It Don’t Mean A Thing…

From the mid 1920’s to the mid 1940’s we see the rise and dominance of swing music in the United States. Swing provided a euphoric experience during the Great Depression as people escaped their difficult circumstances and retreated to the night clubs and dance halls. In the examples this week we will see the influence of African rhythm into new forms of music. The delayed subdivision in the meter provides for a wide stylistic pallet, from blues to big band to vocal harmony groups.

St. Louis Blues, music and lyrics by W.C. Handy (1914);
Performed by Bessie Smith, accompanied by Louis Armstrong, cornet,
and Fred Longshaw, reed organ (1925)

While the St. Louis Blues don’t sound like the bouncy swing of the 30’s, it nevertheless contains a swing rhythm. This “classic blues” piece falls into a standard 12 bar blues pattern. The tonic chord is played for 4 bars, followed by the subdominant for 2 bars, the tonic for 2 bars, the dominant for 2 bars and ending with 2 bars of the tonic chord. While strictly not an AABA Tin Pan Alley form due to the final A section being a different melody, the use of the same chords and number of bars in St. Louis Blues functions in that same vein. One addition to note in blues is the bent or flattened note, “blue notes.” These notes add to the sound of despair or sadness in the song.

Wrappin’ It Up, composed and arranged by Fletcher Henderson;
Performed by Fletcher Henderson and His Orchestra (1934)

Here we see the syncopation of swing in full bloom. The bass plays on every beat and the accents on the offbeat drive the rhythm of the song. We hear the call and response of earlier African-American styles continuously utilized instrumentally as the brass and reeds play off one another. Wrappin’ It Up utilizes the same form structure, ABAC, with little variation through their four instances in the piece. The variation then becomes what instrument(s) will play the melody or solo and which will back them up. Fletcher Henderson, credited with inspiring the rise of swing, arranges this and the next piece.

Taking a Chance on Love, composed by Vernon Duke,
lyrics by John Latouche and Ted Fetter; arranged by Fletcher Henderson;
performed by Benny Goodman and His Orchestra (1940)

Though a slower tempo than the Wrappin’ It Up, Taking a Chance On Love maintains that dominate syncopated swing feel. The essential form of the song is introduction, vocal, instrumental sections. Henderson does a masterful job in the introduction of presenting the melody and hook without playing through the whole main section. The last two sections are set up similarly with the voice leading the melody first. Then the instruments take over with solos and group parts. Taking a Chance On Love stands as an example of a ballad style love song that swings with linear motion of the music.

In The Mood, composed by Joe Garland and Andy Razaf;
arranged by Glenn Miller; performed by Glenn Miller and His Orchestra (1939)

Of all the songs reviewed so far, In the Mood is arguably the most recognizable to this day. A standard for all High School Jazz Bands, it offers a straight-forward unforgettable riff at the top of the piece that continues to be played throughout. Part of what makes it so memorable is its predictability. Yet with reputation we do not get board due to dynamic contrast, individual solos and connecting phrases that propel the song forward instead of letting it stagnate. Its brilliance is confirmed at the end with an extended setting leading us to anticipate the culmination of the song.

Paper Doll, music and lyric by Johnny S. Black (1915)
performed by the Mills Brothers (1942)

Perhaps the simplest song of the week, Paper Doll is the song you want to listen to while sitting on the porch on a warm summer evening drinking lemonade. This laid back swing envelopes the listener in the first presentation of the chorus and then engages as the double-time verse takes us to euphoria. Interesting to note the lament of the song stands in contrast to this double-time section almost assuring that everything is going to be alright. The vocal harmonies stem from the African American jubilee quartet tradition. The background vocals sing “Ooo’s” behind the lead from the start and then punch the final chorus with their tight harmonies.

Throughout the Swing Era, we see experimentation with rhythm and instrumentation. Latin influences from Cuba and Brazil rise in popularity and perpetuate this rhythmic revolution. In the early 40’s we see a decline in Big Band swing groups due to the ASCAP and AFM strikes. Yet musical rhythmic boundaries continue to be pushed as BeeBop and Rock take center stage in the late 40’s and 50’s.