| Artist |
Song |
Album |
Label |
Comments |
| James Reese Europe's Europe Society Orchestra |
The Castles in Europe One-Step |
The Product of Our Soul |
|
today's show: all about dance orchestras! rec 1914 James Reese Europe was a hugely influence proto-jazz bandleader who wrote dance music for Vernon & Irene Castle. Europe was tragically killed in 1919 |
| Paul Whiteman Orchestra |
Rhapsody in Blue |
Gershwin Plays Gershwin |
|
rec 1924 Whiteman was arguably the first to use jazz themes with a large orchestra, he called his style "symphonic jazz." This was the very first performance of Rhapsody in Blue, which Whiteman commissioned, and features Gershwin on piano |
| Fletcher Henderson and HIs Orchestra |
I Found a New Baby |
Fletcher Henderson the Harmony & Vocalion Sessions Volume 1 1925-1926 |
|
rec 1926 Fletcher Henderson and Don Redman formed this orchestra and founded "orchestral jazz" in the mid-20s |
|
| The Washingtonians (Duke Ellington) |
Black and Tan Fantasy |
The Duke: The Columbia Years |
Columbia |
rec 1928 "orchestral jazz" reached its height with Duke Ellington, whose goal was to create a new Black american music that was a synthesis of classical and jazz. |
| Jean Goldkette & His Orchestra v/ Hoagy Carmichael |
So Tired |
Hoagy Carmichael: First of the Singer-Songwriters |
Proper UK |
rec 1927 many of the bands who created & popularized swing music in the mid 30s credited Goldkette as an influence |
| Gus Arnheim's Cocoanut Grove Orchestra v/ Fred MacMurray |
All I Want is Just One Girl |
Legendary Bands of the 20s |
ASV Living era |
rec 1928 Arnheim was one of the more popular "sweet" dance bands in the 20s. MacMurray got his start as a sax player, cut two sides as a vocalist while he was with Arnheim, then dropped out of the band and went into acting |
| Ben Selvin & His Orchestra |
Let Me Sing and I'm Happy |
Irving Berlin: A Hundred Years |
|
rec 1930 many bandleaders who went on to be leaders in the late 30s worked for Selvin early in their careers. this performance featured the Dorsey Brothers; at other times Benny Goodman, Glenn Miller and Gene Krupa were all in his bands |
| Glen Gray & the Casa Loma Orchestra |
Casa Loma Stomp |
Big Band Jazz Vol. 1 |
|
rec 1930 Gray led one of the best "hot" bands in the late 20s/early 30s, he went on to do "sweeter" music in the late 30s |
|
| Cab Calloway Orchestra |
Minnie the Moocher |
Best of the Big Bands |
|
rec 1931 I believe this was the first recording of this song, which Calloway recorded multiple times. This was while Calloway's band was the house band at the Cotton Club |
| Leo Reisman Orchestra v/ Fred Astaire |
Night and Day |
The Golden Age of American Dance Bands |
Jasmine |
rec 1932 Astaire originated this song in the play The Gay Divorce, then sang it in the movie version The Gay Divorcee |
| Bennie Moten's Kansas City Orchestra |
The Blue Room |
The Bennie Moten Collection 1923-1932 |
|
rec 1932 Count Basie's big break was playing with Moten's orchestra. Basie was discovered by singer Jimmy Rushing who got him an audition with Moten, then went with Basie after Moten died in 1934 |
| Earl Hines & His Orchestra |
Cavernism |
Classic Earl Hines Sessions (1928-1945) |
Mosaic |
rec 1933 Hines was one of the great stride piano players, influencing many including Nat King Cole. At this point he had one of the most popular hot dance orchestras |
| Clarence Williams & His Orchestra v/ Louis Jordan |
I Can't Dance I Got Ants in My Pants |
The Clarence Williams Collection 1921-1937 |
|
rec 1934 in the late 20s many of the greatest jazz musicians played in Williams' bands, including Louis Armstrong, Sidney Bechet and King Oliver |
| Benny Goodman Orchestra |
King Porter Stomp |
Birth of Swing |
Bluebird |
rec 1935 Goodman collaboration with Fletcher Henderson effectively created swing music |
|
| Eddy Duchin & His Orchestra |
I Won't Dance |
The Golden Age of American Sweet Bands |
Jasmine |
rec 1935 Duchin played piano with a classical-influenced style full of flourishes that could be seen as a forerunner to Liberace |
| Ray Noble & His Orchestra v/ Al Bowlly |
Top Hat, White Tie and Tails |
The Golden Age of American Sweet Bands |
Jasmine |
rec 1935 Bowlly and Noble were possibly the most prominent British performers of "sweet" music. |
| Fletcher Henderson and HIs Orchestra |
Sing, Sing, Sing (With a Swing) |
The Columbia And Victor Sessions, Vol. 1 |
|
1936 at this point Henderson was primarily working as Goodman's staff arranger, but he did also lead his own band |
| Jones-Smith Incorporated |
Shoe Shine Boy |
Classic 1936-1947 Count Basie & Lester Young Studio Sessions |
Mosaic |
rec 1936 "Jones-Smith Incorporated" was the name used in the first recordings by Count Basie as bandleader |
| Bunny Berigan & His Orchestra |
I Can't Get Started |
Best of Jazz: An Introduction to Bunny Berigan |
|
rec 1937 Berigan had worked for Goodman and Dorsey (among others) but started his own band in 1936. This was his theme song |
| Count Basie |
One O'Clock Jump |
Classic 1936-1947 Count Basie & Lester Young Studio Sessions |
Mosaic |
rec 1937 while Basie wasn't technically doing the "orchestral jazz" of the previous decade, his piano style was so polished and elegant it fit in with Henderson and Ellington's approach to orchestral jazz |
| Chick Webb Orchestra |
Clap Hands! Here Comes Charlie! |
Complete Chick Webb & Ella Fitzgerald Decca Sessions |
Mosaic |
rec 1937 Webb was a formidable dance band in the mid 1930s, often winning "battle of the bands" against bands like Ellington and Basie. His high-energy act was prized by dancers |
| Harry Roy & His Orchestra |
Boo Hoo |
Pete Smith Presents British Dance Bands |
|
rec 1937 Roy was a British bandleader who specialized in risqué songs (of which this is not one) |
| Jimmie Lunceford Orchestra |
For Dancers Only |
s/t |
Swingsation |
rec 1937 arranger Sy Oliver gave Lunceford a unique sound |
| Tommy Dorsey Orchestra v/ Jack Leonard |
Marie |
The Pied Piper 1935-1940 |
|
rec 1937 Dorsey began as a sideman in "hot" bands, often with his brother, in the late 20s/early 30s. By this point he was one of the most prominent bandleaders |
| Artie Shaw Orchestra |
What Is This Thing Called Love? |
Begin the Beguine |
Membran |
rec 1938 Shaw rivaled Goodman in this era for the most successful swing bandleader |
| Larry Clinton Orchestra |
Big Dipper |
The Very Best of Larry Clinton |
|
rec 1938 Clinton had been working as Dorsey's arranger & had arranged some of his most successful songs, but when he started his own band people found his sound derivative of Dorsey's |
| Louis Armstrong & His Orchestra |
I Double Dare You |
"Satchmo" Ambassador of Jazz |
Verve |
rec 1938 didn't play Armstrong earlier in the show because his earlier work was mostly with smaller bands; as much as Armstrong innovated and shaped modern music, his innovation wasn't really in the use of large orchestras |
| Charlie Barnet & His Orchestra |
Cherokee |
Clap Hands, Here Comes Charlie |
|
rec 1939 Billy May was Barnet's arranger at this point |
| Duke Ellington Orchestra |
Cotton Tail |
The Blanton-Webster Band |
RCA |
rec 1939 many call this era, when Jimmy Blanton and Ben Webster were with him, the best period of Ellington's career |
| Glenn Miller Orchestra |
In The Mood |
The Popular Recordings 1938-1942 |
RCA |
rec 1939 Miller led the shift from "swing" to the "big band," with larger bands and a generally more polished sound |
| Jimmy Dorsey & His Orchestra v/ Bob Eberly |
Stairway to the Stars |
The Jimmy Dorsey Years |
|
rec 1939 like his brother Tommy, Jimmy Dorsey embraced the smoother big band sound |
| Woody Herman Orchestra |
At the Woodchopper's Ball |
Hits of '39 |
ASV Living Era |
rec 1939 a few years later Herman would start playing bebop with The Herd. he called "Woodchopper's Ball" the biggest hit he ever had |
| Artie Shaw Orchestra |
Concerto for Clarinet Part 1 |
Begin the Beguine |
Membran |
rec 1940 Shaw had a longtime interest in exploring classical themes in his music |
