La música swing es una forma de jazz que se desarrolló en los Estados Unidos en las décadas de 1930 y 1940. El nombre proviene del énfasis en el pulso fuera de ritmo o más débil. Las bandas de swing generalmente presentaban solistas que improvisaban la melodía sobre el arreglo. El estilo de swing bailable de las grandes bandas y los líderes de orquesta como Benny Goodman fue la forma dominante de la música popular estadounidense desde 1935 hasta 1946, conocida como la era del swing . El verbo " swing " también se usa como un término de elogio para tocar que tiene un ritmo o impulso fuerte . Músicos notables de la era del swing incluyen a Duke Ellington , Benny Goodman ,Count Basie , Cab Calloway , Jimmy Dorsey , Tommy Dorsey , Woody Herman , Harry James , Lionel Hampton , Glenn Miller y Artie Shaw .
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Orígenes culturales | 1930, Estados Unidos |
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Electro swing | |
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Swing occidental |
Descripción general
El swing tiene sus raíces en los conjuntos de música de baile de la década de 1920 , que comenzaron a utilizar nuevos estilos de arreglos escritos, incorporando innovaciones rítmicas iniciadas por Louis Armstrong, Coleman Hawkins, Benny Carter y otros jazzistas. [1] Durante la era de la Segunda Guerra Mundial, el swing comenzó a perder popularidad y, después de la guerra, el bebop y el jump blues ganaron popularidad. [2]
Swing mezclado con otros géneros para crear nuevos estilos musicales. En la música country , artistas como Jimmie Rodgers , Moon Mullican y Bob Wills introdujeron elementos de swing junto con blues para crear un género llamado " western swing ". [3] El famoso guitarrista roma Django Reinhardt creó la música gypsy swing [4] y compuso el estándar de gypsy swing "Minor Swing". [5] A finales de la década de 1980 y principios de la de 1990, surgió un nuevo swing-beat de estilo urbano llamado new jack swing (go-go de Nueva York), creado por el joven productor Teddy Riley . [6] A finales de 1990 y en la década de 2000, hubo un Neoswing , dirigido por Squirrel Nut Zippers , [7] Brian Setzer Orchestra y Big Bad Voodoo Daddy . [8]
Década de 1920: Raíces
Los desarrollos en la orquesta de baile y la música de jazz durante la década de 1920 contribuyeron al desarrollo del estilo swing de la década de 1930. A partir de 1923, la Orquesta de Fletcher Henderson presentó arreglos innovadores de Don Redman que presentaban una interacción llamada-respuesta entre las secciones de metal y de lengüeta, e interludios arreglados para respaldar a los solistas. Los arreglos también tenían un sentido rítmico más suave que los arreglos influenciados por el ragtime que eran la música dance más "caliente" típica del día. [9] En 1924 Louis Armstrong se unió a la banda de Henderson, dando ímpetu a un énfasis aún mayor en los solistas. La banda de Henderson también contó con Coleman Hawkins , Benny Carter y Buster Bailey como solistas, todos influyentes en el desarrollo de los estilos instrumentales de la era del swing. Durante la residencia extendida de la banda de Henderson en el Roseland Ballroom de Nueva York, se volvió influyente en otras grandes bandas. Duke Ellington le dio crédito a la banda de Henderson por ser una influencia temprana cuando estaba desarrollando el sonido para su propia banda. [9] En 1925 Armstrong dejó la banda de Henderson y agregaría sus innovaciones al estilo de jazz de Nueva Orleans para desarrollar el estilo de jazz de Chicago, otro paso hacia el swing.
El jazz de estilo tradicional de Nueva Orleans se basaba en un compás de dos tiempos y una improvisación contrapuntística dirigida por una trompeta o corneta, seguida típicamente por un clarinete y un trombón en un patrón de llamada-respuesta . La sección rítmica constaba de un sousáfono y tambores y, a veces, un banjo. A principios de la década de 1920, las guitarras y los pianos a veces sustituían al banjo y un bajo de cuerda a veces sustituía al sousaphone. El uso del bajo de cuerda abrió posibilidades para 4/4 en lugar de 2/4 en tempos más rápidos, lo que aumentó la libertad rítmica. El estilo de Chicago liberó al solista de las limitaciones de la improvisación contrapuntística con otros instrumentos de primera línea, lo que le dio mayor libertad para crear líneas melódicas. Louis Armstrong usó la libertad adicional del nuevo formato con tiempos de 4/4, acentuando el segundo y cuarto tiempo y anticipándose a los tiempos principales con notas de entrada en sus solos para crear una sensación de pulso rítmico que ocurría entre los tiempos y los tiempos. sobre ellos, es decir, swing . [10]
En 1927 Armstrong trabajó con el pianista Earl Hines , quien tuvo un impacto similar en su instrumento al que tuvo Armstrong en la trompeta. La concepción melódica y similar a un cuerno de Hines de tocar se desvió de las convenciones contemporáneas en el piano de jazz centradas en la construcción de patrones rítmicos alrededor de "notas pivote". Sus enfoques del ritmo y el fraseo también fueron libres y atrevidos, explorando ideas que definirían el swing. Su enfoque del ritmo a menudo usaba acentos en la entrada en lugar del tiempo principal, y métricas mixtas, para generar una sensación de anticipación al ritmo y hacer que su interpretación sea swing. También usó "paradas" o silencios musicales para generar tensión en su fraseo. [11] [12] El estilo de Hines fue una influencia fundamental en los estilos de los pianistas de la era del swing Teddy Wilson , Art Tatum , Jess Stacy , Nat "King" Cole , Erroll Garner , Mary Lou Williams y Jay McShann .
Las bandas de baile del territorio negro en el suroeste estaban desarrollando estilos dinámicos que a menudo iban en la dirección de la simplicidad basada en el blues, usando riffs en un patrón de respuesta de llamada para construir un ritmo fuerte y bailable y proporcionar una plataforma musical para solos prolongados. [13] Las melodías rítmicas para bailar se llamaban "stomps". El requisito de volumen llevó al uso continuo del sousaphone sobre el bajo de cuerda con los conjuntos más grandes, lo que dictaba un enfoque más conservador del ritmo basado en firmas de tiempo de 2/4. Mientras tanto, los bajistas de cuerdas como Walter Page estaban desarrollando su técnica hasta el punto en que podían mantener presionada la parte inferior de una orquesta de baile de tamaño completo. [14]
El crecimiento de la radiodifusión y la industria discográfica en la década de 1920 permitió que algunas de las bandas de baile más populares ganaran exposición nacional. El estilo más popular de orquesta de baile fue el estilo "dulce", a menudo con cuerdas. Paul Whiteman desarrolló un estilo que llamó "jazz sinfónico", injertando un enfoque clásico sobre su interpretación de los ritmos del jazz en un enfoque que esperaba sería el futuro del jazz. [15] [16] Whiteman's Orchestra disfrutó de un gran éxito comercial y fue una gran influencia en las bandas dulces. La Victor Recording Orchestra de Jean Goldkette contó con muchos de los mejores músicos de jazz blancos de la época, incluidos Bix Beiderbecke , Jimmy Dorsey , Frank Trumbauer , Pee Wee Russell , Eddie Lang y Joe Venuti . La Victor Recording Orchestra se ganó el respeto de la Fletcher Henderson Orchestra en una batalla de bandas; El cornetista de Henderson, Rex Stewart, le dio crédito a la banda Goldkette por ser la banda blanca más influyente en el desarrollo de la música swing antes de Benny Goodman. [17] [18] Como promotora y agente de música dance, Goldkette también ayudó a organizar y promover McKinney's Cotton Pickers y Glen Gray 's Orange Blossoms (más tarde Casa Loma Orchestra ), otras dos bandas del área de Detroit que fueron influyentes a principios de era del swing.
Swing temprano
A medida que la década de 1920 se convirtió en la de 1930, los nuevos conceptos de ritmo y ejecución en conjunto que componían el estilo swing estaban transformando los sonidos de bandas grandes y pequeñas. A partir de 1928, The Earl Hines Orchestra se transmitió en gran parte del medio oeste desde el Grand Terrace Cafe en Chicago, donde Hines tuvo la oportunidad de exponer sus nuevos enfoques del ritmo y el fraseo con una big band. El arreglista de Hines, Jimmy Mundy , contribuiría más tarde al catálogo de la Benny Goodman Orchestra . La Orquesta de Duke Ellington tuvo sus nuevos sonidos transmitidos a nivel nacional desde el Cotton Club de Nueva York , seguida por la Orquesta de Cab Calloway y la Orquesta de Jimmie Lunceford . También en Nueva York, la Fletcher Henderson Orchestra presentó el nuevo estilo en el Roseland Ballroom y la potencia del swing Chick Webb Orchestra comenzó su estadía prolongada en el Savoy Ballroom en 1931. [19] Bennie Moten y la Kansas City Orchestra exhibieron el riff- propulsado , forma de swing orientada a los solistas que se había estado desarrollando en el invernadero de Kansas City. [20] [21] Emblemático de la música en evolución fue el cambio en el nombre de la melodía característica de Moten, de "Moten Stomp" a " Moten Swing ". La orquesta de Moten tuvo una gira muy exitosa a fines de 1932. El público se entusiasmó con la nueva música, y en el Pearl Theatre de Filadelfia en diciembre de 1932, las puertas se abrieron al público que se apiñaba en el teatro para escuchar el nuevo sonido, exigiendo siete bises de la orquesta de Moten. [14]
With the early 1930s came the financial difficulties of the Great Depression that curtailed recording of the new music and drove some bands out of business, including the Fletcher Henderson Orchestra and McKinney's Cotton Pickers in 1934. Henderson's next business was selling arrangements to up-and-coming bandleader Benny Goodman. "Sweet" dance music remained most popular with white audiences but the Casa Loma Orchestra and the Benny Goodman Orchestra went against that grain, targeting the new swing style to younger audiences.
1935-1946: la era del swing
In 1935 the Benny Goodman Orchestra had won a spot on the radio show "Let's Dance" and started showcasing an updated repertoire featuring Fletcher Henderson 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 Palomar Ballroom triumph. At the Palomar engagement starting on August 21, 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 imitators and enthusiasts of the new style throughout the world of dance bands, which launched the "swing era" that lasted until 1946.[22]
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 call-response 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 arrangements were built entirely around a featured soloist or vocalist. Some bands used string or vocal sections, or both. Swing-era repertoire included the Great American Songbook of Tin Pan Alley standards, band originals, traditional jazz tunes such as the “King Porter Stomp”, with which the Goodman orchestra had a smash hit, and blues.
Hot swing music is strongly associated with the jitterbug dancing that became a national craze accompanying the swing craze. Swing dancing originated in the late 1920s as the "Lindy Hop," and would later incorporate other styles including The Suzie Q, Truckin', Peckin' Jive, The Big Apple, and The Shag 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 jitterbuggers gathered in professional dance troupes such as Whitey's Lindy Hoppers (featured in A Day At the Races, Everybody Dance, and Hellzapoppin'). Swing dancing would outlive the swing era, becoming associated with R&B and early Rock&Roll.
As with many new popular musical styles, swing met with some resistance because of its improvisation, tempo, occasionally risqué lyrics, and frenetic dancing. Audiences used to traditional "sweet" arrangements, such as those offered by Guy Lombardo, Sammy Kaye, Kay Kyser and Shep Fields, were taken aback by the rambunctiousness of swing music. Swing was sometimes regarded as light entertainment, more of an industry to sell records to the masses than a form of art, among fans of both jazz and "serious" music. Some jazz critics such as Hugues Panassié 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 musicians who became interested in more sophisticated musical ideas, were generally incapable of expressing its core values.[23] In his 1941 autobiography, W. C. Handy 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).[24] The Dixieland 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. Tommy Dorsey's Clambake Seven and Bob Crosby's Bobcats were examples of Dixieland ensembles within big swing bands.
Between the poles of hot and sweet, middlebrow interpretations of swing led to great commercial success for bands such as those led by Artie Shaw, Glenn Miller and Tommy Dorsey. 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 Mission to Moscow and the Lionel Hampton composition “Flying Home”. "The Sentimental Gentleman of Swing" Tommy Dorsey made a nod to the hot side by hiring jazz trumpeter and Goodman alumnus Bunny Berigan, then hiring Jimmie Lunceford's arranger Sy Oliver to spice up his catalog in 1939.
New York became a touchstone for national success of big bands, with nationally broadcast engagements at the Roseland and Savoy ballrooms a sign that a swing band had arrived on the national scene. With its Savoy engagement in 1937, the Count Basie Orchestra 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 bebop. The Chick Webb Orchestra remained closely identified with the Savoy Ballroom, having originated the tune "Stompin' at the Savoy", and became feared in the Savoy's Battles of the Bands. It humiliated Goodman's band,[19] and had memorable encounters with the Ellington and Basie bands. The Goodman band's 1938 Carnegie Hall Concert 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. Coleman Hawkins arrived back from an extended stay in Europe to New York in 1939, recorded his famous version of “Body and Soul”, and fronted his own big band. 1940 saw top-flight musicians such as Charlie Parker, Dizzy Gillespie, Don Byas, Charlie Christian, and Gene Ramey, whose careers in swing had brought them to New York, beginning to coalesce and develop the ideas that would become bebop.
Década de 1940: decadencia
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 Ella Fitzgerald, 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 Vaughn Monroe was leading his own big band and Frank Sinatra was becoming the star attraction of the Tommy Dorsey Orchestra, inciting mass hysteria among bobby-soxers. Vocalist Peggy Lee 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 "sweet" sensibilities with string sections. Some bandleaders such as John Kirby, Raymond Scott, and Claude Thornhill were fusing swing with classical repertoire. Lower manpower requirements and simplicity favored the rise of small band swing. The Savoy Sultans and other smaller bands led by Louis Jordan, Lucky Millinder, Louis Prima, and Tony Pastor were showcasing an exuberant "jump swing" style that would lead to the postwar rise of R&B. In a 1939 Downbeat interview, Duke Ellington expressed dissatisfaction with the creative state of swing music;[25] 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 bebop. The Earl Hines Orchestra in 1943 featured a collection of young, forward-looking musicians who were at the core of the bebop movement and would in the following year be in the Billy Eckstine Orchestra, 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.
The trend away from big band swing was accelerated by wartime conditions and royalty conflicts.[26] In 1941 the American Society of Composers and Producers (ASCAP) 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 American Federation of Musicians called a ban on recording 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 industry released earlier swing recordings from their vaults, increasingly reflecting the popularity of big band vocalists. In 1943 Columbia Records re-released the 1939 recording of “All or Nothing at All” by the Harry James Orchestra with Frank Sinatra, 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 small specialty labels 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 a 30% excise tax on "dancing" nightclubs, undercutting the market for dance music in smaller venues.[27]
The war's end saw the elements that had been unified under big band swing scattered into separate styles and markets. Some "progressive" big bands such as those led by Stan Kenton and Boyd Raeburn stayed oriented towards jazz, but not jazz for dancing. Much of the top instrumental talent of the period were performing in small band formats ranging from R&B to bebop. The hard core dancing niche formerly occupied by hot big band swing was occupied by small "jump" bands and R&B. Popular music was centered on vocalists, and a full-time big band to back up a vocalist was increasingly seen as an unnecessary expense. By 1947 the economics of popular music led to the disbanding of many established big bands. Big band music would experience a resurgence during the 1950s, but the connection between the later big band music and the swing era was tenuous.[citation needed]
Década de 1950 a 1960
Swingin' pop
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.[28] However, big band music saw a revival in the 1950s and 1960s. One impetus was 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 Frank Sinatra with a mildly swinging backup during the mid-1950s solidified the trend. It became a sound associated with pop vocalists such as Bobby Darin, Dean Martin, Judy Garland, and Nat King Cole, as well as jazz-oriented vocalists such as Ella Fitzgerald and Keely Smith. 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 Nelson Riddle and Gordon Jenkins 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.
Big band jazz
Big band jazz made a comeback as well. The Stan Kenton and Woody Herman bands maintained their popularity during lean years of the late 1940s and beyond, making their mark with innovative arrangements and high-level jazz soloists (Shorty Rogers, Art Pepper, Kai Winding, Stan Getz, Al Cohn, Zoot Sims, Serge Chaloff, Gene Ammons, Sal Nistico). Lionel Hampton was a leader in the R&B genre during the late 1940s then re-entered big band jazz in the early 1950s, remaining a popular attraction through the 1960s. Count Basie and Duke Ellington 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 1956 Newport Jazz Festival. 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 Buddy Rich, 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 Thad Jones, Mel Lewis, Quincy Jones, and Oliver Nelson. Big band jazz remains a major component of college jazz instruction curricula.
Swing de género cruzado
In country music Jimmie Rodgers, Moon Mullican, and Bob Wills combined elements of swing and blues to create a Western swing. Mullican left the Cliff Bruner band to pursue solo career that included many songs that maintained a swing structure. Artists like Willie Nelson and Asleep at the Wheel have continued the swing elements of country music. Asleep at the Wheel has also recorded the Count Basie tunes “One O'Clock Jump”, “Jumpin' at the Woodside”, and “Song of the Wanderer” using a steel guitar as a stand-in for a horn section. Nat King Cole 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.
Gypsy swing is an outgrowth of the jazz violin swing of Joe Venuti and Eddie Lang. In Europe it was heard in the music of guitarist Django Reinhardt and violinist Stéphane Grappelli. 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.
Rock music hitmakers like Fats Domino and Elvis Presley included swing-era standards in their repertoire, making crooning ballads “Are You Lonesome Tonight” and “My Blue Heaven” into rock and roll-era hits. The doo-wop vocal group the Marcels had a big hit with their lively version of the swing-era ballad “Blue Moon”.
Década de 1960 a 2000: nostalgia de Big Band y resurgimiento del swing
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 period comedy, melodrama, and music also played a role in sustaining interest in the music of the swing era.
Dan Hicks and His Hot Licks, and later David Grisman, 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 Manhattan Transfer and Bette Midler 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, Cheryl "Benzene" Bentyne, 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 John Holte led swing revival bands in the Seattle area until 2003.
A Swing Revival occurred during the 1990s and 2000s led by Royal Crown Revue, Big Bad Voodoo Daddy, The Cherry Poppin' Daddies, Squirrel Nut Zippers, Lavay Smith, and Brian Setzer. Many of the bands played neo-swing which combined swing with rockabilly, ska, and rock. The music brought a revival in swing dancing.
In 2001 Robbie Williams's album Swing When You're Winning consisted mainly of popular swing covers. The album sold more than 7 million copies worldwide. In November 2013, Robbie Williams released Swings Both Ways.
Década de 1990 hasta la actualidad: swing house, electro swing y swing pop
Another modern development consists of fusing swing (original, or remixes of classics) with hip hop and house techniques. "Swing house" was particularly popular during the late 1980s and early 1990s. Influences incorporated into it include Louis Jordan and Louis Prima. Electro swing is mainly popular in Europe, and electro swing artists incorporate influences such as tango and Django Reinhardt's gypsy swing. Leading artists include Caravan Palace and Parov Stelar. Both genres are connected with a revival of swing dances, such as the Lindy hop.
Ver también
- Big band
- Gypsy jazz
- List of music styles
- Swing (dance)
- Swing (jazz performance style)
- Original Dixieland Jass Band
Notas
- ^ Swing, Swing,Swing Retrieved 11 March 2021
- ^ Considine, J. D. "The missing link in the evolution of JUMP BLUES". Baltimoresun.com. Retrieved 23 February 2021.
- ^ Price, "Jazz Guitar and Western Swing", p. 82.
- ^ Dregni, Michael (2008). Gypsy Jazz: In Search of Django Reinhardt and the Soul of Gypsy Swing. Oxford University Press. pp. 10–13. ISBN 978-0-19-531192-1.
- ^ Dregni, Michael (2004). Django: The Life and Music of a Gypsy Legend. Oxford University Press. ISBN 0-19-516752-X.
- ^ Teddie Riley Retrieved 11 December 2020
- ^ Gensler, Andy (June 6, 2016). "Squirrel Nut Zippers Reissuing 'Hot' - Listen to Unreleased 1991 Song 'The Puffer': Exclusive". Billboard. Retrieved June 14, 2017.
- ^ Mondavi swings to the jive of Big Bad Voodoo Daddy Retrieved 11 March 2021
- ^ a b "Fletcher Henderson". Musicians.allaboutjazz.com. Retrieved 2017-05-21.
- ^ Harker, Brian C., 1997, Early Musical Development of Louis Armstrong, 1921–1928, unpublished PhD Dissertation, Columbia University, 390 p. plus Appendix
- ^ Cook, Richard (2005), Jazz Encyclopedia, London: Penguin, ISBN 978-0-14-102646-6.
- ^ Kirchner, Bill, ed. (2000), The Oxford Companion to Jazz, New York: Oxford University Press, ISBN 978-0-19-518359-7.
- ^ Russell, Ross, Jazz Style in Kansas City and the Southwest, Berkeley, CA, University of California Press, 1972, 291 p.
- ^ a b Daniels, Douglas Henry (January 2006). One O'clock Jump: The Unforgettable History of the Oklahoma City Blue Devils. Beacon Press. p. 144. ISBN 978-0-8070-7136-6.
- ^ Popa, Christopher (November 2007). "Big Band Library: Paul Whiteman". www.bigbandlibrary.com.
- ^ Berrett, Joshua (1 October 2008). Louis Armstrong and Paul Whiteman: Two Kings of Jazz. Google. Yale University Press. ISBN 978-0300127478.
- ^ Goldkette on The Red Hot Jazz Archive Retrieved 22-05-2017.
- ^ Nye, Russell B., 1976, Music in the Twenties: The Jean Goldkette Orchestra, Prospects, An Annual of American Cultural Studies 1:179–203, October 1976, DOI: 10.1017/S0361233300004361
- ^ a b "Chick Webb". Retrieved 2017-05-27.
- ^ Lawn, Richard (2013). Experiencing Jazz. Routledge. p. 161. ISBN 978-0-415-69960-0.
- ^ Driggs, Frank; Director, Marr Sound Archives University of Missouri-Kansas City Chuck Haddix (1 May 2005). Kansas City Jazz: From Ragtime to Bebop. Oxford University Press. p. 119. ISBN 978-0-19-536435-4.
- ^ Parker, Jeff. "Jazz History Part II". www.swingmusic.net.
- ^ Blowin' Hot and Cool: Jazz and Its Critics, by John Remo Gennari, PhD (born 1960), University of Chicago Press (2006), pg. 58; OCLC 701053921
- ^ Handy, William Christopher (1941). Father of the Blues. MacMillan. p. 292.
- ^ "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." Downbeat, February 1939, pp. 2–16
- ^ "The 1942 Recording Ban and the ASCAP/BMI War". Retrieved June 15, 2017.
- ^ Stomping the Blues. By Albert Murray. Da Capo Press. 2000. pages 109, 110. ISBN 0-252-02211-4, ISBN 0-252-06508-5
- ^ Walker, Leo (1972). The Wonderful Era of the Great Dance Bands. Garden City, New York: Doubleday. p. 152.
Otras lecturas
- Erenberg, Lewis A. Swingin' the Dream: Big Band Jazz and the Rebirth of American Culture (1998)
- Gitler, Ira. Swing to Bop: An Oral History of the Transition in Jazz in the 1940s (1987)
- Hennessey, Thomas J. From Jazz to Swing: African-Americans and Their Music, 1890–1935 (1994).
- Schuller, Gunther. The Swing Era: The Development of Jazz, 1930–1945 (1991)
- Spring, Howard. "Swing and the Lindy Hop: Dance, Venue, Media, and Tradition". American Music, Vol. 15, No. 2 (Summer, 1997), pp. 183–207.
- Stowe, David. Swing Changes: Big-Band Jazz in New Deal America (1996)
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