For most, the term ‘big band’ brings to mind images of black & white films, World War II era news reels, classic cars and swing dancers swaying. The notion of seventeen or more musicians on a band stand is often viewed as a relic to be appreciated as though in a museum, an antiquated symbol of days gone by.
Since the 1960s, it has been increasingly rare to encounter a big band in popular culture, with a couple exceptions. One is late night television, once dominated by Johnny Carson and his bandleader Doc Severinson, the NBC Orchestra. While ‘Late night’ is still a forum for talented medium size music ensembles with horns, the true big band evaporated from the scene with the departure of Johnny and Doc.
The other exception took place amidst the ascent of Nirvana, the Seattle Sound and alternative culture, largely as a reaction to it: scores of young people bypassing grungy jeans and unkempt shirts in favor of zoot suits for the guys and cotton skirts for the girls, listening and dancing to ‘swing.’ Fueling the movement were bands like Squirrel Nut Zippers and the Brian Setzer Orchestra – big bands built upon a simplicity catering to mass appeal – credited with the ‘swing revival’ trend of the mid-90’s. While these bands were highly entertaining and provided refuge from grunge – which by that point had been overwrought with lyrics (and performers living up to them) about depression, addiction and suicide – they lacked the innovation, musicality, depth and virtuosity of Count Basie (pictured), Duke Ellington, Bennie Goodman etc…, bands in which future important musicians would pass through the ranks – a small sample of which includes Lester Young & Quincy Jones (Basie), Johnny Hodges & Ben Webster (Ellington) and Gene Krupa & Charlie Christian (Goodman).
What many do not not know is that real big band music remains as fresh, modern, innovative, deep and virtuosic as ever. Like other forms of music, including heavy metal (which big band dynamics have a lot in common with) it needs to be experienced live to be fully appreciated. Although there are many good college big bands in the US, you’re best chance of hearing the music performed professionally is in Europe, where it is frequently supported by government art programs, the type of which would be shot down in the US amidst charges of the ‘S’ word (socialism). You could also visit New York, where there are several permanent residencies of great big bands. But it takes an effort on the part of the listener to find this music, unlike rock and pop, which is everywhere you look.
Recently, I was invited to meet and listen to some advanced high school music students from Governor’s School Of The Arts in Virginia, a school for gifted students in the DC area. They were visiting New York, where the orchestral students performed at Carnegie Hall and the jazz students performed at a hip Greenwich Village venue, Le Poisson Rouge. Upon hearing the school’s terrific big band, and talking to these teenagers whose knowledge and appreciation of this sound was awe inspiring, I was reminded that, unbeknownst to our culture at large, big band music is very much alive.
Big band arranging is an admirable pure art form, one that you have to be a bit crazy to do, since it is the most demanding, most time consuming, most costly and least appreciated by the public. But some are doing it and doing it well. Although they’ve diligently studied the old masters, their music sounds nothing like Count Basie or Bennie Goodman.
One of the best examples of big band being brought into the modern age is Maria Schneider, whose warm, healthy, glowing energy defies the stereotype of the hard edged, slave-driving male band leader. Here’s a clip in which not only showcases a great composition and arrangement, but you get two bonuses: 1. A searing postmodern guitar solo (courtesy of master guitarist Ben Monder) and 2. Something I never thought I’d ever say: an amazing accordion solo (courtesy of Toninho Ferragutti). MARIA SCHNEIDER ‘GREEN PIECE’
Another example is British bassist Dave Holland, well known for his work with Miles Davis, Keith Jarret, Pat Metheny who leads a variety of ensembles, including a big band. This clip starts with a four minute bass solo that is terrific and worth listening to, but to hear the big band right away, start this clip at 4:00. This is an edgy, suspenseful piece that reminds me of 70’s funk/fusion with a post-modern orchestral sensibility. DAVE HOLLAND ‘HOW’S NEVER?’
Keep in mind that in between these 21st century big bands and the big bands of yore (the short lived ‘swing’ trend of the 90’s doesn’t count) there are many other great big bands to check out, especially from the 60’s and 70’s. To name a few: Thad Jones/Mel Lewis Orchestra (which lives on as the Vanguard Jazz Orchestra, catch them any Monday night at the Village Vanguard in NYC), Buddy Rich Big Band, Bob Mintzer Big Band, Maynard Ferguson, Mingus Big Band (minus the late Charles MIngus, of course. Catch them any Monday night at the Jazz Standard in NYC). And another good modern big band to check out, by a young leader/pianist: Jason Lindner Big Band.
When listening, try to hone in on parts that are blended in, not just the most obvious ones. It’s fun to search for hidden, underlying melodies that create the texture and ambiance. This process helps provide deeper appreciation for the art form and all the hard work that went into it.
If you allow yourself to be open to this music, and not just the standard rock band format (electric guitars, electric bass, drums and vocals), you may find that is very, very powerful. The dynamics, especially the big horn hits, have a lot in common with metal music. And why not? Remember, brass & woodwinds = real metal.