated group to perform.

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Many renowned artists passed through his group: Dizzied Gillespie, Clifford Brown, West Montgomery, Quince Jones, etc. Earl Hines D The band to follow Duke Longtime at the Cotton Club was Cab Scallywag’s band. Though classically trained singer in the opera, he always aspired to be in show business. He went to Chicago where he joined the Alabamian, who later changed their name to the Missouri when they moved to New York. Galloway was not a Jazz singer but a showman who surrounded himself with jazz musicians. By the late sass’s Cab Galloway was the most successful African American band leader in the country.

Milt Hint, Chug Berry, Dizzy Gillespie 0 all played at Cab Scallywag’s band. Chug Berry was next in line after Coleman Hawkins. When Lester Young was fired from the Fletcher Henderson Band, Berry was the guy to replace him. Jimmy Landlord’s band was a black band that prided itself In playing dance music with percussion. Sys Oliver, the arranger, was the most famous one to come out of that band. Benny Goodman established himself In New York as a studio musician. He made various records with Red Nichols. When he made records with Billie Holiday, he encountered John Hammond.

Hammond invited Goodman to his house to play chamber music, where Benny fell in love with Hammond sister and married her. During the depression, Fletcher Henderson sold many of his arrangements to John Hammond, which became the basis for Goodman band musical library. He later hired Fletcher Henderson to write him some more arrangements. Because Goodman band was the hottest band it aired on the last minutes of a radio show. They went on a national tour and outside New York they found that white people didn’t like their music that was too hard-swinging.

In order to play something the people could dance to, they played stock arrangements. By the time they came to Los Angels they were ready to Sabina and return home They played at the Palomar Ballroom, ready to play their stock arrangements, when Gene Koura suggested playing something they would enjoy, and they played “King Porter Stomp”. The show that aired in New York at 1 1 :30, the end of probation. “Sing Sing Sing” was originally written by Louis Prima, a very light skinned Black musician, which enabled him to perform where other black musicians were not allowed.

Jim Muddy 0 Goodman commissioned him to write an arrangement to “Sing Sing Sing. ” The band realized Fletcher Henderson had a similar arrangement called “Christopher Columbus. In the end, Benny Goodman version is a mix of the two. In 1938, Hammond had the idea of putting a Jazz concert on a classical stage. These concerts were historically significant because of the first time jazz music was present in a distinguished art form. Benny Goodman was the first white band leader to hire black musicians. He hired Teddy Wilson to play with his trio, after the two met while recording with Billie Holiday.

When the band was in Los Angels Goodman encountered Lionel Hampton, and the band became a quartet. The quarter then becomes a quintet when Hammond introduces Goodman to Charlie Christian. Goodman immediately took offense to Charlie Christian and did not want to play with him. Hammond ambushed Goodman to listen to Christian, who established guitar as a solo instrument. Lionel Hampton later struck out with his own band. Roy Eliding, the next in trumpet lineage after Louis Armstrong, was the most influential trumpet player during the swing area, inspiring Dizzy Gillespie.

He was also the featured trumpet player in Gene Koruna’s band. His nickname was Little Jazz. Artier Shaw 0 another famous clarinet player during the swing area. He had a self- identity problem and many times retired and left to Mexico. Shaw moved from playing sax to clarinet, which why his clarinet playing sounds like a sax. Red Nor played the xylophone. He met his wife Mildred Bailey, when he played for Paul Whitewash’s band. Bailey is one of the handful singers in the swing era that could be called a Jazz singer. They were nicknamed the swing couple. Stardust” by Hobbies Carmichael is the second most recorded piece after “SST. Louis Blues. ” Artier Shah’s most famous recorded improvisation is featured in “Stardust”: it is an example of how some of his music was more dance than Jazz. Jimmy and Tommy Dorset came from Pennsylvania but are considered Chicago style. The Dorset Brothers band was their first together. They were always in conflict. After an argument Tommy walked off the band to form his band. They reunited in the late sass’s, and in the sass’s they had their own TV show (where Elvis made his TV debut).

Tommy Dorset played trumpet but eventually he settled for trombone. His theme song was “I’m Getting Sentimental over You,” which is why he was called “The Sentimental Gentleman. ” His trombone playing was seamless, silky and smooth. Tommy Dorset also introduced Frank Sinatra to the world. Bunny Iberian played with Benny Goodman as well as with Tommy Dorset. He later had his own band but he was a heavy drinker and was not good at enforcing discipline. After Iberian left Dodder’s band, Tommy had his musicians play Bunny’s part in unison as tribute to him.

Jimmy Dodder’s band was more Chicago style than Tommy’s band. He played both alto sax and vaudeville sax and astonished everyone. His sax playing influenced many, including Charlie Parker. Into the sass’s the music stars of the America were the band leaders. The singer got second billing. The first guy to strike out on his own was Being Crosby when he left Paul Whitewash’s band. The most popular swing band was Glenn Miller’s band. Miller played trombone and wrote arrangements for the Ben Pollack band. He also syncopation to familiar tunes.

Even though it was the most successful it didn’t swing the hardest. Tex Bennie took over Miller’s band when Miller’s plane disappeared over the English Channel Miller tried to create a unique sound to his saxophone section by placing clarinet as the lead voice: clarinet lead. “In the Mood” was Glenn Miller’s signature tune. It is the number 1 selling instrumental recording written by Joe Garland. AY Clink used to say it would have been better if Glenn Miller had lived and his music die. Important band leader in the swing era was Charlie Barnett, an illegitimate son of wealthy parents.

His band was more like a rich man’s toy. Like Duke Longtime, he allowed his musicians a lot of freedom. His signature music was “Cherokee”. BEBOP Bebop is no longer dancing music but music that needs to be listened to. The first natural bebop big band was Earl Hines’ band. In his early career Hines performed on the piano alongside Louis Armstrong in Chicago. Earl “Faith” Hines in the early sass’s had a big band that was invaded by young beepers. He stole Charlie Parker from Jay Mechanics band. His band never recorded because during that time the American Recording Industry was on strike.

In the meantime both Charlie Parker and Dizzy Gillespie were working up the same style on opposite sides of the country (Bird in New York and Dig in Kansas City. ) Monomer’s Uptown House was another place where bebop emerged. The people who didn’t like modern Jazz were nicknamed “Moldy Figs”. The one responsible for bringing bebop from late night clubs in Harlem to 52nd SST, was Coleman Hawkins. He never changed his own style, but he surrounded himself with young musicians who used his fame to book gigs on 52nd tree. In the Onyx, Dizzy Gillespie kicked Off new tune with a scat “o bop, be bop”.

A music reviewer in the audience related the scat to the new style of music. The drummer at Mouton’s was Kenny Clarke developed a new style of playing. He explained the development in that musicians were paying so fast that he only played during their pause. This was also true for the piano player at Mouton’s. Theologies Monk , like Count Basis, realized he does not need to play the rhythm, but simply Jab a chord once in a while, or even Just play notes to outline the harmony. In the bebop withy section the sole responsibility of time lies in the hands of the bass player.

The musicians’ union strike prevented people from listening to bebop on the radio, which shocked them when they heard it for the first time. One of the first bebop records that people were aware of was Charlie Parser’s OK-OK. In Earl Hines bebop band there was a young singer named Sarah Vaughn and another singer named Billy Stickiness (often referred to as the black Frank Sinatra). Hines’ band broke up in 1952. Around that time Stickiness had a huge hit “Jelly Jelly”. Based on that success, many of former Hines’ musicians were now part of Stockinet’s band.