Editing Swing music (section)

==Early swing==
As the 1920s turned to the 1930s, the new concepts in rhythm and ensemble playing that comprised the swing style were transforming the sounds of large and small bands. Starting in 1928, [[The Earl Hines Orchestra]] was broadcast throughout much of the [[Midwestern United States|midwest]] from the [[Grand Terrace Cafe]] in Chicago, where Hines had the opportunity to expound upon his new approaches to rhythm and phrasing with a big band. Hines' arranger [[Jimmy Mundy]] would later contribute to the catalog of the [[Benny Goodman Orchestra]]. The [[Duke Ellington Orchestra]] had its new sounds broadcast nationally from New York's [[Cotton Club]], followed by the [[Cab Calloway Orchestra]] and the [[Jimmie Lunceford]] Orchestra. Also in New York, the [[Fletcher Henderson Orchestra]] featured the new style at the [[Roseland Ballroom]] and the swing powerhouse [[Chick Webb Orchestra]] started its extended stay at the [[Savoy Ballroom]] in 1931.<ref name="Chick Webb">{{cite web |url=http://www.allmusic.com/artist/chick-webb-mn0000110604/biography |title=Chick Webb |website=[[AllMusic]] |access-date=27 May 2017}}</ref> [[Bennie Moten]] and the Kansas City Orchestra showcased the [[Riff (music)|riff]]-propelled, solo-oriented form of swing that had been developing in the hothouse of Kansas City.<ref name="Lawn2013">{{cite book |last=Lawn |first=Richard |title=Experiencing Jazz |url= https://books.google.com/books?id=NMQNdJRSDksC&pg=PA161 |year=2013 |publisher=Routledge |isbn=978-0-415-69960-0 |page=161}}</ref><ref name="DriggsDirector2005">{{cite book|last1=Driggs|first1=Frank|last2=Director|first2=Marr Sound Archives University of Missouri-Kansas City Chuck Haddix|title=Kansas City Jazz: From Ragtime to Bebop|url=https://archive.org/details/kansascityjazzfr00fran|url-access=registration|date=1 May 2005|publisher=Oxford University Press|isbn=978-0-19-536435-4|page=[https://archive.org/details/kansascityjazzfr00fran/page/119 119]}}</ref> Emblematic of the evolving music was the change in the name of Moten's signature tune, from "Moten Stomp" to "[[Moten Swing]]". Moten's orchestra had a highly successful tour in late 1932. Audiences raved about the new music, and at the [[Pearl Theatre (Philadelphia)|Pearl Theatre]] in Philadelphia in December 1932, the doors were let open to the public who crammed into the theatre to hear the new sound, demanding seven encores from Moten's orchestra.<ref name="Daniels2006"/>

With the early 1930s came the financial difficulties of the [[Great Depression]] that curtailed recording of the new music and drove some bands out of business, including the [[Fletcher Henderson Orchestra]] and [[McKinney's Cotton Pickers]] in 1934. Henderson's next business was selling arrangements to up-and-coming bandleader [[Benny Goodman]]. 

At this time, "Sweet" dance music remained most popular with white audiences and was successfully showcased by bandleaders such as [[Guy Lombardo]]<ref>{{cite book|author-last=Crump |author-first=William D. |title=Encyclopedia of New Year's Holidays Worldwide |publisher=McFarland & Co. |publication-place=London |date=2008 |url=https://books.google.com/books?id=ujTfCwAAQBAJ |page=[https://www.google.com/books/edition/_/ujTfCwAAQBAJ?gbpv=1&pg=PA101 101]|isbn=978-0-7864-3393-3}}</ref>
<ref>{{cite book|editor-last1=Lee |editor-first1=Stacey |editor-last2=Henderson |editor-first2=Lol |title=Encyclopedia of Music in the 20th Century |publisher=Taylor and Francis |date=2014 |isbn=978-1-135-92946-6|url=https://books.google.com/books?id=m8W2AgAAQBAJ |page=[https://www.google.com/books/edition/_/m8W2AgAAQBAJ?gbpv=1&pg=PA379 379]}}</ref> and [[Shep Fields]],<ref name="telegraph1">{{cite web |title=The Telegraph - Google News Archive Search |url=https://news.google.com/newspapers?id=oaYrAAAAIBAJ&pg=6717,4906729&dq=broadcast+hotel+shep+fields&hl=en |website=news.google.com |accessdate=28 October 2020 |date=24 February 1981}}</ref><ref name="nyt1">{{cite web |title=SHEP FIELDS, LEADER OF BIG BAND KNOWEN FOR RIPPLING RYTHEM (Published 1981) |url=https://www.nytimes.com/1981/02/24/obituaries/shep-fields-leader-of-big-band-knowen-for-rippling-rythem.html |website=The New York Times |accessdate=28 October 2020 |date=24 February 1981}}</ref><ref>[https://books.google.com/books?id=9GGTAgAAQBAJ&dq=Palmer+House+Shep+Fields&pg=PT727 Encyclopedia of Recorded Sound. Hoffman, Fred. 2004]</ref><ref>[https://books.google.com/books?id=GKgJNIaWn1IC&q=Shep+Fields+society+band&pg=PA95 ''America's Music Makers: Big bands and Ballrooms 1912-2011'' Jack Behrens.AuthorHouse, Indiana, 2010 p. 95]</ref><ref> [https://www.upi.com/Archives/1981/02/23/Bandleader-Shep-Fields-who-rose-to-fame-in-the/6536351752400/ Shep Fields Obituary -  United Press International Feb. 23, 1981 on UPI.com/Archive]</ref> but the [[Casa Loma Orchestra]] and the Benny Goodman Orchestra went against that grain, targeting the new swing style to younger audiences. Despite [[Benny Goodman]]'s claim that "sweet" music was a "weak sister" as compared to the "real music" of America, Lombardo's band enjoyed widespread popularity for decades while crossing over racial divides and was even praised by [[Louis Armstrong]] as one of his favorites<ref>{{cite book|editor-last1=Lee |editor-first1=Stacey |editor-last2=Henderson |editor-first2=Lol |title=Encyclopedia of Music in the 20th Century |publisher=Taylor and Francis |date=2014 |isbn=978-1-135-92946-6|url=https://books.google.com/books?id=m8W2AgAAQBAJ |page=[https://www.google.com/books/edition/_/m8W2AgAAQBAJ?gbpv=1&pg=PA379 379]}}</ref><ref>{{cite book|url=https://books.google.com/books?id=__DTvryrBZkC& |title=Continuum Encyclopedia of Popular Music of the World Volume 8- Genres North America |editor-last1=Horn |editor-first1=David |editor-last2=Shephard |editor-first2=John |publisher=Bloomsbury |date=2012 |page=[https://www.google.com/books/edition/_/__DTvryrBZkC?gbpv=1&pg=PA472 472]}} "Armstrong and Lombardo did not view their worlds as diametrically opposed, nor did many other contemporary musicians of the 1930s. ...Lombardo himself always took great pride in the number of black orchestras that imitated his style."</ref>