@dougsahm: Oki, wenn Du es so siehst, hast Du natürlich recht. Mal rein stilistisch betrachtet sind das natürlich auch zwei paar Schuhe. Allerdings ist der BigBand Sound eines Duke Ellington oder Fletcher Henderson deutlich eine Weiterentwicklung dieses klassischen Arrangementspiels, welches vor allem mit der späteren harmonischen Entwicklung nichts mehr zu tun hat, aber die Grundlage dafür war. Daher sind Glen Miller und Konsorten zumindest eine Erwähnung wert, finde ich. By the Way, Glen Miller war z.B. weitaus später am Start wie z.B. Louis Armstrong oder Duke Ellington. Bitteschön:
„Within twenty years this syncopated, polyphonic music had spread far beyond its birthplace. Traveling musicians transported jazz across the South and north to Indianapolis, St. Louis, Chicago, and other river cities. By the early 1920s seminal figures such as trumpeters Joe „King“ Oliver and Louis Armstrong had migrated from New Orleans to Chicago. Their music was captured on the early „race records,“ which were marketed to a black audience, and by the late 1920s jazz could be heard anywhere in the United States. The Gennet recordings by King Oliver’s Creole Jazz Band and the OKeh sessions of Louis Armstrong’s Hot Five and Hot Seven are acknowledged masterpieces of early jazz. These and similar bands often accompanied the „classic“ blues singers like Gertrude „Ma“ Rainey, Bessie Smith, and Ida Cox on their live stage shows and recordings.
In 1927 Edward „Duke“ Ellington moved from Washington, D.C., to New York City and shortly thereafter began his famous stand at Harlem’s Cotton Club. He quickly emerged as a major innovator in jazz, and his large ensembles of twelve to fourteen pieces foreshadowed the swing craze of the middle 1930s. Ellington was distinguished by his ability to compose creative pieces, such as „East St. Louis Toodle-oo,“ „Black and Tan Fantasy,“ and „Take the A Train,“ with individual members of his orchestra in mind. Many of these compositions have become jazz standards that are performed all over the world. Other important orchestras, including those organized by Fletcher Henderson and Cab Calloway, emerged in the light of Ellington’s work and performed in the sophisticated clubs of northern cities. From the Southwest came the rowdier, bluesier territory bands of Benny Moten and Count Basie.
In the middle 1930s jazz began to reach the masses as a result of the swing craze that made the Casa Loma Orchestra and the bands of Glenn Miller and Jimmy Dorsey household favorites. These white bands reduced the music of the more innovative black bandleaders to a formula that appealed to millions because of its swinging 4/4 beat, well-blended saxophone sections, and pleasant singers. The popularity of swing helped boost the careers of black bandleaders, too, but it also led to a creative slump that disheartened many of the musicians who were tiring of swing’s predictability.“
Gruß vom Litti.
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Langweilig!