The resurgent commercial success of Frank Sinatra with a mildly swinging backup during the mid-1950s solidified the trend. In country music, artists such as Jimmie Rodgers, Moon Mullican and Bob Wills introduced elements of swing along with blues to create a genre called "western swing". This page was last edited on 15 May 2021, at 19:52. Swing bands and sales continued to decline from 1953 to 1954. Influences incorporated into it include Louis Jordan and Louis Prima. His approaches to rhythm and phrasing were also free and daring, exploring ideas that would define swing playing. Some "progressive" big bands such as those led by Stan Kenton and Boyd Raeburn stayed oriented towards jazz, but not jazz for dancing. Louis Armstrong used the additional freedom of the new format with 4/4 time, accenting the second and fourth beats and anticipating the main beats with lead-in notes in his solos to create a sense of rhythmic pulse that happened between the beats as well as on them, i.e. The Victor Recording Orchestra won the respect of the Fletcher Henderson Orchestra in a Battle of the Bands; Henderson's cornetist Rex Stewart credited the Goldkette band with being the most influential white band in the development of swing music before Benny Goodman's. His name became synonymous with the dynamic, exuberant style of his big band. Dregni, Michael (2008). Swing music is a form of jazz that developed in the United States in the 1930s and 1940s. The rhythm section consisted of a sousaphone and drums, and sometimes a banjo. [28] However, big band music saw a revival in the 1950s and 1960s. In the meantime, vocalists continued to record backed by vocal groups and the recording industry released earlier swing recordings from their vaults, increasingly reflecting the popularity of big band vocalists. ", "The missing link in the evolution of JUMP BLUES", "Squirrel Nut Zippers Reissuing 'Hot' - Listen to Unreleased 1991 Song 'The Puffer': Exclusive", Mondavi swings to the jive of Big Bad Voodoo Daddy, Blowin' Hot and Cool: Jazz and Its Critics, "The 1942 Recording Ban and the ASCAP/BMI War", https://en.wikipedia.org/w/index.php?title=Swing_music&oldid=1023325641, Short description is different from Wikidata, Articles with unsourced statements from August 2020, Creative Commons Attribution-ShareAlike License. Dance high-life in the 1930s, 1940s, 1950s and 1960s. That's why they introduced "swing" which is not a musical form" (no comment on Fletcher Henderson, Earl Hines, Duke Ellington, or Count Basie). Bandleaders like Benny Goodman and Fletcher Henderson drew crowds of young people to ballrooms and dance … Gypsy swing is an outgrowth of the jazz violin swing of Joe Venuti and Eddie Lang. Oxford University Press. Biography of Buddy Rich, Legendary Jazz Drummer, Ensembles: Making Beautiful Music Together. Some of the top jitterbuggers gathered in professional dance troupes such as Whitey's Lindy Hoppers (featured in A Day At the Races, Everybody Dance, and Hellzapoppin'). These labels had limited distribution centered in large urban markets, which tended to limit the size of the ensembles with which recording could be a money-making proposition. Wartime restriction on travel, coupled with rising expenses, curtailed road touring. Harry James and his Orchestra"). Price, "Jazz Guitar and Western Swing", p. 82. When you take lessons at the new Madison location of Fred Astaire Dance Studios, you’ll receive quality instruction of multiple dance styles and approaches. Swing was sometimes regarded as light entertainment, more of an industry to sell records to the masses than a form of art, among fans of both jazz and "serious" music. Artists like Willie Nelson and Asleep at the Wheel have continued the swing elements of country music. In 1935 the Benny Goodman Orchestra had won a spot on the radio show "Let's Dance" and started showcasing an updated repertoire featuring Fletcher Henderson arrangements. Jean Goldkette's Victor Recording Orchestra featured many of the top white jazz musicians of the day including Bix Beiderbecke, Jimmy Dorsey, Frank Trumbauer, Pee Wee Russell, Eddie Lang, and Joe Venuti. Charleston, social jazz dance highly popular in the 1920s and frequently revived. New York became a touchstone for national success of big bands, with nationally broadcast engagements at the Roseland and Savoy ballrooms a sign that a swing band had arrived on the national scene. Dance marathons, continuing from the 1920s, now became a hopeful step up for financially struggling dancers in the early 1930s. [26] In 1941 the American Society of Composers and Producers (ASCAP) demanded bigger royalties from broadcasters and the broadcasters refused. Before the 1930s, small ensembles, usually consisting of a trumpet, trombone, clarinet, tuba or bass, banjo or piano, and drums, performed jazz. Many of these singers were also involved in the "less swinging" vocal pop music of this period. Notable musicians of the swing era include Duke Ellington, Benny Goodman, Count Basie, Cab Calloway, Jimmy Dorsey, Tommy Dorsey, Woody Herman, Harry James, Lionel Hampton, Glenn Miller and Artie Shaw. Some arrangements were built entirely around a featured soloist or vocalist. During the Henderson band's extended residency at the Roseland Ballroom in New York, it became influential on other big bands. His approach to rhythm often used accents on the lead-in instead of the main beat, and mixed meters, to build a sense of anticipation to the rhythm and make his playing swing. In November 2013, Robbie Williams released Swings Both Ways. Spring, Howard. By the early 1920s guitars and pianos sometimes substituted for the banjo and a string bass sometimes substituted for the sousaphone. Swing, in music, both the rhythmic impetus of jazz music and a specific jazz idiom prominent between about 1935 and the mid-1940s, years sometimes called the swing era. Goodman's success with "hot" swing brought forth imitators and enthusiasts of the new style throughout the world of dance bands, which launched the "swing era" that lasted until 1946.[22]. "Swing and the Lindy Hop: Dance, Venue, Media, and Tradition". Swing has its roots in 1920s dance music ensembles, which began using new styles of written arrangements, incorporating rhythmic innovations pioneered by Louis Armstrong, Coleman Hawkins, Benny Carter and other jazzmen. Vocalists were becoming the star attractions of the big bands. With its Savoy engagement in 1937, the Count Basie Orchestra brought the riff-and-solo oriented Kansas City style of swing to national attention. Swing music was mostly performed by big bands and reached broad audiences over the radio, on records, and in dance halls nationwide. Developments in dance orchestra and jazz music during the 1920s both contributed to the development of the 1930s swing style. One explanation for swing music’s popularity is that its driving intensity and abandon represented pleasure and freedom in a time when the country was steeped in hard times. [3] Famous roma guitarist Django Reinhardt created gypsy swing music[4] and composed the gypsy swing standard "Minor Swing". Other swing revivals occurred during the 1970s. With Robert Sean Leonard, Christian Bale, Frank Whaley, Barbara Hershey. Moten's orchestra had a highly successful tour in late 1932. Vocalist Peggy Lee joined the Goodman Orchestra in 1941 for a two-year stint, quickly becoming its star attraction on its biggest hits. Miller's trademark clarinet-led reed section was decidedly "sweet," but the Miller catalog had no shortage of bouncy, medium-tempo dance tunes and some up-tempo tunes such as Mission to Moscow and the Lionel Hampton composition “Flying Home”. Dan Hicks and His Hot Licks, and later David Grisman, presented adaptations of Gypsy Swing, rekindling interest in the musical form. (2000), The Oxford Companion to Jazz, New York: Oxford University Press. Big band jazz made a comeback as well. Big band music would experience a resurgence during the 1950s, but the connection between the later big band music and the swing era was tenuous. [27], The war's end saw the elements that had been unified under big band swing scattered into separate styles and markets. Swing has its roots in 1920s dance music ensembles, which began using new styles of written arrangements, incorporating rhythmic innovations pioneered by Louis Armstrong, Coleman Hawkins, Benny Carter and other jazzmen. Kirchner, Bill, ed. This sectionalized approach carried over into the big bands of swing music. Some, such as the Nelson Riddle and Gordon Jenkins Orchestras, became well known in their own right, with Riddle particularly associated with the success of Sinatra and Cole. Leading artists include Caravan Palace and Parov Stelar. The list revealed that big band sales had decreased since the early 1950s. [19] Bennie Moten and the Kansas City Orchestra showcased the riff-propelled, solo-oriented form of swing that had been developing in the hothouse of Kansas City. Some jazz critics such as Hugues Panassié held the polyphonic improvisation of New Orleans jazz to be the pure form of jazz, with swing a form corrupted by regimentation and commercialism. Popular music was centered on vocalists, and a full-time big band to back up a vocalist was increasingly seen as an unnecessary expense. But instead of a small ensemble, swing music featured a section of three or four trumpeters, three or four trombonist, five saxophonists who often doubled on clarinets, a piano, a bassist instead of a tuba player, a guitarist, and a drummer. Each instrument had a specific role in the ensemble, and aside from the melody, parts were often improvised. The name came from the emphasis on the off–beat, or weaker pulse. Drummer Buddy Rich, after briefly leading one big band during the late 1940s and performing in various jazz and big band gigs, formed his definitive big band in 1966. [11][12] Hines' style was a seminal influence on the styles of swing-era pianists Teddy Wilson, Art Tatum, Jess Stacy, Nat "King" Cole, Erroll Garner, Mary Lou Williams, and Jay McShann. In country music Jimmie Rodgers, Moon Mullican, and Bob Wills combined elements of swing and blues to create a Western swing. The recording found the commercial success that had eluded its original release. Swing dancing would outlive the swing era, becoming associated with R&B and early Rock&Roll. Today, the best-known of these dances is the Lindy Hop, which … Aris Allen Men's 1930s Coffee and Cream Spectator Wingtip Dance Shoe *CLOSEOUT* $ 79.95 $ 39.95 Aris Allen Men's Wide 1930s Black and White Spectator Wingtip Dance Shoe Count Basie and Duke Ellington had both downsized their big bands during the first half of the 1950s, then reconstituted them by 1956. Henderson's next business was selling arrangements to up-and-coming bandleader Benny Goodman. Starting in 1928, The Earl Hines Orchestra was broadcast throughout much of the 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. The mother of Swing dances is Lindy Hop and this is the core dance taught by Swing Patrol. [13] The rhythm-heavy tunes for dancing were called "stomps". Before the 1930s, small ensembles, usually consisting of a trumpet, trombone, clarinet, tuba or bass, banjo or piano, and drums, performed jazz. It originated in Afro-American area of Harlem in the late 1930s and early 1940s. Meanwhile, string bass players such as Walter Page were developing their technique to the point where they could hold down the bottom end of a full-sized dance orchestra.[14]. 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. "The Sentimental Gentleman of Swing" Tommy Dorsey made a nod to the hot side by hiring jazz trumpeter and Goodman alumnus Bunny Berigan, then hiring Jimmie Lunceford's arranger Sy Oliver to spice up his catalog in 1939. Swing music has a compelling momentum that results from musicians’ attacks and accenting in relation to fixed beats. Consequently, ASCAP banned the large repertoire they controlled from airplay, severely restricting what the radio audience could hear. Swing bands usually featured soloists who would improvise on the melody over the arrangement. Dance highlife evolved during World War II, when American jazz and swing became popular with the … It was on earlier on the West Coast and developed the audience that later led to Goodman's Palomar Ballroom triumph. Hines' arranger Jimmy Mundy would later contribute to the catalog of the Benny Goodman Orchestra. [15][16] Whiteman's Orchestra enjoyed great commercial success and was a major influence on the sweet bands. Harker, Brian C., 1997, Early Musical Development of Louis Armstrong, 1921–1928, unpublished PhD Dissertation, Columbia University, 390 p. plus Appendix. Swing music encouraged people to cast aside their troubles and dance. Paul Whiteman developed a style he called "symphonic jazz," grafting a classical approach over his interpretation of jazz rhythms in an approach he hoped would be the future of jazz. The jazz, R&B, and swing revival vocal group Manhattan Transfer and Bette Midler included swing era hits on albums during the early 1970s. Swing dance is a group of dances that developed with the swing style of jazz music in the 1920s–1940s, with the origins of each dance predating the popular "swing era".Hundreds of styles of swing dancing were developed; those that have survived beyond that era include Lindy Hop, Balboa, Collegiate Shag, and Charleston. The Great Depression caused Americans to suffer, and dancing to swing music was a way for people to forget their worries. The level of improvisation that the audience might expect varied with the arrangement, song, band, and band-leader. During the 1930s, swing came to symbolize joy and ease, the weight of which was reflected in Duke Ellington’s piece, “It Don’t Mean a Thing (If It Ain’t Got That Swing).”. By 1947 the economics of popular music led to the disbanding of many established big bands. Swing music was mostly performed by big bands and reached broad audiences over the radio, on records, and in dance halls nationwide. Bentyne would leave the New Deal Rhythm Band in 1978 for her long career with Manhattan Transfer. Although they originated in different continents, similarities have often been noted between gypsy swing and Western swing]l, leading to various fusions. Electro swing is mainly popular in Europe, and electro swing artists incorporate influences such as tango and Django Reinhardt's gypsy swing. The growth of radio broadcasting and the recording industry in the 1920s allowed some of the more popular dance bands to gain national exposure. [20][21] Emblematic of the evolving music was the change in the name of Moten's signature tune, from "Moten Stomp" to "Moten Swing". Typically included in big band swing arrangements were an introductory chorus that stated the theme, choruses arranged for soloists, and climactic out-choruses. The hard core dancing niche formerly occupied by hot big band swing was occupied by small "jump" bands and R&B. Samba (Portuguese pronunciation: ()), also known as samba urbano carioca (Urban Carioca Samba) or simply samba carioca (Carioca Samba) is a Brazilian music genre that originated in the Afro-Brazilian communities of Rio de Janeiro in the early 20th century. Blues. One impetus was the demand for studio and stage orchestras as backups for popular vocalists, and in radio and television broadcasts. Historically-themed radio broadcasts featuring period comedy, melodrama, and music also played a role in sustaining interest in the music of the swing era. Learn more. We love to lindy and you can see how joyous it is by the smiles on people’s faces. Nat King Cole followed Sinatra into pop music, bringing with him a similar combination of swing and ballads. A typical song played in swing style would feature a strong, anchoring rhythm section in support of more loosely-tied woodwind and brass sections playing call-response to each other. It became a sound associated with pop vocalists such as Bobby Darin, Dean Martin, Judy Garland, and Nat King Cole, as well as jazz-oriented vocalists such as Ella Fitzgerald and Keely Smith. The Earl Hines Orchestra in 1943 featured a collection of young, forward-looking musicians who were at the core of the bebop movement and would in the following year be in the Billy Eckstine Orchestra, the first big band to showcase bebop. 10–13. That stopped recording of instrumental music for major labels for over a year, with the last labels agreeing to new contract terms in November 1944. The danceable swing style of big bands and bandleaders such as Benny Goodman was the dominant form of American popular music from 1935 to 1946, known as the swing era. 1940 saw top-flight musicians such as Charlie Parker, Dizzy Gillespie, Don Byas, Charlie Christian, and Gene Ramey, whose careers in swing had brought them to New York, beginning to coalesce and develop the ideas that would become bebop. A group of teens adores forbidden music in … A dance floor full of jitterbuggers had cinematic appeal; they were sometimes featured in newsreels and movies. Big band jazz remains a major component of college jazz instruction curricula. The Goodman band's 1938 Carnegie Hall Concert turned into a summit of swing, with guests from the Basie and Ellington bands invited for a jam session after the Goodman band's performance. Russell, Ross, Jazz Style in Kansas City and the Southwest, Berkeley, CA, University of California Press, 1972, 291 p. "It's not very difficult to understand the evolution of jazz into Swing. [9] In 1924 Louis Armstrong joined the Henderson band, lending impetus to an even greater emphasis on soloists. This propulsive effect was introduced by stride pianists in the 1920s and has been a common feature of jazz through the decades. Starting in 1923, the Fletcher Henderson Orchestra featured innovative arrangements by Don Redman that featured call-response interplay between brass and reed sections, and interludes arranged to back up soloists. The Stan Kenton and Woody Herman bands maintained their popularity during lean years of the late 1940s and beyond, making their mark with innovative arrangements and high-level jazz soloists (Shorty Rogers, Art Pepper, Kai Winding, Stan Getz, Al Cohn, Zoot Sims, Serge Chaloff, Gene Ammons, Sal Nistico). It humiliated Goodman's band,[19] and had memorable encounters with the Ellington and Basie bands. The trend away from big band swing was accelerated by wartime conditions and royalty conflicts. [17][18] As a dance music promoter and agent, Goldkette also helped organize and promote McKinney's Cotton Pickers and Glen Gray's Orange Blossoms (later the Casa Loma Orchestra), two other Detroit-area bands that were influential in the early swing era. [5] In the late 1980s to early 1990s, new urban-styled swing-beat emerged called new jack swing (New York go-go), created by young producer Teddy Riley. 1000万語収録！Weblio辞書 - swing とは【意味】(一定点を軸に前後にまたはぐるぐると規則正しく)揺れ動く,ぶらぶら揺れる... 【例文】swing like a pendulum... 「swing」の意味・例文・用例ならWeblio英和・和英辞書 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. The sudden success of the Goodman orchestra transformed the landscape of popular music in America. Many of the bands played neo-swing which combined swing with rockabilly, ska, and rock. swing definition: 1. to move easily and without interruption backwards and forwards or from one side to the other…. In 2001 Robbie Williams's album Swing When You're Winning consisted mainly of popular swing covers. Much of the top instrumental talent of the period were performing in small band formats ranging from R&B to bebop. Like Mullican, he was important in bringing piano to the fore of popular music. Ten years ago this type of music was flourishing, albeit amidst adverse conditions and surrounded by hearty indifference....It is the repetition and monotony of present-day Swing arrangements which bode ill for the future. Hines' melodic, horn-like conception of playing deviated from the contemporary conventions in jazz piano centered on building rhythmic patterns around "pivot notes". Though swing music was no longer mainstream, fans could attend "Big Band Nostalgia" tours from the 1970s into the 1980s. pp. In 1943 Columbia Records re-released the 1939 recording of “All or Nothing at All” by the Harry James Orchestra with Frank Sinatra, giving Sinatra top billing ("Acc. Traditional New Orleans style jazz was based on a two-beat meter and contrapuntal improvisation led by a trumpet or cornet, typically followed by a clarinet and trombone in a call-response pattern. In Europe it was heard in the music of guitarist Django Reinhardt and violinist Stéphane Grappelli. Their repertoire overlaps 1930s swing, including French popular music, gypsy songs, and compositions by Reinhardt, but gypsy swing bands are formulated differently. In 1955, a list of top recording artists from the previous year was publicly released. Another modern development consists of fusing swing (original, or remixes of classics) with hip hop and house techniques. Black territory dance bands in the southwest were developing dynamic styles that often went in the direction of blues-based simplicity, using riffs in a call-response pattern to build a strong, danceable rhythm and provide a musical platform for extended solos. The Savoy Sultans and other smaller bands led by Louis Jordan, Lucky Millinder, Louis Prima, and Tony Pastor were showcasing an exuberant "jump swing" style that would lead to the postwar rise of R&B. Lower manpower requirements and simplicity favored the rise of small band swing. [9] In 1925 Armstrong left the Henderson band and would add his innovations to New Orleans style jazz to develop Chicago style jazz, another step towards swing. Goodman's slot was on after midnight in the East, and few people heard it. ASCAP also demanded pre-approval of set lists and even written solos for live broadcasts, to assure that not even a quoted fragment of ASCAP repertoire was broadcast. Swing-era repertoire included the Great American Songbook of Tin Pan Alley standards, band originals, traditional jazz tunes such as the “King Porter Stomp”, with which the Goodman orchestra had a smash hit, and blues. The Basie and Ellington bands flourished creatively and commercially through the 1960s and beyond, with both veteran leaders receiving high acclaim for their contemporary work and performing until they were physically unable. However, swing also refers to the style of jazz that was popular from roughly 1930 until around World War II. Gypsy swing groups generally have no more than five players. As the swing era went into decline, it secured legacies in vocalist-centered popular music, "progressive" big band jazz, R&B, and bebop. As with many new popular musical styles, swing met with some resistance because of its improvisation, tempo, occasionally risqué lyrics, and frenetic dancing. Founding leader of the New Deal Rhythm Band John Holte led swing revival bands in the Seattle area until 2003. Duke Ellington credited the Henderson band with being an early influence when he was developing the sound for his own band. Another blow fell on the market for dance-oriented swing in 1944 when the federal government levied a 30% excise tax on "dancing" nightclubs, undercutting the market for dance music in smaller venues. The manpower requirements for big swing bands placed a burden on the scarce resources available for touring and were impacted by the military draft. Both genres are connected with a revival of swing dances, such as the Lindy hop. Swingin' pop remained popular into the mid-1960s, becoming one current of the "easy listening" genre. Mullican left the Cliff Bruner band to pursue solo career that included many songs that maintained a swing structure. He also used "stops" or musical silences to build tension in his phrasing. The Chick Webb Orchestra remained closely identified with the Savoy Ballroom, having originated the tune "Stompin' at the Savoy", and became feared in the Savoy's Battles of the Bands. Some bands used string or vocal sections, or both. Audiences raved about the new music, and at the 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.[14]. Other big jazz bands that drove the 1950s–60s revival include those led by Thad Jones, Mel Lewis, Quincy Jones, and Oliver Nelson. The album sold more than 7 million copies worldwide. swing.[10]. Vocalist Ella Fitzgerald, after joining the Chick Webb Orchestra in 1936, propelled the band to great popularity and the band continued under her name after Webb's death in 1939. [6] In the late 1990s and into the 2000s, there was a swing revival, led by Squirrel Nut Zippers,[7] Brian Setzer orchestra and Big Bad Voodoo Daddy.[8]. Some swing bandleaders saw opportunities in the Dixieland revival. The requirement for volume led to continued use of the sousaphone over the string bass with the larger ensembles, which dictated a more conservative approach to rhythm based on 2/4 time signatures. Lionel Hampton was a leader in the R&B genre during the late 1940s then re-entered big band jazz in the early 1950s, remaining a popular attraction through the 1960s. The doo-wop vocal group the Marcels had a big hit with their lively version of the swing-era ballad “Blue Moon”. Dregni, Michael (2004). Our welcoming studio environment makes our studio the perfect place to hone your skills, no matter at what level you are. Those restrictions made broadcast swing much less appealing for the year in which the ban was in place. In Seattle the New Deal Rhythm Band and the Horns O Plenty Orchestra revived 1930s swing with a dose of comedy behind vocalists Phil "De Basket" Shallat, Cheryl "Benzene" Bentyne, and six-foot-tall "Little Janie" Lambert. At the Palomar engagement starting on August 21, 1935, audiences of young white dancers favored Goodman's rhythm and daring arrangements. During the World War II era Swing began to decline in popularity, and after war, bebop and jump blues gained popularity. The 1930s decade (and most of the 1940s as well) has been nostalgically labeled "The Golden Age of Hollywood" (although most of the output of the decade was black-and-white). A Swing Revival occurred during the 1990s and 2000s led by Royal Crown Revue, Big Bad Voodoo Daddy, The Cherry Poppin' Daddies, Squirrel Nut Zippers, Lavay Smith, and Brian Setzer. Panassié was also an advocate of the theory that jazz was a primal expression of the black American experience and that white musicians, or black musicians who became interested in more sophisticated musical ideas, were generally incapable of expressing its core values. Mentioned as early as 1903, it was originally a black folk dance known throughout the American South and especially associated with Charleston, S.C. You can read about some of the original Lindy Hoppers in our Swing Stars section. The bands in these contexts performed in relative anonymity, receiving secondary credit beneath the top billing. Swing band arrangements were in large part composed, often of simple, repeated material, or “riffs,” that alternated between contrapuntal lines and intense unison rhythms. The Basie orchestra collectively and individually would influence later styles that would give rise to the smaller "jump" bands and bebop. Overview. Django: The Life and Music of a Gypsy Legend. In 1940 vocalist Vaughn Monroe was leading his own big band and Frank Sinatra was becoming the star attraction of the Tommy Dorsey Orchestra, inciting mass hysteria among bobby-soxers. [citation needed]. 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. Asleep at the Wheel has also recorded the Count Basie tunes “One O'Clock Jump”, “Jumpin' at the Woodside”, and “Song of the Wanderer” using a steel guitar as a stand-in for a horn section. Audiences used to traditional "sweet" arrangements, such as those offered by Guy Lombardo, Sammy Kaye, Kay Kyser and Shep Fields, were taken aback by the rambunctiousness of swing music. Cook, Richard (2005), Jazz Encyclopedia, London: Penguin. Some big bands were moving away from the swing styles that dominated the late 1930s, for both commercial and creative reasons. [1] During the World War II era Swing began to decline in popularity, and after war, bebop and jump blues gained popularity.