A New Kind of Big Band
America was a dancing culture when Stan Kenton started his Big Band in 1941. When teens and 20-somethings went out on a Saturday night date, dancing was usually part of the plan. And why not? Talented musicians were everywhere, providing quality dance music for the masses in hotel ballrooms, night clubs, auditoriums, and in the thousands of dance halls that dotted the map. So popular was the dance culture that many ballrooms became nationally famous dance destinations due to the regular and frequent network radio broadcasts they hosted. Listeners across the country could hear their favorite dance bands holding forth in real time from storied spots like Frank Dailey's Meadowbrook, the Cocoanut Grove, the Aragon, the Trianon, the Glen Island Casino, the Palladium, the Savoy and countless others. If kids were pinched for cash (as usual), they could turn on, tune in, roll up the rug and dance at home for free. That's the reason that so very many of the popular songs of the day were recorded in strict dance tempo. Even beautiful, melodic ballads like Star Dust were originally recorded at Fox Trot tempo, which often killed the emotional impact of the song.
All that began to change with the Stan Kenton band. Although this was originally a dance band, it quickly evolved into a band for listening, rather than dancing. Stan's music embraced modern harmonies, altered chords, and complex tempos that confounded most recreational dancers. Sure, the Kenton book contained danceable numbers like Tampico and Her Tears Flowed Like Wine, but there were also plenty of items like Unison Riff and Peanut Vendor that would clear a dance floor in moments.
By so doing, Kenton ushered in Progressive Jazz, which concentrated on innovation in melody, harmony and tempo. It also provided new opportunities for improvisations that were tonally and rhythmically unpredictable. The result was often a sound that dancers found challenging, but musicians found freeing and inspiring.
We'll hear some excellent examples of Stan's groundbreaking adventures in composition and arrangement on this week's show...along with some selections that demonstrate the band's ability to faithfully execute more traditional swing. Hour 1 begins with about 20 minutes' worth of Kenton gems that our listeners will find both challenging and satisfying.
For a more familiar flavor, we'll jump back into the heart of the Swing Era with a generous selection of favorites from trumpet slinger Bunny Berigan's swinging bands of the 1930s. Bunny cut his teeth on Big Band Swing, and few (if any) players of the Era could match his fearless and driving solos. When Bunny took the spotlight, listeners and (especially) other players were left open-mouthed, thinking, "I can't believe he just did that!"
Inspired though his playing was, Bunny was no leader of men. His heavy drinking was problematic, both personally and professionally. Playing in the Berigan band made men out of a lot of little bad boys who discovered their own limits and strengths on the road in his employ. But he developed a reputation for missing gigs, or showing up too plastered to play.
Eventually, alcoholism took a toll on his health, and he had to throw in the towel and go back to work for Tommy Dorsey, along with a handful of his best sidemen. But things continued to get worse. Tommy pleaded with him to clean up his act, but Bunny just couldn't overcome it. Eventually, Dorsey had to let him go. Bunny died of alcoholism in 1942 at age 33. A sad end to a brilliant talent and all-around lovable guy who simply couldn't outrun his demons.
But Bunny left behind a legacy of impressive recordings that strongly hinted at even greater achievements to come. We will dive into the World's Greatest Record Library for a loving listen to some of his most memorable performances, including his 1937 masterpiece, I Can't Get Started, which lives in the National Academy of Recording Arts and Sciences Hall of Fame.
As if these Spotlight features on Stan Kenton and Bunny Berigan weren't enough to satisfy any fan of the Big Band sound, this week's In the Mood brings you swinging delights from the excellent bands of Tommy Dorsey, Glenn Miller, Ralph Flanagan, the Benny Goodman Sextet, Fletcher Henderson, Jack Teagarden, Count Basie, Charlie Barnet, and more.
How do we do it? Well, you just leave that to us and stop asking so many questions.
Thanks for slogging it out with me here on the Show Blog! As always, we invite your comments and requests, either here or on our Facebook Page.
Remember to reach out to a young player or band student and invite them to listen to the show with you. They NEED to hear this music!
Please be kind to one another this week, and above all,
Keep Swinging!
Scott
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