Anyone know anything about these? Big Mark? The poppier side of jazz, intended to appeal to a white audience but apparently popular with conservative black Americans from the late 1920s onwards.
I'm curious... I like a lot of 20s and 30s jazz, too... You're talking about a particular scene in Chicago? I'd like to know some more...
So would I. My jazz-loving father had never heard of them. I think they must have become a part of the big band scene at some point. That is, the big band scene post-bebop. I've been wondering if the girl band in 'Some Like It Hot' might have been 'sweet'. They were certainly supposed to originate in Chicago. I think their development had a slightly negative effect upon Dixieland. Anita O'Day mentions them in her autobiography, to which I'll have to return before checking in my reference books.
Paul Whiteman's band was probably the best of them. He had legitimate crossover appeal, what with Bix, Jack Teagarden, Frank Traumbauer, Joe Venuti, Eddie Lang, and even Lady Day passing through at one time or another. Artie Shaw certainly had tremendous popular appeal, as did Les Brown, and, dare I say it, Guy Lombardo. Glen Miller's Orchestra was probably the zenith of the style, unless one counts Woody Herman and his Herd; but they were too good (Jazz Hoot and Woody's Winners are just too hot for the casual fan.) The whole thing ended up with Lawrence Welk and his ghastly noodling outfit, the bane of my youth.
But stereotypes die hard. For several years in the mid-00's I had to attend the JVC Jazz Festival at the Hollywood Bowl for professional reasons. I did so with little enthusiasm, as the thought of listening to the likes of Michael Franks, Fourplay, Howard Brown, and Dave Koz(!!!!!!!!!!!) held little appeal. I presumed the crowd would consist of the palest polo shirt and Dockers crowd, sipping chardonnay and nibbling away at rubbery Jarlsberg, while tapping their toes on the upbeat. Imagine my surprise when I saw that the crowd consisted of 85% to 90% affluent, middle-class black folk, just having a hell of a time. Hoisted on a petard I was. Still, I didn't regret eventually delegating the duty to an enthusiastic colleague who would have paid his own way, if necessary.
Last edited by Maximilien de Robespierre (2010-08-10 03:19:14)
Last edited by Maximilien de Robespierre (2010-08-10 03:45:24)
Thanks, that's exactly the stuff I thought about, too... Dunno why that Marilyn Monroe image from "Some like it hot" was in my mind first... So it's a huge spectrum from the 20s to the 50s...
Not sure, what to think about Paul Whiteman, haven't heard much of his stuff, because I was prejudiced from what I read, but I really like Bix! Got some nice Jack Teargarden with Django Reinhardt, too...
^Including Art Pepper, Shorty Rogers, Bud Shank and some others, whose names currently escape me.
Claude Thornhill's Big Band is also one of the progressive orchestras, but I think that all this third stream/ modern big band stuff isn't quite what RR&P had in mind with his original post...
Well, if we're going really drill down, the Casa Loma Orchestra, kind of a weird outfit, was a very popular band in the 30s - 40s, and continued to record if not tour into the 60s. There is actually a massive book on this subject, Lost Chords, which tries to restore the reputations of swing era white bands and performers. How well it succeeds in this effort it open to debate, but one cannot quibble with the effort. Certainly the last word on the subject.
http://www.amazon.com/Lost-Chords-Musicians-Contribution-1915-1945/dp/0195055853
The whole argument...what jazz is? Urban black experience, African-Jewish roots, Classical? European folk music. Whatever....
Black/White? Well, it is both. Even capitalist and communist. Urbane and from that old chicken shack.
Once you start to classify by race and other such restricting edifices, it starts to lose its meaning, which is? Shake your rump and be environmentally aware....possibly?
Some of the sweetest band music I have ever heard is captured on Mosaic's 'The Complete Okeh and Brunswick Bix Beiderbecke, Frank Trumbauer and Jack Teagarden Sessions (1924-36)'. Truly a joyous noise unto the world.
Probably, if you're a fan of West Coast jazz, dare I say it, third stream, more essential than Louis Armstrong's the Hot Five and Hot Seven recordings.
Last edited by 4F Hepcat (2010-08-10 15:00:27)
I'd forgotten this one. It's possible that Alvey and Yuca (for instance) can shed even more light on this subject.
Did Alvey ever see this?
I've just been reading an old Leonard Feather/Blossom Dearie interview in which Bloss names Jeri Southern as a strong early influence.
Gosh, Jeri Southern's daughter said singing made her mother depressed.
Must be how the Ukrainians are feeling after being subjected to U2.
Joking aside, Jeri did not make old bones, being a diabetic with a heart condition.