Editing Big band (section)

===Dance music===
Before 1910, social dance in America was dominated by steps such as the [[waltz]] and [[polka]].<ref name="1910s Pop Trend">{{cite web |title=1910s Pop Trend: The Ragtime Dance Craze |url=https://popsonghistory.wordpress.com/2014/06/10/1910s-pop-trend-the-ragtime-dance-craze/comment-page-1/ |website=Pop Song History |date=11 June 2014 |access-date=19 December 2021}}</ref> As jazz migrated from its [[New Orleans]] origin to [[Chicago]] and [[New York City]], energetic, suggestive dances traveled with it. During the next decades, ballrooms filled with people doing the [[jitterbug]] and [[Lindy Hop]]. The dance duo [[Vernon and Irene Castle]] popularized the [[foxtrot]] while accompanied by the Europe Society Orchestra led by [[James Reese Europe]].<ref name="Gioia" />

One of the first bands to accompany the new rhythms was led by a drummer, [[Art Hickman]], in San Francisco in 1916. Hickman's arranger, [[Ferde Grofé]], wrote [[Head arrangement|arrangements]] in which he divided the jazz orchestra into sections that combined in various ways. This intermingling of sections became a defining characteristic of big bands. In 1919, [[Paul Whiteman]] hired Grofé to use similar techniques for his band. Whiteman was educated in classical music, and he called his new band's music symphonic jazz. The methods of dance bands marked a step away from New Orleans jazz. With the exception of [[Jelly Roll Morton]], who continued playing in the New Orleans style, bandleaders paid attention to the demand for dance music and created their own big bands.<ref name="Collier" /> They incorporated elements of [[Broadway theatre|Broadway]], [[Tin Pan Alley]], [[ragtime]], and [[vaudeville]].<ref name="Gioia" />

[[Duke Ellington]] led his band at the [[Cotton Club]] in Harlem. [[Fletcher Henderson]]'s career started when he was persuaded to audition for a job at Club Alabam in New York City, which eventually turned into a job as bandleader at the [[Roseland Ballroom]]. At these venues, which themselves gained notoriety, bandleaders and arrangers played a greater role than they had before. Hickman relied on Ferde Grofé, Whiteman on [[Bill Challis]]. Henderson and arranger [[Don Redman]] followed the template of [[King Oliver]], but as the 1920s progressed they moved away from the New Orleans format and transformed jazz. They were assisted by a band full of talent: [[Coleman Hawkins]] on tenor saxophone, [[Louis Armstrong]] on cornet, and multi-instrumentalist [[Benny Carter]], whose career lasted into the 1990s.<ref name="Gioia" />