The meeting of European and African musical cultures in the New World gave rise to a certain specific culture with its own worldview. This fusion of Christianity of paganism fostered the emergence of jazz, and the process of the development of these bipolar cultures resulted in swing, which is often called "the soul of jazz". However, it was the classical origins of jazz that fostered the subsequent formation and orchestral and swing styles. Hence, it is important to know about the nature of classical jazz and analyze its gradual transformation into swing and orchestral styles.
With the emergence if big bands by the beginning of the 1930s, the performance of jazz became of a more professional character. The epoch of classical jazz was coming to an end. The Great Depression left its mark in societal and musical life of the U.S. On the background of masses of bankruptcies and worldwide economic decline the impoverished music of Dixielands was perceived as something flagrant and exciting dissonances. However, jazz managed to survive due to its inexhaustible living power, since it allowed people to have relax and hide simultaneously. The huge prominence was gained by the orchestras of Benjamin Goodman and Count Basie. Using the rich achievements of the 1920s, the experience of the jazz of New Orleans and Chicago, and the piano heritage of boogie-woogie from Kansas City, jazzmen established a certain "swing" manner of performance, which appeared the logical replacement of classical jazz (Pener 3-5). Historically, swing took its place among classical and modern jazz, and among hot and sweet jazz in terms of its stylistic qualities. In its essence, the classical swing style had been completely formed by the first half of the 1930s.
The very notion of swing, however, is quite difficult and practically not investigated. Many musical critics turned to this theme, though it resulted primarily in the addition of academism to its theoretical foundation. Indeed, sometimes it is difficult to comprehend the soul of jazz; instead, in should be felt. Various jazz passages can be interpreted in a music book, but this would not lead us to the true comprehension of swing. It is the lively mood and the unique magnetism of performance which play a major role in swing. Jazz is impossible without the interosculation between the artist and the audience. Hence, swing is irrational. It cannot be singled out with the precision so loved by musical critics. Instead, jazz music starts from the performer: the rhythm runs easily and free, and the audience perceives the emotions of the musician and provides him with feedback. In order to practice swing one should have an inner ear, a certain feeling, the warmth of improvisation, the ability to play independently of notes but rather by ear, catching the slightest peculiarities and emotional fluids that permeate the audience.
The style of orchestral jazz emerged as a result of a fusion of African and European stylistic forms of jazz music, and was initially represented mainly by big bands and chamber ensembles. As the success of different jazz bands was increasing, the audience of the genre was changing accordingly. With the improvement and development of sound recording, the possibility of the commercial popularization of jazz became real, since the U.S. citizens were trying to know their idols better. The leaders and vocalists of ensembles turned into the personalities of the first value, their popularity was extremely great among both white and African population. The orchestra of Benjamin Goodman became known due to its radio broadcasts, and made successful concert tours across the U.S (Gelly, Count Basie, 2008). The famous orchestra of Duke Ellington is rightfully considered as one of the most prominent ones in the history of jazz music (Duke Ellington Biography). Ellington was not only an incredible musician and pioneering arranger, he also succeeded in the establishment of jazz as a very stylistic and difficult form of music, which entertainment orchestras had never witnessed before (Duke Ellington Biography). Kansas City hosted the rise of Count Basie, whose main soloists were such incredible musicians as Lester Young and Herschel Evans, as well as Jimmy Rushing and Billie Holiday (Gelly, Count Basie, 2008). Such a brilliant combination of music genii engendered one of the best incarnation of swing culture of that time.
Works Cited
"Duke Ellington Biography." Bio. Web. 21 Mar. 2016. <http://www.biography.com/people/duke-ellington-9286338#related-video-gallery>.
"Dixieland Music." Encyclopaedia Britannica. Web. 21 Mar. 2016. <http://www.britannica.com/art/Dixieland>.
Gelly, Dave. "Count Basie and Lester Young: So Now We'll Find What Happens." JazzTimes. Feb. 2008. Web. 21 Mar. 2016. <http://jazztimes.com/articles/18493- count-basie-and-lester-young-so-now-we-ll-find-out-what-happens>.
Pener, Degen. The Swing Book. Hachette UK, 2009. 3-5. Print.
