Swing - Revision history

Edb: Expand the comprehensive music catalogue with reviewed distinct performances; prioritize recent discovery, retain good older music and preserve existing prose, recordings and fields.

2026-10-22T14:29:44Z

Expand the comprehensive music catalogue with reviewed distinct performances; prioritize recent discovery, retain good older music and preserve existing prose, recordings and fields.

Show changes

Edb: Add canonical MuGlobe favorite, current-hit and authentic fields to all recording links; preserve existing music and article content

2026-10-22T02:33:43Z

Add canonical MuGlobe favorite, current-hit and authentic fields to all recording links; preserve existing music and article content

← Older revision		Revision as of 02:33, 22 October 2026
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	{\| class="wikitable muglobe-performances"		{\| class="wikitable muglobe-performances"
	\|+ MuGlobe representative performances		\|+ MuGlobe representative performances
	! Artist !! Performance / song / title !! Embedded player URL !! Notes		! Artist !! Performance / song / title !! Embedded player URL !! Notes !! Repertoire kind !! Repertoire date !! Recording date !! Format !! Opening !! Places !! Fit !! Evidence !! Review note !! MuGlobe favorite !! Current hit !! Authentic
	\|-		\|-
	\| Count Basie and His Orchestra \|\| One O’Clock Jump — The Ed Sullivan Show, 1960 \|\| https://www.youtube.com/embed/aT5NKGgKjyo \|\| The licensed television archive offers a concise big-band swing performance with Basie’s ensemble.<ref name="performance-swing-1">[https://www.youtube.com/watch?v=aT5NKGgKjyo Count Basie and His Orchestra — One O’Clock Jump — The Ed Sullivan Show, 1960]. YouTube recording; metadata checked 2026-10-18.</ref>		\| Count Basie and His Orchestra \|\| One O’Clock Jump — The Ed Sullivan Show, 1960 \|\| https://www.youtube.com/embed/aT5NKGgKjyo \|\| The licensed television archive offers a concise big-band swing performance with Basie’s ensemble.<ref name="performance-swing-1">[https://www.youtube.com/watch?v=aT5NKGgKjyo Count Basie and His Orchestra — One O’Clock Jump — The Ed Sullivan Show, 1960]. YouTube recording; metadata checked 2026-10-18.</ref> \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| pending \|\| [https://www.youtube.com/watch?v=aT5NKGgKjyo Existing recording] \|\| Legacy accepted recording retained during curation-field migration; no new age or geographic claims. \|\| <muglobe-flag video="aT5NKGgKjyo" field="muglobeFavorite" /> \|\| <muglobe-flag video="aT5NKGgKjyo" field="currentHit" /> \|\| <muglobe-flag video="aT5NKGgKjyo" field="authentic" />
	\|-		\|-
	\| Benny Goodman and His Orchestra \|\| Sing Sing Sing (With a Swing) \|\| https://www.youtube.com/embed/BHq36JjqRnA \|\| Columbia/Legacy’s extended live recording allows the band’s riffing and solo development to unfold beyond a short broadcast excerpt.<ref name="performance-swing-2">[https://www.youtube.com/watch?v=BHq36JjqRnA Benny Goodman and His Orchestra — Sing Sing Sing (With a Swing)]. YouTube recording; metadata checked 2026-10-18.</ref>		\| Benny Goodman and His Orchestra \|\| Sing Sing Sing (With a Swing) \|\| https://www.youtube.com/embed/BHq36JjqRnA \|\| Columbia/Legacy’s extended live recording allows the band’s riffing and solo development to unfold beyond a short broadcast excerpt.<ref name="performance-swing-2">[https://www.youtube.com/watch?v=BHq36JjqRnA Benny Goodman and His Orchestra — Sing Sing Sing (With a Swing)]. YouTube recording; metadata checked 2026-10-18.</ref> \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| pending \|\| [https://www.youtube.com/watch?v=BHq36JjqRnA Existing recording] \|\| Legacy accepted recording retained during curation-field migration; no new age or geographic claims. \|\| <muglobe-flag video="BHq36JjqRnA" field="muglobeFavorite" /> \|\| <muglobe-flag video="BHq36JjqRnA" field="currentHit" /> \|\| <muglobe-flag video="BHq36JjqRnA" field="authentic" />
	\|-		\|-
	\| Ella Fitzgerald and Duke Ellington \|\| It Don’t Mean a Thing — The Ed Sullivan Show, 1965 \|\| https://www.youtube.com/embed/myRc-3oF1d0 \|\| A credited vocal-and-orchestral television performance broadens the selection beyond instrumental bandleaders.<ref name="performance-swing-3">[https://www.youtube.com/watch?v=myRc-3oF1d0 Ella Fitzgerald and Duke Ellington — It Don’t Mean a Thing — The Ed Sullivan Show, 1965]. YouTube recording; metadata checked 2026-10-18.</ref>		\| Ella Fitzgerald and Duke Ellington \|\| It Don’t Mean a Thing — The Ed Sullivan Show, 1965 \|\| https://www.youtube.com/embed/myRc-3oF1d0 \|\| A credited vocal-and-orchestral television performance broadens the selection beyond instrumental bandleaders.<ref name="performance-swing-3">[https://www.youtube.com/watch?v=myRc-3oF1d0 Ella Fitzgerald and Duke Ellington — It Don’t Mean a Thing — The Ed Sullivan Show, 1965]. YouTube recording; metadata checked 2026-10-18.</ref> \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| unknown \|\| pending \|\| [https://www.youtube.com/watch?v=myRc-3oF1d0 Existing recording] \|\| Legacy accepted recording retained during curation-field migration; no new age or geographic claims. \|\| <muglobe-flag video="myRc-3oF1d0" field="muglobeFavorite" /> \|\| <muglobe-flag video="myRc-3oF1d0" field="currentHit" /> \|\| <muglobe-flag video="myRc-3oF1d0" field="authentic" />
	\|}		\|}

Edb: Add sourced representative performance playlist; preserve article prose and hotspot mushrooms

2026-10-18T18:02:41Z

Add sourced representative performance playlist; preserve article prose and hotspot mushrooms

muglobe-article
← Older revision		Revision as of 18:02, 18 October 2026
Line 16:		Line 16:
	== Artists ==		== Artists ==
	Duke Ellington and Billy Strayhorn demonstrate compositional and orchestral individuality; Count Basie reveals the power of space and riff. Chick Webb, Benny Goodman, Jimmie Lunceford and the International Sweethearts of Rhythm illuminate other band histories. Ella Fitzgerald, Billie Holiday and Jimmy Rushing offer contrasting vocal relationships to the ensemble. Dancers such as Frankie Manning and Norma Miller belong in the wider creative account. Compare arrangements and rhythm sections rather than treating every 1930s recording as identical. A quieter passage can swing as convincingly as a full-band climax.		Duke Ellington and Billy Strayhorn demonstrate compositional and orchestral individuality; Count Basie reveals the power of space and riff. Chick Webb, Benny Goodman, Jimmie Lunceford and the International Sweethearts of Rhythm illuminate other band histories. Ella Fitzgerald, Billie Holiday and Jimmy Rushing offer contrasting vocal relationships to the ensemble. Dancers such as Frankie Manning and Norma Miller belong in the wider creative account. Compare arrangements and rhythm sections rather than treating every 1930s recording as identical. A quieter passage can swing as convincingly as a full-band climax.

			== Representative performances ==
			These recordings offer listening examples of the genre. Notes identify the performance setting and any adaptation or mixed repertoire.

			{\| class="wikitable muglobe-performances"
			\|+ MuGlobe representative performances
			! Artist !! Performance / song / title !! Embedded player URL !! Notes
			\|-
			\| Count Basie and His Orchestra \|\| One O’Clock Jump — The Ed Sullivan Show, 1960 \|\| https://www.youtube.com/embed/aT5NKGgKjyo \|\| The licensed television archive offers a concise big-band swing performance with Basie’s ensemble.<ref name="performance-swing-1">[https://www.youtube.com/watch?v=aT5NKGgKjyo Count Basie and His Orchestra — One O’Clock Jump — The Ed Sullivan Show, 1960]. YouTube recording; metadata checked 2026-10-18.</ref>
			\|-
			\| Benny Goodman and His Orchestra \|\| Sing Sing Sing (With a Swing) \|\| https://www.youtube.com/embed/BHq36JjqRnA \|\| Columbia/Legacy’s extended live recording allows the band’s riffing and solo development to unfold beyond a short broadcast excerpt.<ref name="performance-swing-2">[https://www.youtube.com/watch?v=BHq36JjqRnA Benny Goodman and His Orchestra — Sing Sing Sing (With a Swing)]. YouTube recording; metadata checked 2026-10-18.</ref>
			\|-
			\| Ella Fitzgerald and Duke Ellington \|\| It Don’t Mean a Thing — The Ed Sullivan Show, 1965 \|\| https://www.youtube.com/embed/myRc-3oF1d0 \|\| A credited vocal-and-orchestral television performance broadens the selection beyond instrumental bandleaders.<ref name="performance-swing-3">[https://www.youtube.com/watch?v=myRc-3oF1d0 Ella Fitzgerald and Duke Ellington — It Don’t Mean a Thing — The Ed Sullivan Show, 1965]. YouTube recording; metadata checked 2026-10-18.</ref>
			\|}

	== Related genres ==		== Related genres ==
Line 2:		Line 2:
	"category": "genre",		"category": "genre",
	"templatePageId": 17,		"templatePageId": 17,
	"templateRevisionId": 86,		"templateRevisionId": 1065,
	"templateVersion": 8		"templateVersion": 9
	}		}

Edb: Create researched genre article and inferred regional musical landscapes; Ed’s approved authoring method

2026-10-18T02:08:14Z

Create researched genre article and inferred regional musical landscapes; Ed’s approved authoring method

New page

== Summary ==
Swing names both a rhythmic quality found across jazz and a particular musical era and style associated with big bands and dancing. This entry focuses on the latter while recognising that small groups also made extraordinary swing music. Arranged instrumental sections, individual solo voices and a buoyant pulse can create a remarkable sense of shared motion. Dancers were creative participants in this world, not passive consumers of a finished score. The style’s cultural identity is rooted fundamentally in African American performance even as a racially unequal industry spread it widely.

== Contemporary and trending ==
The 1930s and 1940s mass-market swing era is historical, but the repertoire and techniques remain active. Professional repertory bands, school ensembles, social-dance scenes and contemporary small groups sustain different aspects. Lindy-hop communities can commission or support live musicians, while concert performances foreground composition and arrangement. Nostalgic presentation is only one possibility. New songs and interpretations can use swing language without pretending the social world of the Savoy Ballroom has returned unchanged. Present practice includes learning, dancing and experimentation alongside affectionate revival of familiar recordings.

== History ==
Developments in 1920s ensemble jazz helped prepare the large-band languages associated with Fletcher Henderson, Duke Ellington, Count Basie and others. Harlem ballrooms and Kansas City’s connected band world nurtured distinctive approaches. Radio, touring and records broadened circulation during the swing era, while segregation shaped jobs, publicity and access to lucrative venues. The Savoy offers a particularly telling history of bands and dancers responding to one another. Later changes in entertainment economics and musical fashion altered the big-band business without ending swing as a creative language. <ref name="new-swing-savoy">[https://americanhistory.si.edu/blog/2012/07/its-getting-hot-in-here.html It’s getting hot in here — National Museum of American History].</ref> <ref name="new-swing-kc">[https://www.jazzinamerica.org/StudentHandout/5/3 Jazz in America: Kansas City and swing — Herbie Hancock Institute].</ref>

== Musical characteristics ==
A walking bass, rhythmic guitar, drums and piano can establish a flexible four-beat foundation. Brass and reed sections exchange riffs, chords and written counterlines, with solos emerging from and returning to the ensemble. Swinging subdivision cannot be reduced to one mechanical long–short ratio: placement, articulation and tempo all matter. Some arrangements favour tightly crafted detail; others develop a few riffs through repeated exchange. Small groups can retain the same conversational lift without the massed sections. Listen to the rhythm section’s changing support beneath each soloist.

== Geography and communities ==
The northeastern United States, Kansas City/Midwest band networks and other American urban circuits form related historical and continuing landscapes. Europe developed substantial adopted band and dance worlds, and contemporary social dancing sustains a broad international network. Japan and Australia also have durable swing communities. MuGlobe uses broad fields because bands, dancers and educational institutions connect places beyond single ballroom addresses. Their intensity reflects cultural attachment and infrastructure, not an assumption that swing remains today’s mass popular music wherever it once dominated radio.

== Artists ==
Duke Ellington and Billy Strayhorn demonstrate compositional and orchestral individuality; Count Basie reveals the power of space and riff. Chick Webb, Benny Goodman, Jimmie Lunceford and the International Sweethearts of Rhythm illuminate other band histories. Ella Fitzgerald, Billie Holiday and Jimmy Rushing offer contrasting vocal relationships to the ensemble. Dancers such as Frankie Manning and Norma Miller belong in the wider creative account. Compare arrangements and rhythm sections rather than treating every 1930s recording as identical. A quieter passage can swing as convincingly as a full-band climax.

== Related genres ==
Traditional jazz supplies important ensemble and solo histories, while bebop developed new approaches partly within musicians’ experience of swing bands. Jump blues and rhythm-and-blues shared personnel, riffs and dancing publics without being the same style. Western swing is a distinct American regional formation with meaningful jazz exchange. Swing dancing names several practices and is not a guarantee of one band sound. Distinguishing the historical style from the broader verb to swing prevents the mistaken idea that later jazz abandoned rhythmic vitality when big bands lost their dominant commercial position.

=== References and further reading ===
<references />

* [https://jazzinamerica.org/Overview/Syllabus Jazz in America: General Syllabus — Herbie Hancock Institute of Jazz]

* [https://folkways-media.si.edu/docs/folkways/artwork/SFW40820.pdf Jazz: The Smithsonian Anthology]

== Hotspot mushrooms ==
Connected American band landscapes and durable international band/dance adoption are more useful than famous ballroom pins. Historical mass popularity is separated from contemporary community intensity in prose.

These fields are editorial illustrations of musical affinity and cultural reach, not listener statistics. Radius marks the zero edge of the fade; overlapping fields of this genre combine by maximum.

{| class="wikitable muglobe-hotspots"
|+ MuGlobe hotspot mushrooms
! ID !! Location !! Latitude !! Longitude !! Radius (km) !! Strength !! Notes

|-
| swing-northeast || Northeastern US swing and big-band corridor || 40.3 || -74.5 || 950 || 1 || Formation, continuing repertory and dense dance/education infrastructure.

|-
| swing-midwest || Kansas City–Midwest swing landscape || 39.5 || -93.5 || 1200 || 0.9 || Territory-band history, jazz institutions and adopted regional communities.

|-
| swing-california || California swing and dance circuits || 36 || -120 || 850 || 0.67 || Longstanding recording, band and social-dance worlds.

|-
| swing-europe || European swing-band and dance networks || 50 || 6 || 1600 || 0.83 || Durable independent adoption across clubs, ensembles and dance communities.

|-
| swing-japan || Japanese swing and big-band communities || 35.5 || 137 || 900 || 0.65 || Sustained adopted performance, teaching and listening networks.

|-
| swing-australia || Southeastern Australian swing communities || -35 || 145 || 1000 || 0.57 || Established local band and dance ecology.

|}