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| Depression Era Context (early 1930s onward) |
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| Traveled from coast to coast |
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| explosion in popularity, gave name to the style at large |
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| “Orchestrated” Louis: Bigger Band |
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| numerous trumpets, clarinets, and trombones |
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| Swing Style from the transition between Early Jazz to Swing |
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| The sound of jazz has gone through an explosive change in virtually every musical category – pitch, instrumentation, timbre, form |
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| Leader instruments during the swing era |
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| Practice of usually taking first solo chorus (often times a reliable tip-off to the leader of the band you’re listening to) |
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| Transitional Instrumental Focus |
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| Slowly but surely shrinking to the saxophone (through the clarinet) over the trumpet as the most prolific jazz instrument (This will arrive fully w the onset of Bebop) |
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| In Swing there was more virtuosity… |
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| Extreme ranges of brass instruments, more complicated arrangements, “trading” measures, and evolution of “collective improvisation” into sectionalized improvisation |
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| Kansas City Stylistic Traits |
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| Count Basie orchestra, boogie-woogie piano style, “head” arrangment, noconcrete or unclear melody/head, more complicated use of instrumentation, lester young playing style as epitome of kansas city style, more “relaxed” sound |
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| most songs are just made up in their heads |
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| No concrete or unclear melody/head |
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| Replaced by riffs or variations on riffs |
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| African American Swing Trombonists |
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| Ellington Trombonists and Improvisers: Lawrence “Trummy” Young, Miff Mole, “Tricky” Sam Nanton, Juan Tizol (Hispanic) |
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| Caucasian Swing Trombonists |
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| Tommy Dorsey (Lots of vibrato, extreme high register, lyrical) Glen Miller and they were not improvisers (Melodists) |
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| New Bebop stylistic traits (by comparison w Swing) |
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| Faster, higher energy, more demands on techniccal playing, smaller groups, more and quicker chorus lines, instrumental focus on saxophone, |
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