What is it about big bands which explains their enduring appeal? American writer Gene Lees described their characteristic sound as one that will not go away. Once heard, never forgotten in other words, and especially true for those who grew up with the idea that the best kind of fun came from dancing to the beat of a big band. The extraordinary popularity of social dancing prompted the formation of a great many travelling orchestras, some linked to a lushly romantic style, others committed to altogether hotter rhythms. There were dance halls on every corner and minor musical masterpieces were turned out by the score, all designed to tap into the upbeat mood of post-Depression America.
While it was entirely possible for these bands to survive and achieve success without ever entering the studios, it is unarguable that major reputations were built (and sustained) through recordings. Twenty-three of these top-rated groups are represented here. Some of them stayed around for decades, others were short-lived; some were led by fine instrumentalists, black and white, and a few by artists who are active still. Although the basic format doesnt differ much - big bands usually include trumpets, trombones, saxes and a rhythm section - these selections clearly show the stylistic diversity of the idiom. Each offers unique variations of ensemble balance and texture; soloists are recognisably individual. Who said big bands all sound the same?
Our window on a long gone world opens with a piece by the legendary Count Basie Orchestra of the late 1930s. From the simplest of riff patterns, developed in the heady atmosphere of Kansas City jam sessions, an arrangement like Sent For You Yesterday would emerge, complete with fine solos and propulsive section work, the momentum supplied by one of the most perfect rhythm teams in all of jazz. Basies minimalist piano is noteworthy but so too are the solos by trumpeter Harry Edison (still playing) and the bustling Texan tenor-saxophonist Herschel Evans. The playful vocal is by Jimmy Rushing, whose plump rotundity earned him the nickname Mr Five-by-Five. Basie, who died in 1984, led fine bands right to the end.
Jack Teagarden (1905-64), another Texan, was the most celebrated jazz trombonist of his day but a reluctant band leader, with little appetite for business. His playing was always relaxed, at its best in the company of his peers. The clarinettist is Danny Polo, who spent several years in Britain with Ambroses Orchestra. Another who enriched the local musical scene was multi-instrumentalist Benny Carter, whose career continues apace with no concessions to age (he was born in 1907). His version of the British hit song These Foolish Things was made in London while Carter was resident arranger for the BBC Dance Orchestra. He is heard on alto saxophone, poised and graceful, and on muted trumpet and clarinet. Hidden in the trombone section is Ted Heath who went on to lead the greatest of British big bands. Baltimore-born Chick Webb (1909-39) earned appreciation from all manner of jazzmen for his inspirational drumming- every beat like a bell, said Buddy Rich. Webb was the first band leader to recognise Ella Fitzgeralds exceptional vocal quality. Their jaunty collaboration was cut a few days before Ellas 18th birthday, just two years after her amateur night debut at the Harlem Opera House.
Benny Goodmans triumph at the Palomar Ballroom in Los Angeles on August 21, 1935, marked the official start to the swing era. Sidemen became the focus of unprecedented attention, much like soccer players today, and crowds gathered wherever Goodman appeared. Christopher Columbus, a Goodman favourite, was composed by Chu Berry, Cab Calloways fine saxophonist, and arranged by Fletcher Henderson, himself the leader of another great orchestra. Goodman (1909-86) is heard on clarinet.
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