Here is the list in reverse order of the favorite big bands of my "Big Band Era/Best of the Big
Bands" lecture audiences for the past seven years. Only the number one band was a clear
majority choice.
In case you are curious, out of hundreds of votes cast, the following orchestras received less than
two or three votes each: Lawrence Welk!, Spike Jones! Sammy Kaye and Kay Kyser. Obviously,
the majority of the voters know their swing bands.
Bands" lecture audiences for the past seven years. Only the number one band was a clear
majority choice.
In case you are curious, out of hundreds of votes cast, the following orchestras received less than
two or three votes each: Lawrence Welk!, Spike Jones! Sammy Kaye and Kay Kyser. Obviously,
the majority of the voters know their swing bands.
Number Ten on the list of top big bands is Harry James. This list was compiled over several
years from my "lecture" audiences on both land and sea. James was called "a major figure of the
swing era" by the the New York Times. Harry James struck a resounding chord with the public of
the late 1930s and remained a popular bandleader for over 40 years. He built a reputation as one
of the hottest trumpet players in the nation, then skyrocketed to fame after forming his own band
and offering listeners a mix of romantic ballads and fast-paced jazz numbers. The New Grove
Dictionary of American Music called him "a fine jazz improviser, possessing a verve that enhanced
many small and large band recordings."
Here is Harry James and his Orchestra playing his classic recording of "You Made Me Love You."
years from my "lecture" audiences on both land and sea. James was called "a major figure of the
swing era" by the the New York Times. Harry James struck a resounding chord with the public of
the late 1930s and remained a popular bandleader for over 40 years. He built a reputation as one
of the hottest trumpet players in the nation, then skyrocketed to fame after forming his own band
and offering listeners a mix of romantic ballads and fast-paced jazz numbers. The New Grove
Dictionary of American Music called him "a fine jazz improviser, possessing a verve that enhanced
many small and large band recordings."
Here is Harry James and his Orchestra playing his classic recording of "You Made Me Love You."
Number Nine on the list of my "Big Band Era/Best of the Big Bands" audiences is a boy from
Red Bank, New Jersey, William Basie.
William "Count" Basie started out playing piano and organ for theater and vaudeville in the 1920s.
Influenced by Fats Waller, Basie formed his own big band, playing swing jazz and emphasizing hot
soloists like saxophonist Lester Young. During the 1940s and '50s, Basie and his orchestra were
one of the most popular big bands in the U.S., with hits like "One O'Clock Jump" and "Jumpin' at
the Woodside." Even after the bop era of jazz had overwhelmed swing, Basie had success with
smaller bands, continuing to perform and record up to his death in 1984.
The story goes that an emcee or radio announcer dubbed him "Count," figuring there was already
a King (of swing, Benny Goodman), a Duke (Ellington) and an Earl (Hines).
Here is Count Basie and his Orchestra in a film clip playing "One O'Clock Jump."
Red Bank, New Jersey, William Basie.
William "Count" Basie started out playing piano and organ for theater and vaudeville in the 1920s.
Influenced by Fats Waller, Basie formed his own big band, playing swing jazz and emphasizing hot
soloists like saxophonist Lester Young. During the 1940s and '50s, Basie and his orchestra were
one of the most popular big bands in the U.S., with hits like "One O'Clock Jump" and "Jumpin' at
the Woodside." Even after the bop era of jazz had overwhelmed swing, Basie had success with
smaller bands, continuing to perform and record up to his death in 1984.
The story goes that an emcee or radio announcer dubbed him "Count," figuring there was already
a King (of swing, Benny Goodman), a Duke (Ellington) and an Earl (Hines).
Here is Count Basie and his Orchestra in a film clip playing "One O'Clock Jump."
Number Eight is the very progressive Stan Kenton. There have been few jazz musicians as
consistently controversial as Stan Kenton. Dismissed by purists of various genres while loved by
many others, Kenton ranks up there with Chet Baker and Sun Ra as jazz's top cult figure. He led a
succession of highly original bands that often emphasized emotion, power, and advanced
harmonies over swing, and this upset listeners who felt that all big bands should aim to sound like
Count Basie. Kenton always had a different vision.
Kenton played in the 1930s in the dance bands of Vido Musso and Gus Arnheim, but he was born
to be a leader. In 1941 he formed his first orchestra, which later was named after his theme song
"Artistry in Rhythm." A decent Earl Hines-influenced pianist, Kenton was much more important in
the early days as an arranger and inspiration for his loyal sidemen.
Here is Stan Kenton and his orchestra playing his theme song "Artistry In Rhythm."
consistently controversial as Stan Kenton. Dismissed by purists of various genres while loved by
many others, Kenton ranks up there with Chet Baker and Sun Ra as jazz's top cult figure. He led a
succession of highly original bands that often emphasized emotion, power, and advanced
harmonies over swing, and this upset listeners who felt that all big bands should aim to sound like
Count Basie. Kenton always had a different vision.
Kenton played in the 1930s in the dance bands of Vido Musso and Gus Arnheim, but he was born
to be a leader. In 1941 he formed his first orchestra, which later was named after his theme song
"Artistry in Rhythm." A decent Earl Hines-influenced pianist, Kenton was much more important in
the early days as an arranger and inspiration for his loyal sidemen.
Here is Stan Kenton and his orchestra playing his theme song "Artistry In Rhythm."
Number Seven on the list is Charlie Barnet.
Millionaire playboy and bandleader Charlie Barnet is one of the more colorful figures in jazz history.
Nicknamed ''Mad Mab,'' he was married more times than you can count on both hands. (move over
Artie Shaw!) He was also a champion of racial equality, hiring many black singers and musicians
at a time when other bands were segregated. His use of African-American performers kept his
orchestra out of several hotels and ballrooms and was also probably the reason why he was never
picked for any big commercial radio series. His music and arrangements were admittedly
influenced by Duke Ellington. So dedicated to the Duke was he that when he built a fallout shelter
after the war he stocked it with a collection of Ellington recordings.
Barnet was born into New York high society in 1913. He rebelled against his parent's wishes that
he study law and became a jazz musician instead, playing in his first outfit at age 16. He formed his
first important band in 1933.
Barnet's orchestra achieved public recognition in 1939 with their classic recording of ''Cherokee,''
and soon his was one of the most popular bands in the country.
Here is Charlie Barnet and his orchestra with "Cherokee."
Millionaire playboy and bandleader Charlie Barnet is one of the more colorful figures in jazz history.
Nicknamed ''Mad Mab,'' he was married more times than you can count on both hands. (move over
Artie Shaw!) He was also a champion of racial equality, hiring many black singers and musicians
at a time when other bands were segregated. His use of African-American performers kept his
orchestra out of several hotels and ballrooms and was also probably the reason why he was never
picked for any big commercial radio series. His music and arrangements were admittedly
influenced by Duke Ellington. So dedicated to the Duke was he that when he built a fallout shelter
after the war he stocked it with a collection of Ellington recordings.
Barnet was born into New York high society in 1913. He rebelled against his parent's wishes that
he study law and became a jazz musician instead, playing in his first outfit at age 16. He formed his
first important band in 1933.
Barnet's orchestra achieved public recognition in 1939 with their classic recording of ''Cherokee,''
and soon his was one of the most popular bands in the country.
Here is Charlie Barnet and his orchestra with "Cherokee."
Number Six on the list of favorite big bands with my "lecture" audiences is the son of a White
House butler, Edward Kennedy Ellington ( Duke Ellington). He is considered, by many jazz
historians, the most important composer in the history of jazz. Duke was also a bandleader who
held his large group together continuously for almost 50 years. The two aspects of his career were
related; Ellington used his band as a musical laboratory for his new compositions and shaped his
writing specifically to showcase the talents of his bandmembers, many of whom remained with
him for long periods. Ellington also wrote film scores and stage musicals, and several of his
instrumental works were adapted into songs that became standards,eg "Sophisticated Lady'. In
addition to touring year in and year out, he recorded extensively, resulting in a gigantic body of work
that was still being assessed a quarter century after his death. His son is keeping his torch alive
today as director of The Duke Ellington Orchestra.
Here is Duke Ellington and his orchestra playing one of their many hits "Satin Doll."
House butler, Edward Kennedy Ellington ( Duke Ellington). He is considered, by many jazz
historians, the most important composer in the history of jazz. Duke was also a bandleader who
held his large group together continuously for almost 50 years. The two aspects of his career were
related; Ellington used his band as a musical laboratory for his new compositions and shaped his
writing specifically to showcase the talents of his bandmembers, many of whom remained with
him for long periods. Ellington also wrote film scores and stage musicals, and several of his
instrumental works were adapted into songs that became standards,eg "Sophisticated Lady'. In
addition to touring year in and year out, he recorded extensively, resulting in a gigantic body of work
that was still being assessed a quarter century after his death. His son is keeping his torch alive
today as director of The Duke Ellington Orchestra.
Here is Duke Ellington and his orchestra playing one of their many hits "Satin Doll."
Number Five on the list of favorite bands of my "lecture" audiences is Woody Herman and his
Herd. A fine swing clarinetist, an altoist who's sound was influenced by Johnny Hodges, a good
soprano saxophonist, and a spirited blues vocalist, Woody Herman's greatest significance to jazz
was as the leader of a long line of big bands. He always encouraged young talent and, more than
practically any bandleader from the swing era, kept his repertoire quite modern. Although Herman
was always stuck performing a few of his older hits (he played "Four Brothers" and "Early Autumn"
nightly for nearly 40 years), he much preferred to play and create new music.
Here is Woody Herman and his Orchestra with "After You've Gone."
Herd. A fine swing clarinetist, an altoist who's sound was influenced by Johnny Hodges, a good
soprano saxophonist, and a spirited blues vocalist, Woody Herman's greatest significance to jazz
was as the leader of a long line of big bands. He always encouraged young talent and, more than
practically any bandleader from the swing era, kept his repertoire quite modern. Although Herman
was always stuck performing a few of his older hits (he played "Four Brothers" and "Early Autumn"
nightly for nearly 40 years), he much preferred to play and create new music.
Here is Woody Herman and his Orchestra with "After You've Gone."
Number Four is Artie Shaw and his orchestra one of the most popular big bands with my
"Big Band Era/Best Of The Big Bands" lecture audiences. One of jazz's finest clarinetists, Artie
Shaw never seemed fully satisfied with his musical life, constantly breaking up successful bands
and running away from success. While Count Basie and Duke Ellington were satisfied to lead
just one orchestra during the swing era, and Benny Goodman (due to illness) had two, Shaw led
five, all of them distinctive and memorable.
Here is Artie Shaw and his orchestra with Hoagy Carmichael's classic "Stardust." Many consider
this the greatest big band recording of all time. Billy Butterfield is on the trumpet.
"Big Band Era/Best Of The Big Bands" lecture audiences. One of jazz's finest clarinetists, Artie
Shaw never seemed fully satisfied with his musical life, constantly breaking up successful bands
and running away from success. While Count Basie and Duke Ellington were satisfied to lead
just one orchestra during the swing era, and Benny Goodman (due to illness) had two, Shaw led
five, all of them distinctive and memorable.
Here is Artie Shaw and his orchestra with Hoagy Carmichael's classic "Stardust." Many consider
this the greatest big band recording of all time. Billy Butterfield is on the trumpet.
Number Three is Tommy Dorsey on the list of favorite big bands with my "lecture"
audiences. Though he might have been ranked second at any given moment to Benny Goodman,
Artie Shaw, Glenn Miller, or Harry James, Tommy Dorsey was overall the most popular bandleader
of the swing era that lasted from 1935 to 1945. His remarkably melodic trombone playing was the
signature sound of his orchestra, but he successfully straddled the hot and sweet styles of swing
with a mix of ballads and novelty songs. He provided showcases to vocalists like Frank Sinatra,
Dick Haymes, and Jo Stafford, and he employed inventive arrangers such as Sy Oliver and Bill
Finegan. He was the biggest-selling artist in the history of RCA Victor Records, one of the major
labels, until the arrival of Elvis Presley, who was first given national exposure on the 1950s
television show Tommy co- hosted with his brother Jimmy.
Here is Tommy Dorsey and his Orchestra with their giant hit "Opus One."
audiences. Though he might have been ranked second at any given moment to Benny Goodman,
Artie Shaw, Glenn Miller, or Harry James, Tommy Dorsey was overall the most popular bandleader
of the swing era that lasted from 1935 to 1945. His remarkably melodic trombone playing was the
signature sound of his orchestra, but he successfully straddled the hot and sweet styles of swing
with a mix of ballads and novelty songs. He provided showcases to vocalists like Frank Sinatra,
Dick Haymes, and Jo Stafford, and he employed inventive arrangers such as Sy Oliver and Bill
Finegan. He was the biggest-selling artist in the history of RCA Victor Records, one of the major
labels, until the arrival of Elvis Presley, who was first given national exposure on the 1950s
television show Tommy co- hosted with his brother Jimmy.
Here is Tommy Dorsey and his Orchestra with their giant hit "Opus One."
Number Two: The second most popular big band with my audiences for "Big Band Era/Best
of the Big Bands" presentations or lectures is the original King Of Swing, Benny Goodman.
His passion was music and his big band sound quickened the pulse of a generation ready to
shrug off the Depression and dance. With clarinet in hand, Benny Goodman was transformed from
a child in Chicago's impoverished Jewish ghetto into the king of swing, greeted with near
pandemonium wherever his band played. Goodman led jazz into the commercial mainstream and
brought with him an extraordinary group of gifted and original musicians. Band members Teddy
Wilson and Lionel Hampton were some of the first to break the big band color barrier. Held
together by the force of Goodman's personality and a willingness to put their music above all else,
the Benny Goodman Band created a kingdom of swing with enthusiastic fans from coast to coast.
His 1938 jazz concert at New York's Carnegie Hall was an early landmark in the evolution of swing.
Here is Benny Goodman and his orchestra, from the film "Hollywood Hotel" (1937), with their
monster hit "Sing, Sing, Sing."
of the Big Bands" presentations or lectures is the original King Of Swing, Benny Goodman.
His passion was music and his big band sound quickened the pulse of a generation ready to
shrug off the Depression and dance. With clarinet in hand, Benny Goodman was transformed from
a child in Chicago's impoverished Jewish ghetto into the king of swing, greeted with near
pandemonium wherever his band played. Goodman led jazz into the commercial mainstream and
brought with him an extraordinary group of gifted and original musicians. Band members Teddy
Wilson and Lionel Hampton were some of the first to break the big band color barrier. Held
together by the force of Goodman's personality and a willingness to put their music above all else,
the Benny Goodman Band created a kingdom of swing with enthusiastic fans from coast to coast.
His 1938 jazz concert at New York's Carnegie Hall was an early landmark in the evolution of swing.
Here is Benny Goodman and his orchestra, from the film "Hollywood Hotel" (1937), with their
monster hit "Sing, Sing, Sing."
Number One: The band that is most popular with my lecture audiences, regardless if I'm
sailing on the Baltic, off the coast of Hawaii, in port at Istanbul, or in Bridgewater, New Jersy....99
percent of the time it is Glenn Miller. Glenn Miller's reign as the most popular bandleader in the
U.S. came relatively late in his career and was relatively brief, lasting only about three and a half
years, from the spring of 1939 to the fall of 1942. But during that period he utterly dominated
popular music, and over time he has proven the most enduring figure of the swing era, with
reissues of his recordings achieving gold record status 40 years after his death.
Miller developed a distinctive sound in which a high-pitched clarinet carried the melody, doubled
by a saxophone section playing an octave lower, and he used that sound to produce a series of
hits that remain definitive examples of swing music. Miller's approach is not much appreciated by
jazz fans, who prefer bands that allow for greater improvisation than was found in his highly
disciplined, rigorously rehearsed unit. But he brought the swing style of popular music to a level of
sophistication and commercial acceptance it had not previously achieved and would not see
again after his untimely passing.
Here is Glenn Miller and his Orchestra with his theme song "Moonlight Serenade."
sailing on the Baltic, off the coast of Hawaii, in port at Istanbul, or in Bridgewater, New Jersy....99
percent of the time it is Glenn Miller. Glenn Miller's reign as the most popular bandleader in the
U.S. came relatively late in his career and was relatively brief, lasting only about three and a half
years, from the spring of 1939 to the fall of 1942. But during that period he utterly dominated
popular music, and over time he has proven the most enduring figure of the swing era, with
reissues of his recordings achieving gold record status 40 years after his death.
Miller developed a distinctive sound in which a high-pitched clarinet carried the melody, doubled
by a saxophone section playing an octave lower, and he used that sound to produce a series of
hits that remain definitive examples of swing music. Miller's approach is not much appreciated by
jazz fans, who prefer bands that allow for greater improvisation than was found in his highly
disciplined, rigorously rehearsed unit. But he brought the swing style of popular music to a level of
sophistication and commercial acceptance it had not previously achieved and would not see
again after his untimely passing.
Here is Glenn Miller and his Orchestra with his theme song "Moonlight Serenade."
To learn more about the Memory Lane
Presentations lecture service CLICK HERE >
Presentations lecture service CLICK HERE >
CLICK TO VISIT>