The “Heartbeat of Harlem,” The Duke, & the King of Swing

Jazz IV: From Jazz to Swing

Episode 4) 53:05-59:00Gary Giddins (music critic) on the Big Band,

Roseland, and intro to the Savoy

Excerpt #1

The Savoy Ballroom

1926-1958Modeled after the

Roseland in NYC, the Savoy was Harlem’s gem

Called “the Heartbeat of Harlem” by Langston Hughes

Many of the Swing era dances began at the Savoy

Nutcracker Suite and Interview

Musical Intro to Duke

Edward Kennedy “Duke” Ellington

D.C. => NYC1899-1974Born in Washington,

D.C.Middle class familyInfluenced by RagtimeStudied pianoSelf-taught composerWrote over 2000 songsMoved to Harlem in

1923 to see if he could make it in the “big city”

New City, New Sound

Began working at

the Hollywood Inn

(later called

Kentucky Club) in

the Fall of 1923 off

Times Square

Moved to Harlem’s

famous Cotton

Club in 1927.

Became first black

bandleader with a

radio broadcast

(CBS in late 1927)

Episode #3) 1:07-1:22The Cotton Club and Duke

Musical Example: Come SundayOn Piano from “Black, Brown, & Beige”

Excerpt #2

“Jazz is Freedom of Expression”

Considered his music simply American or “beyond category”

Director of his band from 1923 until his death (1974)

Career really took off in the 1940s (RCA contract, multiple hits, collaboration with Billy Strayhorn)

YouTube musical example (choice)YouTube Interview (Finland)

Interview (1973)

The King of Swing

Benny Goodman

1909-1986

Started the clarinet at age 10

Led his own band from 1934 on – often played Fletcher Henderson’s arrangements

His title the “King of Swing” was coined by his drummer, Gene Krupa

Episode 3) 48:00-54:00Benny Goodman bio

Excerpt #3

Swing Arrives at the Palomar

“If we’re gonna die, Benny, let’s die playing our own thing.” – Gene Krupa

Goodman’s LA

debut at the

Palomar (left) on

August 21st, 1935 is

considered the

birth of the Swing

era.

The crowd was

loosing interest

until they started

playing many of

Fletcher

Henderson’s

arrangements

during the 2nd half.

“Ah, swing, well, we used to call it syncopation – then they called it ragtime, then blues – then jazz.

Now, it’s swing. White folks, yo’all sho is a mess.”

-on the Bing Crosby (radio) show.

Louis Armstrong on Swing

Over a period of about 50 years, “hot music” spread from the whorehouses of Storyville, to the bars and clubs of New Orleans, to the speakeasies and ballrooms of prohibition era Harlem, to the dancehalls and homes of every American family.

By the late 30s, swing was no longer a considered to be “black” music, it was the music of all young people.

Swing was just “orchestrated Louis.” Gary Giddins, Music Critic

From the Saloons to the Ballrooms

Lincoln Center Jazz Orchestra