Swing Jazz

In the 1930s a new style of jazz developed which has become known as Swing Jazz. This style was different from Dixieland in a number of respects, the most obvious being in the size of the ensemble. Where Dixieland bands were small combos Swing era bands usually consisted of around 4 trumpets, 4 trombones, 5 saxophones, piano, bass, drums, and sometimes a guitar. Because of the larger size of the group, the bulk of the music was composed, rather than improvised. The march-like beat was replaced by a swing feel.

Jack Teagarden was an important early swing trombonist. Born in 1905, he got his start performing in the Dixieland ensembles led by Wingy Malone, Willard Robinson, Elizabeth Brice, Billy Lustig, and Tommy Gott. He was the featured trombonist and singer with the popular Paul Whiteman Orchestra. He is perhaps most well known through his many performances with Louis Armstrong.

Teagarden's style was different from the Dixieland trombonists in that he moved away from the tailgate approach to a more trumpet like style. He also played with a lighter tone and smoother attacks. His technique was noted for its flexibility and range. Like most swing musicians, Teagarden employed terminal vibrato. Look for these devises on Teagarden's solo on "Basin Street Blues."

Bill Harris, born in 1916, is noted as a transitional figure between the swing style and the next major style, bebop. Harris was best known for his work with the Woody Herman Orchestra, although he was in demand as a sideman and worked successfully as leader.

Harris' style is hard to generalize as he played each piece differently, depending on the style of the music and how he was feeling at that time. He had an irrepressible sense of humor that occasionally crept into his music. He was also known for his technical command of the trombone. He had great endurance and range, and was also able to handle fast tempos very cleanly.

Harris' solo on "Your Father's Mustache" includes some important features. During this solo Harris utilizes a technique sometimes referred to as "against the grain" technique. Through the use of alternate positions a trombonist can change notes very quickly by breaking across the harmonic partials without needed to tongue notes. This motive by Harris utilizes this principle.

Also note the increased endurance and range of this solo. There is a strong blues influence, such as in the final three measures of the solo.

Many other swing trombonists deserve mention for their contributions. Tommy Dorsey was a popular band leader. The trombone section from the Duke Ellington Orchestra was particularly noted for their influence. It contained Lawrence Brown, Joe "Tricky Sam" Nanton (famous for his use of a common toilet plunger as a mute), and Juan Tizol. Jimmy Harrison, Benny Morton, and Trummy Young were also highly regarded trombone soloists.

Bebop

The next major stylistic movement in jazz is commonly referred to as Bebop. Bebop had it's origins in the 1940s, primarily through the work of alto saxophonist Charlie Parker, pictured here, and trumpeter Dizzy Gillespie. This style of jazz is important because whereas before, jazz was music performed for dancing, but with bebop the focus of the music became pure listening. The typical size of the group went back to the small combo, which allowed more freedom in solo improvising.

Trombonist Bennie Green was perhaps the first bebop trombonist. Green, who was born in 1923 and died in 1977, got his start in the swing era big bands, including the Earl Hines Orchestra during the same time as Parker and Gillespie were both in the ensemble. Green's soloing retained the swing style phrasing, but he incorporated the bebop harmonic and rhythmic language.

Parker's influence on Green can be shown by the similarities in the use of the flat nine over the dominant 7 chords played by both Green and Parker. This was a device popularized by bebop players, such as Parker. These and other bebop characteristics are evident on "Glidin' Along" as performed by Bennie Green.

Arguably, the most important figure in modern jazz trombone is J. J. Johnson. Johnson, who was born in 1924 and died in 2001, also got his start playing in swing bands, notably the Count Basie Orchestra. Like Green, Johnson was highly influenced by Parker's and Gillespie's playing.

Johnson's style was revolutionary for it's time. Johnson avoided the glissandi and growls associated with the swing style, and also played with little or no vibrato. His melodic concept was highly developed and was also noted for having flawless technical command of the trombone.

Johnson's solo on the blues "Stratusphunk" show some of his typical style characteristics. Note the double time chorus where he exploits his technique. Like Green, Johnson also utilized the dominant 7 flat 9 chords influenced by Parker. Also listen for his quote of "Rhapsody in Blue" and his use of against the grain technique.

Frank Rosolino was one of the most highly regarded bebop trombonists. He was born in 1926 and died in 1978. Rosolino's best known job as a sideman was as the featured trombonist with the Stan Kenton Orchestra. He possessed an extremely strong upper register and had great technical command of against the grain ideas. In addition to his trombone playing Rosolino was also well known as a singer, comedian, and practical joker.

Rosolino's solo on the Parker composition "Now's the Time" shows many typical features of his playing. He uses the extreme upper register throughout the solo and makes frequent use of against the grain playing, as in this excerpt.

Many other trombonists deserve mention for their important contributions to bebop. Kai Winding was stylistically very similar to Johnson; in fact they CO-led several very successful groups. Al Grey is noted for his work with Dizzy Gillespie and Count Basie. He is famous for his work with a plunger mute. Willie Dennis was young trombonist who died before his full potential could be realized.