Student Name: Xu Jingxuan (Chelsea)

WR120

Prof. Dr. OllerPaper 2 Draft 2

March 16, 2021

New Orleans and Swing

Jazz historians normally characterize Swing Jazz as a less authentic and innovative musical style in comparison to the New Orleans jazz music, from which it was derived, and less authentic than the Bebop Jazz that came after it. However, looking at Swing Jazz from this perspective denies the influence of this style of music in the popularization of Jazz (Szwed). Swing Jazz emerged in the 1930s, which is synonymous with the period that Jazz became a popular music genre. In terms of being less authentic than both the New Orleans Jazz and Bebop, there is the need to assess the significance of this genre of music based on the period when it emerged, which was between the Great Depression and World War II (Szwed). This means that a majority of the people who danced to this music at that time or bought these records, were less interested in music continuity, over having a good time given the hardships that they were experiencing in their lives (Gioia). The authenticity and innovativeness of the New Orleans Jazz music were meant to influence and improve the creativity levels of the Jazz artists, while Swing Jazz was developed to popularize New Orleans jazz musical style.

The difference between New Orleans Jazz and Swing Jazz was best summarized by Gertrude Stein’s remark when she stated, “You do something first, then someone else comes along and does it prettier (Schuller).” The New Orleans jazz emerged in the early 20th century whereby small bands of primarily five-to-seven players performed in a style, which would later be referred to as the New Orleans style. The name of this genre of music was influenced by the place from which this style of music first began to be played. Today, it is mainly referred to as the Dixieland (Borgo and Bindas 1584). From the onset of this genre of music, it seemed that this form of music was developed by music composers and artists as a way to play music for themselves, and in a way to develop a style of music that was different from the one that was used for standard dance, marching bands, or any other form of popular music that was popular at that time. The motivation that contributed to the formulation of this form of music was that the popular, and commercial music that was frequently played at that time was highly repetitive, and they did not offer any form of challenge to the musicians at that time (Burns). It can be deduced that the lack of challenge, and playing repetitive notes would have had a negative impact on their overall creativity (Gioia). The musicians needed a style of music, which would inspire them to come up, and play new notes, without the need of focusing on the reception of the audience.

The New Orleans Jazz contributed to the improvisation of music and the development of better music. However, an important point to note is that, for these improvisations to work, there was the need for a band to be comprised of a band of musicians that complemented the skills of the group members (Gioia). For instance, some of the best composers of this form of Jazz were Miles Davis and John Coltrane who was particularly brilliant in their quartets and quintets that eventually became the appropriate models of group interplay. Others such as Wynton Marsalis demonstrated the democracy of the New Orleans style of music as it helped the music artists to become participatory, have a sense of inclusion, challenge them, bring a sense of competitiveness and companionship in music creation and development. However, given the benefits of this form of music, it did not resonate highly with a majority of the African Americans, or the minority groups (Burns). To put it into perspective, New Orleans jazz was not considered part of folk music, despite the humble beginnings of this form of music. The reason for this is that it was considered to be too professional, and highly sophisticated for the minority audience.

Jazz was propelled from a highly sophisticated genre to a commercialized, or popular form of music with the emergence of the Swing Jazz genre. This form of music comprised of 12-to-15 piece bands, which usually had a male and a female vocalist. The new genre of music was built around the use of high rhythmic riffs and a ‘call and response,’ during the different sections of the performance (Gioia). An important point to note was that, in the rhythmic sessions, various musical instruments were utilized such as piano, drums, guitar, and bass, and they contributed to the maintenance or attainment of a swinging dance beat that the audience could swing and dance to (Borgo and Bindas 1584). There was also the use of trumpets, woodwinds, trombones, and vocals that were meant to provide an emotional aspect to the music. This form of music was played in front of a large audience in either complex arrangements, or large orchestras. It is worth noting that, the performance by the Swing musicians contributed to reducing the distinction between popular music, and what was determined as being ‘classical.’

A majority of the most popular Swing musicians were African Americans such as Fletcher Henderson, Jimmy Lunceford, and Duke Ellington. Their unique styles were a combination of the New Orleans jazz, and dance music, which was popular in the urban American set-up and especially in the African American jazz clubs that were situated in Harlem, New York City, and Kansas City (ELLIS 707). Duke Ellington is regarded to have christened this new style of music as ‘swing,’ through his hit single, ‘It Don’t Mean a Thing If It Ain’t Got That Swing.’ Another artist who contributed immensely to the popularity of this genre of music was Benny Goodman, who is regarded to have catapulted this form of music to the popular mainstream. He achieved this by recruiting exceptional musical artists such as Gene Krupa, Lionel Hampton, Peggy Lee, and Styan Getz into his band. An important point to note is that, although Goodman was a white bandleader, his decision to incorporate black musicians in his band, contributed to the integration of the music industry.

Between the Great Depression and before the onset of World War II, Swing Jazz emerged as the most pervasive and popular musical genre. Swing music contributed to a great deal in terms of helping re-build the world during, and after World War II. Swing music was revolutionary in terms of providing activists with a platform where they could raise their issues on different social issues that plagued America such as racial and gender inequality (Burns). As Swing bands became particularly popular in the 1940s, it created a national space for African American musicians and female musicians to perform in the public. World War II provided women with the opportunity to perform their music in public spaces in front of large audiences (ELLIS 707). The International Sweethearts of Rhythm was one such band that comprised of an all-girl band that toured and performed throughout the United States as a majority of male singers were serving in the military. The women during these tours proved that they could play different instruments with the same valor and intensity as men. They could perform using trumpets, saxophones, and drums.

In conclusion, as has been seen in this paper, although Swing Jazz emerged from New Orleans jazz, these genres of music were formed for different purposes. On one hand, the New Orleans Jazz was conceptualized by musicians who were seemingly tired of listening and playing the same type of music that was repetitive in terms of the keys that they had to play. These musicians needed some form of challenge, which was realized through the formulation of this new style that came to be known as the New Orleans style as this was the region from which it originated from. On the other hand, Swing Jazz emerged from a combination of the New Orleans jazz concept and popular, or commercial music in the country. The music was rhythmic and became popular during the 1930s, a time, which was signified by different struggles in the country such as the Great Depression, and World War II. While the New Orleans jazz failed to capture or become popular among the African Americans, or the minority groups, Swing Jazz attained that aspect of popularity. It was regularly played in Kansas City and Harlem, New York City, which were mainly frequented by people of different races and social classes. Swing Jazz also contributed to the integration of music in terms of race. The New Orleans Jazz was developed to influence an aspect of creativity and innovation in music composition. On the other hand, Swing Jazz was developed as feel-good music during an oppressive period, and which incorporated the New Orleans Jazz, which can be considered as classical, and popular music to create rhythmic music that people could dance to, and enjoy themselves.

Works Cited

Borgo, D. G., and K. J. Bindas. “Swing, That Modern Sound.” Journal of American History, vol. 89, no. 4, 2003, p. 1584, doi:10.2307/3092658.

Burns, K. “Watch jazz.” Jazz | A Film by Ken Burns | PBS, 11 Feb. 2020, www.pbs.org/kenburns/jazz/.

ELLIS, M. C. “An analysis of “Swing” Subdivision and asynchronization in three jazz saxophonists.” Perceptual and Motor Skills, vol. 73, no. 7, 1991, p. 707, doi:10.2466/pms.73.7.707-713.

Gioia, T. The History of Jazz. Oxford University Press, 1998.

Schuller, G. The swing era: The development of jazz, 1930-1945. History of Jazz, 1989.

Szwed, J. Jazz 101: A complete guide to learning and loving jazz. Hyperion, 2000.