Discussing and Writing About Swing as an Art Form

Swing as an Art Form

TA: Beth Ratay

To participate in discussion, read the following, including the instructions in the “DISCUSSION ASSIGNMENT” below— and then click on “Post New Entry” above (login to see the button) to submit your post. 

In a famous early quote, Ellington claimed not to write jazz but “Negro folk music,” which cast emphasis on jazz as a form that arises through aural and oral culture, from traditional roots. However, as his career developed Ellington devoted increasing energy to intricate narrative works like 1943’s Black, Brown, and Beige Suite (premiered at Carnegie Hall) that aspired to match the symphonic tradition of Europe’s Art Music. The contrast between these two perspectives gives us a hint at the difficulty facing anyone who wants to define the role of jazz in U.S. history and culture. 

Though Duke Ellington, Count Basie, and Benny Goodman were all “swing” musicians, each of these three bandleaders had distinctive styles and different interpretations of what “jazz” could mean to their audiences, and their own beliefs evolved as the complex decade of the 1930s progressed. In Stowe’s (1998) chapter “Tempo of the Time”, we see clearly that by the late 1930s, the creative seriousness of Chick Webb, Count Basie, Benny Goodman, and others, transformed the pop-culture success story of early jazz into something widely recognized as America’s classical music. 

(The live Carnegie Hall concert that Stowe describes in detail is represented as tracks 20 and 21 of your “Kansas City to New York Swing” listening list.)

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DISCUSSION (Due October 29 — or submit by October 24 at noon to get TA guidance toward an essay):

How does Duke Ellington’s music of the late 1930s compare to that of Count Basie’s or Benny Goodman’s? Choose one recording of Duke Ellington’s music from the “Kansas City and New York Swing” playlist (or “Solitude” by Billie Holliday from the “Swinging Tin-Pan Alley” list), and one or two recordings (Goodman or Basie) from the rest of the “Kansas City and New York” playlist. Analyze what you hear in each recording, and think comparatively about the expressions. 

Begin with questions like these: How do changes in the music’s arrangement, from one section to the next, affect your experience as a listener? (It’s ok, to begin with, if you don’t identify all the instruments correctly.) Are there long solo sections? Do other sections focus more on the sound of the whole group? How would you analyze the form of the recordings?

Your thoughts, in about 150-250 words, should be posted to this webpage, by clicking on the “create new post” button on the upper left corner. (You’ll have to login to see it.) 

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ESSAY (Due October 29 — if you choose to write an essay in this unit):

In light of the Unit 2 readings, and your own personal experience in listening to this music, discuss what you perceive to be the important similarities and differences between the music of Duke Ellington, and whichever other artist you have chosen. Please choose at least two of the following topics to elaborate on.

(1) Form: Form is the overall structure of the music. The Tin Pan Alley style form that is utilized in these songs follow a general AABA form totaling approximately 32 bars (8 bars per letter). Apply this basic structure to the songs you are discussing and try to see how the composer changes this basic form throughout the song. What differs (or not) between these songs with regard to musical form?

(2) Arrangement: Instrumentation is the choice of instruments used and featured in the recording. Which instruments or groups of instruments are used in the recordings? Which instruments solo or play melodies? How does the composer use different groups of instruments in the piece? Do all instruments play together all the time? Are there times when just brass instruments (trombone, trumpets, etc.) or just woodwind instruments (clarinet, saxophone, etc.) play?

(3) Improvisation: How is improvisation used in these pieces? Are there any solos that sound improvisatory? Which instrument is playing in these solos? How often does this sort of improvisatory feel occur in each song? Is there a significant difference in the frequency of these solos when comparing the two songs?

(4) Effect: Describe the effect the music has on you as a listener—emotional, intellectual, or otherwise. What does the music bring out of you? After identifying your favorite passage(s) try to shed light on what in the music causes that feeling. Use the terminology defined in lectures to describe the musical effect achieved. Feel free to contact me (TA Beth Ratay) if you’d like some advance help on those terms.

Your essay, in the form of a post to the Swing as an Art Form Essays page, is due on October 29 at noon.  It should be about 600-800 words long.  Double-check your facts, and proof your work to make sure your peers will understand your argument and your ideas.  Please write clearly and concisely — big ideas count more than big words.

When you are done, please take time read your peers’ posts and essays, compare and contrast your thoughts, and continue discussion.

Comparing Duke Ellington and Count Basie

In Duke Ellington’s, “Do nothing till you hear from me”, the piece is opened by a piano that transitions into a slow melodic trumpet solo with saxophones and possibly trombones in the back ground answering to the soloist. Then it breaks off, into a trombone solo, which is slow, sad, and melodic and sends off a relaxed vibe, it is reiterating similar melodies of the prior solo. There is more focus on the band as a whole in this piece. The mood is sad maybe about two lovers during the great depression that are apart. At the end the whole band comes together for a nice finish.

In “Honeysuckle Rose”, by Count Basie, it also starts out with piano, but this tempo is a lot faster. The improved solo is very up beat and happy, you could picture people dancing to it. Then there is a transition into a saxophone solo with brass answering in the background. Both solos contain a lot of swinging 8ths.The whole band plays the same melody at one point, the brass comes in strong towards the end as the whole band plays together. Then the last solo is a trumpet for a brief amount of time. 

  As a whole Count Basie’s piece focuses more on the soloist then as the group as a whole. Towards the middle of the piece the band does play together but that is not the majority of the song. Duke Ellington’s song is more focused on a group effort, containing a few shorter solos that fit into the piece and create strong emotions of a sad almost depressed mood, it is like each soloist is telling their stories, and they all relate in similar ways. 

Swing As An Art Form

Duke Ellington’s I Got It Bad (And That Aint Good), Count Basie’s April In Paris and Benny Goodman’s Stompin’ At The Savoy all have varied approaches on “swing”. Ellington introduces the piece with a piano, then goes straight into the saxophone’s slow, yearning melody that mimics what the singer is about to begin. This is in the AABA form that is made distinct by the lyrics. There are a few solos sections on the saxophone that seem to depict the singer’s emotion about the hopeless situation, but in the background there is still a constant beat with the drum and snare as well as the occasional first trumpet that leads back into the lyrics. As a whole the sections seem to have an emphasis on either the vocals or the saxophone to convey loneliness.

Count Basie’s April in Paris on the other hand, overall is upbeat and the sections focus more on the sound of the whole group. At the beginning all instruments are played. From what I can identify there are saxophones, trumpets, drums, bass, trombones, and a piano. From one section to the next there is an alternation from group playing to solo saxophones and Thad Jones on second trumpet. This arrangement seems like it would be at the end of a show because all instruments are incorporated and emphasized to make a dense composition that ends the night.

Goodman’s arrangement has an emphasis on the vibraphone all the way through. It is always accompanied by the drums and snare, and sometimes the saxophone, bass, piano, and trumpet. Most of the piece is made of long vibraphone solos, but there is one short piano solo and a trumpet solo. To analyze the form of the recording I would listen for when there is a repetition in rhythm or when instruments join in and leave.

Ellington’s arrangement compared to Basie’s and Goodman’s has a sad mood which is depicted through the vocals and saxophone, while the other two are purely instrumental and are for listening enjoyment.

Swing As An Art Form: Basie vs. Ellington

Comparing Count Basie’s One o’Clock Jump to Duke Ellington’s Caravan was all too much fun. Both compositions were both bouncy and a real joy to listen to. The loud wind instrumental solos accompanied by their choral counterparts behind them really made me want to get up and move. While both songs shared this quality, there was a difference in which instruments really got the chance to shine the most.

Basie’s One O’Clock Jump starts quiet but still playful with piano in the spotlight, and switching in to solo trumpet with resounding trumpet chorus to pick up the song’s speed. You are definitely able to notice the change between tenor and baritone wind instrument sounds, before the song goes back to piano with an extra emphasis on percussion toward the end. The One O’Clock Jump ends abruptly. Duke Ellington’s Caravan starts with a constant tempo created by a steady percussion and low trumpet sound. Then the main event, the trumpet creates an AABA melody that we hear repeated at the end of the song after some exquisite improvisation. Caravan fades to an end.

While I believe it is safe to say both have a consistent back beat implemented by drums and trumpet chorus, both composers were different in how much wind instrument they really wanted to emphasize, even though both were very prominent with trumpet solos.

Update on Thursday, October 29, 2009 at 8:27 PM by JeffreyBeaudoin

Basie and Ellington were both brilliant in their right.  In these two songs one can definately see the differences in styles of these two bandleaders.  Basie stays true to the early swing ideas and keeps a consistent, jumpy beat.  His songs are easy to listen too, but he rarely ventures beyond these comfortable bands.  Ellington on the other hand was constantly finding new ways to advance the scope and swing and jazz, risky in some ways but much more rewarding.  These songs are both rewarding to listen to but for coming out in the same year and for both being classified as swing are incredibly different.  With Ellington, you get more of impression that you are being spoken to by the musicians through their instruments, while Basie comes off as much more scripted.  One is not better than the other….gotta love them both!

You definately analyzed both of these songs very well!

Is Basie more your style or Ellington?

Jazz Cats

When comparing Count Basie’s “One O’clock Jump” to Duke Elington’s “Caravan” the subtleties of instrumentation and individual musicianship create two vastly different songs.  Basie’s tune is very bouncy and pronounced with a small, piano led intro leading into the back to back solos from the saxophone, clarinet and trumpet that make up the bulk of the song.  After this, the other instruments drop out and bass and guitar break serves as a bridge.  The band then erupts into a call and response between the wind and brass while the other instruments keep a steady driving rhythm.  

Alternatively, “Caravan” has a mystical Arabian quality that is immediately evident from the driving percussion break that starts the song.  The difference in instrumentation between the songs is noticeable after the trumpet line as the whole band begins to play.  Basie’s seven man “Ochestra” has less texture than Elington’s 13.  This is especially evident when comparing Elington’s call and response between the solo trumpet and the band and the similar pattern in “One O’clock Jump”.  As the song progresses, the soloist becomes the clarinet and the driving percussion returns.  Slowly the band begins to fade, and is briefly rallied back to its original vigor by the trumpets slithering melody before ending completely.

Comparing Ellington and Basie

Count Basie’s “Cherokee” and “April in Paris” and Duke Ellington’s “Caravan” show two distinct styles of jazz from the 1930’s. Both styles possess a “swing” feel, but the form, tempos, and use of instrumentation are vastly different, creating a different experience for the listener. Basie’s selections are “Big Band” pieces that have bright tempos and a definite formula that is used in both songs. There is much more emphasis on the band as a whole most of the time, with solos coming more as a natural progression of the pieces. The different sections of the band, like the saxes at the beginning of “Cherokee”, play solis for most of the piece and then a repeated background at the extended solo section at the end of the piece. This is followed with a piano solo, a common feature to give the final solo to a member of the rhythm section, and then a finale. This is a typical arrangement for many Big Band pieces, with certain instruments getting solos at the beginning, in this case the trombones, and the rest of the band having an opportunity during the solo section. The solos at the end are very interchangeable and probably switched at most performances.

Ellington shows a completely different form of jazz from the period, that was less predictable in its arrangement and showcased individual talent. The beat is much slower and changes throughout the piece, unlike the Basie pieces that have that constant pulse in the background. The rhythm section serves a different purpose, sitting on the back of the beat and grooving instead of being relied on by the band to push the tempo and keep a heavy swing. Ellington’s pieces show a different level of soloing, as in “Caravan” with the tenor sax having an extended feature. You will not hear the entire band rest for this long in the Big Band pieces that Basie wrote. The horn sections also use more dynamic contrast and have difficult licks to define their solis, as compared with Basie’s horn sections, which sing beautiful melodies as part of the band. Not only do these pieces sound different, but I would assume that a live performance would look different too, because of the dress and demeanors of the group.

Comparing Ellington and Goodman

Ellington’s Do Nothing Til You Hear From Me starts with a piano introduction, then leads to a muted trumpet solo.  Instruments such as saxophone, trombone, and clarinet jump in softly to accompany the trumpet. While there are solos, the accompanying of the other instruments seems to strengthen the sound of the solo, rather than overpower it. What I think of when listening to this song is the image of a dance ending. I think of couples winding down to this song. It is a very relaxing song, and each solo carries with it a sense of lingering romance. Each solo (this includes the singer) seems to portray a piece of the story of this lingering romance. The muted trumpet wails towards the end, as if it is summing up the emotion the singer and the instruments have portrayed. This song seems to slightly focus on the solos more than Goodman’s song. While there is still a “group sound”, when comparing the two, I feel like the solos are highlighted more in Ellington’s song.

Goodman’s Don’t Be That Way jumps right into the trumpet/saxophone intro. It then goes into the saxophone’s melody and the trumpet playing short notes—they play back and forth. The trumpet plays some smooth crescendos, and then it goes back to the saxophone and trumpet playing back and forth (repeats form). Each solo seems about equal in length, and the “supporting instruments” for each solo again strengthen the solo, but do not overpower it. Goodman’s song seems to focus more on the sound as a group, rather than the soloists. While the image I get in Ellington’s song is of the end of a dance, Goodman’s song produces an image of the beginning of the dance, as in when people are just starting to arrive. This song seems like it would stir up conversation between people, and eventually encourage them to dance. It is very much an upbeat song, in contrast to Ellington’s above.

Basie vs. Ellington

Count Basie’s Cherokee begins with a driving fast paced rhythm introduced by dissonant sounding trumpets which are replied to, and contrasted with sweet, mellow sounding saxophones. The song breaks into a solo section where the trombone takes the lead with an improvisation on the melody of the song followed by the trumpets. This continues with all of the instruments, taking turns with solos which is broken by the saxes playing the melody lightly in the background.

Duke Ellington’s Caravan begins with a trombone playing the melody in a mysterious fashion and then breaks into a solo. The muted trumpet then comes in with a solo after the trombone then saxophone. The melody is broken up similarly to Cherokee in the way that it switches from dissonant to something much more easily digestible.  The modulation between these two feelings is what I think makes these pieces of music so great because it leaves one with confusion which is then resolved only to fall away again. 

Stompin' At The Carnegie

    Benny Goodman’s Stompin’ At The Savoy begin with a few musical exchanges between the vibraphone and the saxophone before the Gene Krupa issues a stern hit of the kick drum, and the song shifts into place. Just before the tune sets forth into its primary A section, listeners hear interesting interjection from a member of the audience - someone loudly claps four times; probably having recognized the song after the first few instrumental bars, the listener is determined to sharing the excitement with fellow concertgoers. As current members of a population of recorded music listeners, we often take such small gestures for granted, people often allow their applause to bleed over into the start of a new song, which then translates onto recorded versions of that song.
    It must be pointed out that Benny Goodman’s Carnegie Hall concert was no ordinary occurrence, it marked a cross-cultural intersection, as the swingloving masses snapped up seats in a ballroom utilized primarily by the culturally elite, for classical music and the like. This turned out to be a rowdy show, the likes of which hadn’t been seen at Carnegie Hall. This recording preserves the excitement of this concert; the drums are fierce, the reverberation of the hall is quite noticeable, either the band or the audience starts singing halfway through (just for the fun of it, presumably), and applause is thunderous at the song’s conclusion.
    Structurally, the tune is based heavily on improvisation, setting its goal to take advantage of Lionel Hampton’s guest appearance on vibes. The A sections starts the song, repeating twice before switching to the denser B section, which quickly returns to the A formation. From then on, the piece descends into a vibes solo, followed by a piano solo, and then a musical discussion between the vibes, piano, and clarinet. At this point, Stompin’ At The Savoy sounds like good clean musical fun, though the concertgoers, general public, music elitists, and New York Times writers of 71 years ago all would have varying opinions as to the happenings of that January night.

"Do Nothing Till You Hear from Me" vs "Dont Be That Way"

After listening to the Benny Goodman’s  “Don’t be that way,”  I feel as I am left with a much happier disposition then I was after listening to Ellington’s “Do Nothing Till You Hear From Me.” Goodman’s piece begins immediately with trumpets and shortly after is joined by the saxophone providing an upbeat tonic for the song. Even though “Don’t be that way” does feature solos, it seems as if the focus of the song is more on the whole group rather than each soloist that plays. I got this impression because while each soloist is playing, there are instruments in the background supporting them, yet allowing the soloist to perform without over powering it.  The form in this song constantly repeats going between moderate solos and returning again to the upbeat tonic.

In Duke Ellington’s “Do Nothing Till You Hear from Me,” lengthened notes leave more of a romantic or soothing disposition. Within Ellington’s piece notes are much longer and solos are much more prominent compared to Goodman’s “Don’t Be That Way.”  The song begins slow with a piano solo and is preceded by a trumpet solo soon after introducing a pattern of piano and trumpet solos continues thorough out the song.  The piano itself is one of the main differences I noticed between the two songs because not only does Goodman’s piece lack any piano solo, but Ellington places extra emphasis on the piano allowing it to play without any supporting instruments behind it during the solo.