the “heartbeat of harlem,” the duke, & the king of swing
TRANSCRIPT
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The “Heartbeat of Harlem,” The Duke, & the King of Swing
Jazz IV: From Jazz to Swing
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Episode 4) 53:05-59:00Gary Giddins (music critic) on the Big Band,
Roseland, and intro to the Savoy
Excerpt #1
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The Savoy Ballroom
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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
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Nutcracker Suite and Interview
Musical Intro to Duke
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Edward Kennedy “Duke” Ellington
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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”
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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)
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Episode #3) 1:07-1:22The Cotton Club and Duke
Musical Example: Come SundayOn Piano from “Black, Brown, & Beige”
Excerpt #2
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“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)
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YouTube musical example (choice)YouTube Interview (Finland)
Interview (1973)
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The King of Swing
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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
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Episode 3) 48:00-54:00Benny Goodman bio
Excerpt #3
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Swing Arrives at the Palomar
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“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.
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“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
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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
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Lincoln Center Jazz Orchestra