Swing, That Modern Sound PDF
Preview Swing, That Modern Sound
Swing, That Modern sound This page intentionally left blank Swing, That Modern sound Kenneth J. Bindas UniversityPressofMississippi Jackson www.upress.state.ms.us Copyright(cid:2)2001byUniversityPressofMississippi Allrightsreserved ManufacturedintheUnitedStatesofAmerica 09 08 07 06 05 04 03 02 01 4 3 2 1 (cid:3)(cid:2) AllMartinadvertisementsappearcourtesyofTheMartin Company.AllBuescher,VincentBach,Bundy,andSelmer advertisementsappearcourtesyofTheSelmerCompany.The illustrationfrom‘‘SWING—WhatIsIt?’’appearscourtesyof MusicalAmericaArchives.AllConnandKingadvertisements appearcourtesyofUnitedMusicalInstrumentsU.S.A.,Inc.The twocartoonsentitled‘‘ForMusiciansOnly,’’thephotoofAnita O’Day,andthefrontcoverofDownbeatappearcourtesyofMaher Publications,Inc. LibraryofCongressCataloging-in-PublicationData Bindas,KennethJ. Swing,thatmodernsound/KennethJ.Bindas. p. cm. Includesbibliographicalreferencesandindex. ISBN1-57806-382-5(cloth:alk.paper)—ISBN1-57806-383-3 (paper:alk.paper) 1. Swing(Music)—Historyandcriticism. I. Title. ML3518.B56 2001 781.65(cid:3)4—dc21 2001024068 BritishLibraryCataloging-in-PublicationDataavailable ToJean-Anne This page intentionally left blank Contents Acknowledgments ix Introduction xi TheSwingGeneration WhatIsSwingandHowIsIttheMusicofItsEra? 3 Machine-AgeMusic TheConnectionofSwingtoModernity 20 SwingingtheMarketplace AdvertisingandSellingSwing 39 TheAmericanSwingDream TheRoleandInfluenceofClassinSwing 76 TheSwingStew Ethnicity,Race,andGenderwithinSwing 103 Swing’sLow TheDeclineofSwing 145 Notes 169 Index 199 This page intentionally left blank Acknowledgments This project reflects the contributions of many people. When I first began readingandgatheringresearchinformationandworkingoutinitialoutlines andtheoreticalmodels,thelateEdwardPessen,KathyOgren,andBurtPer- etti provided direction and critical comment. Later, as the monograph began to take on a clearer patina, William Kenney provided musical and historical insight and critique. I presented several papers concerning this topic at a variety of conferences and research colloquia and the questions raised andthe conversations afterward helpedclarify specific aspectsof the textandsharpenedtheargument.Ireceivedresearchgrants,fromtheState University of West Georgia and Kent State University, which allowed me to do research at Rutgers University’s Jazz Oral History Project collection andtheHoganJazzArchiveatTulaneUniversity.Atbothofthesefacilities Iwasgivenopenaccess,andBruceRaeburnandTadHershornhelpedlocate materialsandaidedintheacquisitionofmuchoftheprimarysourcemate- rial.LoriLestertookmuchoftherawdataandentereditintoSPSS(Statis- ticalPackageforFlexsocialSciences)sothatitmightyieldinformationnot obvious at first glance. Seetha Srinivasan, University Press of Mississippi’s director,providedregularencouragement;andtheeditorialstaffhasworked hardtoguidethismonographtoitspublication.Allofthesefolks,andmany more, helped me find the voice to write this book. While I am responsible foritsflaws,theydeserveashareinanyofitspraises. ix
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