Swing music accompanied by brass instrumentals and a “rhythmic play over a four-beat rhythm” remained popular from roughly 1935 to 1946 (Campbell, 51). Electro swing on the other hand, is relatively new to the 21^st Century and has undoubtedly left the world intrigued. When swing music was revived in the 1990’s, it was modernized. Today, electro swing is modernized once again and can be considered a by-product of the 1990s swing revival period.

Electro swing as referenced in the website by Bass Feeds the Soul states, “Electro-swing combines vintage swing with contemporary production techniques and the styles of house music and hip-hop” (Bass Feeds the Soul, 2015). Another given name for electro swing is “Swing-House” which “incorporates loops, samples, and melodies that either reference or pull directly from the Swing Era, but layered with and supplemented by modern electronic music” (Bass Feeds the Soul, 2015).

What is interesting about electro swing is that it achieves a unique blend of classical swing elements particularly from the brass and woodwind sections with electronic elements such as the synthesizer. How interesting it is to place the old and new together to create an electrifying sound and a new style that is fun and easy to dance to!

What characterizes the music of the electro swing revival most is its use of classic swing elements over a four-beat rhythm with a modern synthesized accompaniment. In “Catgroove,” Parov Stelar begins the piece with a very simple synthesized base.  As the piece progresses, the use of modern electric devices becomes more prominent. In fact, some of the electric sounds in this work are quite similar to many of the synthesized sounds used in the early 2000’s revival period with works from musicians such as The Black Eyed Peas and their distinct “bending” of sound in the synthesized bass line. A good example to the link between swing and the revival of swing in this time period is the song, “A Little Party Never Killed Nobody” by Fergie.

After watching Fergie’s music video, it is apparent that there are undertones of electro swing music but the music doesn’t seem to be as sophisticated in instrumentation or the use of varied tempos that we hear in pieces by Parov Stelar. With that being said, Fergie’s video amps up the swing style in a visual sense through dance and the use of period costumes.

Currently, the big names in the electro swing revival are Parov Stelar, an Austrian DJ, and Caravan Palace, an electro swing group from France. Although these are the big names, other groups of electro swing include Boogie Belqiue of Belgium, The Carlson Two from Germany, Shakti Bliss of the USA, Grant Lazlo of France, Tallulah Goodtimes of the United Kingdom, and Gansterish from the USA.

The Swing Era produced many different themes that are still used and recycled today. Examples of this can be found in movies such as The Great Gatsby starring Leonardo DiCaprio, television shows such as Dancing with the Stars, advertisements by the GAP clothing company, and fashion houses that continuously bring back clothing styles from this period.

I believe that music from the original swing area continues to be revived in various ways because the music itself is vibrant and alive and the dancing is intricate and challenging while appearing to be easygoing and effortless. Older generations hold this style of music dear to them, while younger generations appreciate the original swing style but need to associate old with the new through modernization of this particular style.

There is definitely an idea or mood associated with music of the swing era that continues to be felt and understood today and throughout the revival periods.  One of the most prominent ideas from swing that is carried through to the revivals is the strong foundation of using a four-beat rhythm. Like a house, you can build upon a good foundation, and electro swing does this through its use of varied rhythms, combining traditional with modern instruments, and melding dance moves from swing with modern dance moves found in styles such as hip hop.

One of the strongest features of swing music is that it is timeless.  In other words, the music does not rely on the lyrics to get its point across. This feature ultimately keeps swing music alive and timeless, and allows electro swing to build upon this style by injecting a new vibe within the sound. “Big-Band Swing” as referenced in the textbook Popular Music of America” is a style of swing which expanded the orchestra and changed the rhythmic foundation of swing.  I find there is also a connection between this type of swing and electro swing where the electronic instruments in electro swing mimic the volume of sound that resonates from the brass section in big-band swing.

Although I have learned to appreciate traditional music of all styles and genres, I find myself gravitating towards music that has a new sound.  In this respect, I enjoy electro swing more than period swing music simply because electro swing provides some of the more modern sounds and instrumentation that I am more familiar with. I appreciate composers of the swing era, but I admire composers of electro swing who are able to bring a new dimension to a modern generation of music lovers.

BIBLIOGRAPHY

Berklee CW 461. “Electro Swing: History.” cw461.com. Accessed July 17, 2018 http://www.cw461.com/style/electro-swing

Campbell, Michael. Popular Music in America: The Beat Goes On. Nelson Education, 2012.

Harrison, Angus. “Electro Swing Is the Worst Genre of Music in the World, Ever.” Thump. December 09, 2015. Accessed July 17, 2018. https://thump.vice.com/en_us/article/wnyjk9/electro-swing-is-the-worst-genre-of-music-in-the-world-ever.

Pointdexter, Ashley. “The Rise of Electro-Swing.” Bass Feeds The Soul. March 13, 2015. Accessed July 18, 2018. http://www.bassfeedsthesoul.com/quick-news/2015/3/13/the-rise-of-electro-swing

All videos provided are taken from YouTube.com

 

Born in 1890 in the heart of the south of New Orleans, Ferdinand Joseph Lamothe better known as “Jelly Roll Morton” was respected as one of the first Jazz composers and “Godfather” to this amazing genre.

Early Life and Childhood

Ferdinand Joseph Lamothe was born on October 20, 1890, although there is talk that he was born five years earlier. His parents were of a Creole background being a mix French, Spanish and African descent. He later took his stepfather’s last name, Morton. By age 8 he was introduced to the guitar and by age 10 he had taken up the piano. It was the piano that he grew a strong interest for and into his early teens he was found playing keys in the local brothel. These establishments are credited to giving him his nickname, “Jelly Roll” Morton (Britannica, 2018).

Jelly Roll Morton originally played ragtime tunes in the infamous Storyville neighbourhood of New Orleans. Here combined the styles of ragtime, minstrel, and the core of dance rhythms which ultimately became the birth of jazz. Michael Campbell from Popular Music in America: The Beat Goes On mentions that Morton’s music was more syncopated compared to his ragtime peers.

An aspect to Morton’s life was his big and loud personality. With his hunger for fame and loud ego he began claiming that he was the creator of jazz. While this statement is debatable, one thing we can agree is that Morton contributed to many jazz discoveries including the development of early jazz to eventually orchestral jazz. He can also be credited with becoming one of the first to put jazz to paper.

It was in 1917 that Morton moved west towards California to pursue a career in music which lasted roughly five years and where he published his first work, “Original Jelly Roll Blues” (Encyclopedia, 2004).

Over the years Morton moved to Chicago. It was here that he formed Jelly Roll Morton’s Red Hot Peppers. The band grew in success and they created a new wave of stylish music, the swing. The band lasted four years.

Later in life, Jelly Roll Morton’s popularity dwindled and his downfall marked the end of an era. He eventually passed away on July 10, 1941 in Los Angeles, California.

Some of his hits include, “Black Bottom Stomp,” “King Porter Stomp,” “Shoe Shiner’s Drag” and “Dead Man Blues.

Many years after his passing, he was inducted into the Rock and Roll Hall of fame in 1998 and awarded the Grammy Lifetime Achievement Award in 2005 for his contributions to jazz and his influence on the jazz scene (Biography, 2014).

What challenges if any, did he face, and how did he overcome these challenges?

At periods in Morton’s life it was evident he had a dynamic and inconsistent lifestyle. He been known throughout his career to be a man of many occupations including a nightclub owner, gambler, and vaudeville comic. This being said, I think Morton may have struggled with his identity and the ability to be taken seriously. At the end of the day, it was his passion for the keys and sheer talent for composing jazz music that caught everyone attention.

 

His ego and temptation to brag set him apart from the others, making more enemies than friends and not giving him the best reputation. Morton struggled to fit in and was characterized as being hard to work with.

Some of Jelly Roll Morton’s most notable jazz pieces are “Dead Man Blues.”

 

Before hearing instrumentals in “Dead Man Blues” we are introduced to text. It appears there are two men having a conversation relating to church bells in the afternoon which we assume signifies a funeral of the “Dead Man.” Morton was known to incorporate minstrel aspects to his music and I believe it is evident here with the theatrics and playful language between these two gentlemen. Some of the instrumentals if you listen closely is the piano (Jelly Roll Morton), clarinet, banjo, drums, trombone, and even the cornet with a more mellow tone which is distinct from the trumpet.

The piece starts out quite melancholy which addresses the funeral and uses a slow tempo with long pulses from the trombone. Shortly after, the somber tones are replaced with a swing-like, playful, tempo where all the instrumentals unite and I feel marks an end to the funeral.

At first, we are introduced to a clarinet solo and then the cornet. I like to think these two instruments are having a conversation with one another just like the two gentlemen at the beginning of the piece.

I enjoy listening to “Dead Man Blues” by Jelly Roll Morton because I believe it to be unique with many different elements.  With the conversation at the beginning, to the slow and somber musical introduction, and eventually the body of the piece being a swing-like jazz rendition. Somehow, through Morton’s expertise, he manages to get away with adding an upbeat swing with the solemnness of a funeral and is a reason why I enjoy this piece.

Another song Morton is well-known for is “Shoe Shiner’s Drag.”

I enjoy this piece for a few distinct reasons. The relaxed tempo encourages one to tap their foot and makes it easy to dance. A vibrant cornet starts the song off which I find sets the tone for the rest of the song. Morton must have enjoyed using the glissando because they are continuously used throughout as they add drama. Overall, my interpretation of “Shoe Shiner’s Drag” is of a young shoe shiner getting through their mundane day as it seems to be reflected in the relaxed tempo.

The last piece I have chosen is Morton’s, “Original Jelly Roll Blues” which is said to be one of his first pieces of Jazz work. My reason for choosing this song not only comes from the understanding that it was ones of his firsts but also that it was recorded in Chicago, which is said by some to be one of the best places for Morton’s music career. This song is interesting to listen to because I feel it shows the starting point for Morton and as we go through his music over the years we can see the evolution. I find this piece to be less “risky” compared to his other songs.

Have a listen yourself!

BIBLIOGRAPHY

Biography. “Jelly Roll Morton Biography.” Biography.com. https://www.biography.com/people/jelly-roll-morton-9415945 (Accessed July 17, 2018).

Campbell, Michael. Popular Music in America: The Beat Goes On. Nelson Education, 2012.

Encyclopedia Britannica. “Jelly Roll Morton: American Musician.” Britannica.com. https://www.britannica.com/biography/Jelly-Roll-Morton (Accessed July 17, 2018).

New Orleans Official Guide. “Jelly Roll Morton.” New Orleans Online. http://www.neworleansonline.com/neworleans/music/musichistory/musicgreats/jellyroll.html. (Accessed July 15, 2018).