Twentieth Century Jazz: Big Band Music

Twentieth Century Jazz: Big Band Music

Many of the people in the world today associate jazz music with the United States and in fact, these people are not wrong to do so.  According to Ardley, Arthur, Chapman, and Perry, “Jazz is America’s most important contribution to world music” (1979).  Not only is jazz music North America’s most important contribution, but this researcher would argue that it is the only true American musical art form.  The art form of jazz music has been through many different style periods from New Orleans to swing to bebop to big band music, but all of these periods are distinct and all of the musicians involved in these periods are unique in their own right (Scott 1991)

The jazz music that most people associate with is a twentieth century phenomena; however, the fundamentals of jazz date back to a much earlier time period (Jazz History).  Jazz music has its roots in the African American slaves and Creole songs; although, the music was not the same, or for that matter, develop the same in every place (Jazz History).  In fact, big band jazz is attributed to black folk music of the 1800s also known as ragtime (History of Big Bands).  This folk music was combined with many other things, however, to create the assemblage of the big band sound.  Such things were European music, blues, and New Orleans music.

Modern jazz began to develop in New Orleans under the Creole influence in the early twentieth century (Parker).  When this type of jazz was first introduced it was slow to catch on because it was completely different from the mainstream music; however, it was not long before the youth of the 1930s began to demand this music (Parker).  During the 1920s jazz music was considered “lower class” music and often was ignored entirely by socialites (Parker).

By the time 1920, rolled around jazz began to take the form of a big band (Ardley, Arthur, Chapman, and Perry 1979).  The big band era is generally noted as beginning in the year 1935 and ending in the year 1945 (Ardley, Arthur, Chapman, and Perry 1979).  In these years, jazz music was the most popular form of music (Parker).  This was due to the fact that the big band was dance music and as such it became integrated into the American culture (History of Big Bands).  The American youth began to dance to this music and others began to use it as a pick me up during the depression (it was some of the only music that radio shows could get).  These bands played in America’s most famous places (such as New York and Chicago) and were broadcast across the country via the radio (Quilty).

            Some of the lure to big bands was the famous people that fronted them.  People like Count Basie and Duke Ellington.  Count Basie received his first job in Kansas City where he played in Walter Page’s and Bennie Moten’s bands (Monceaux).  He soon grew tired of this and formed his own band in 1935 (Monceaux).  He realized that he could gain some footing and popularity if he got into a “hot spot” type of city.  So, he moved to New York in 1936 (Monceaux).  Basie’s band had much success.  His band was the first American jazz band to play for the Queen of England in 1957 (Monceaux).  Count Basie’s music was such a driving force that the band has survived more than fifty years and many of the hit tunes that are associated with the band are played today (Monceaux).

Duke Ellington is another legend among big band front runners.  Duke Ellington has been called by some the greatest of all jazz composers (Monceaux).  Ellington did not hear jazz or blues as a child in Washington D.C.; in fact, he taught himself how to play ragtime after learning the fundamentals of the piano (Monceaux).  Ellington played in New York often and that is where he first heard the sounds of New Orleans jazz (Monceaux).  After this point, Ellington really took off compositionally because he began to incorporate the New Orleans sound into his writings while trying new instrumentation specifically for his band members (Monceaux).  This and the fact that he always had a moving beat in the piano line because it was “dance” music creates the unique sound that is Duke Ellington (Monceaux).

            A big band is composed of at least sixteen players and could reach as many as twenty-five.  The instrumentation of big bands varies, especially in an Ellington piece.  Big bands often relied on saxophones, not clarinets, and sectional playing (Ardley, Arthur, Chapman, and Perry 1979).  By sectional playing it is meant the brass section, the reed section, and the rhythm section (Ardley, Arthur, Chapman, and Perry 1979).  The brass section encompasses trumpets and trombone like instruments depending on the arrangement of the piece of music, the reed section encompasses saxophones or perhaps a clarinet or flute, and the rhythm section encompasses the piano, bass, drum, and guitar (Ardley, Arthur, Chapman, and Perry 1979).

Traditionally, big bands consist of a trumpet, saxophone (alto, tenor, and baritone), trombone, and rhythm section; however, certain arrangements can call for a saxophone player to double on either a flute or clarinet or as a trumpet player to use mutes or cornets/flugelhorns (Ardley, Arthur, Chapman, and Perry 1979).  After the initial up rise of big bands, other instruments such as Latin or acoustic/electric rhythm instruments are often asked for (Ardley, Arthur, Chapman, and Perry 1979).

            Today, musicians still enjoy playing big band music.  Even though it does not have the popularity that it enjoyed during the 1930s and 1940s, it is nevertheless alive and well (Quilty).  A jazz musician can loose themselves in the music unlike any other form of music allows.  The element of jazz allows for improvisation in which a solo player takes a few measures and “shows his soul” for everyone to see.  In this way, some say that jazz music is some of the most intimate and intense music there is.

 Big band and other genres of jazz music is appreciated more in Europe today because their cultures embrace the sprit of jazz music more so than American culture of today does in the streets.  On the silver screen and in theatre is a different story, however (Jazz Today).  Big band jazz music is showing up in shows such as Modern Millie and Chicago which have both enjoyed tremendous success (Jazz Today). 

            Jazz music is part of the roots of another popular form of music: rock and roll.  The original rock music pulls many of its underlying elements, including the original instrumentation, from the big band jazz bands (Ardley, Arthur, Chapman, and Perry 1979).  Many young people in the 1960s all the way up through today enjoy jazz and rock and roll especially for their driving beats and “dance” style.  Rock and roll had a similar childhood to jazz music.  It was slow to catch on because it was unlike the music of the time and many people thought of it as “devil music” especially the more traditional house holds in America.  Although, when the rock and roll crazy caught on it was an unstoppable locomotive, just like jazz was.

            America’s most important contribution to the music world is jazz music.  Jazz music is one of those genres that should continue for a long period to come.  Many critics are debating whether or not jazz music can stay alive in a “popular” and “top 40’s” driven industry.  What the critics have to remember is that this type of music is not only fun to listen to but it is fun to perform and to dance to as well.  This genre is not going out of fashion but is coming back into fashion.  One can see by more modern examples such as Goodwin’s Big Phat Band or even a “solo” artist like Michael Buble.  Both of these groups are doing well and selling out concert tickets wherever they may be. 

Work Cited

Ardley, Neil; Arthur, Dave; Chapman, Hugh; Perry, John.  The book of Music.  New    Jersey: Chartwell Books, inc., 1979.

DeVeaux, Scott .  “Constructing the jazz tradition: Jazz historiography.”  Black  American Literature Forum.  Fall 1991, Vol. 25, Issue 3.

“Jazz History Time Line.”  20 Jun 2008  http://www.allaboutjazz.com/timeline.htm

“Jazz Today.”  19 Jun 2008      http://www.stfrancis.edu/en/student/Monique-Web/jazz_today.html

Monceaux, Morgan. Jazz: My music, My People. NY: Alfred A Knope., Inc., 1994.

Parker, Jeff .  "The History Of Jazz Music - Pre Swing Era."  15 Jun 2008         http://www.swingmusic.net/getready.html>.

Quilty, Susan.  "The evolution of big band jazz music."  16 Jun 2008      http://www.helium.com/items/985848-during-swing-1930s-1940s.

"The History of Big Bands in America."  14 Jun 2008    http://www.otal.umd.edu/~vg/amst205.F97/vj04/p6a.html.