Please answer all questions in full sentences. 1. In the late 1920s The Chicago jazz scene begins to fade. Which city becomes the focal point for nightclub work, music publishing, radio, record

It would be chaos. These larger bands needed more structure and direction to keep all of these musicians from clashing with each other. They needed someone to arrange who was going to play what where. An arranger figures out and decides what each member of the ban d is going to play and writes out the part for each of them. There are many approaches to how you deal with a large band like this. Fletcher Henderson and Don Redman came up with a simple and effective method. Their method has become known as sectional arr anging. The idea is that each section is treated as a unit. The saxes all play together when a sax line is written, the trumpets all play together when a trumpet line is written. In a Fletcher Henderson arrangement you would very rarely or never see a sing le trumpet combined with a single sax/clarinet or trombone. The whole sections would interplay with each other. That’s not to say the sections would not play at the same time, they would just work as complete units (or sections). Of course , another result of this method was that jazz musicians had to be much more schooled than before. You had to be able to read music if you wanted to play in a swing band.

Many of the “old school” players did it “by ear” which was fine in a small group but wouldn’t work whe n you are playing parts within a large band. In 1924 Fletcher Henderson brought Louis Armstrong to New York to play in his ba nd. Although Armstrong’s time in Fletcher’s band was relatively short (barely one year), his impact was immediate. Armstrong brings a raw, adventurous, joy of living, happy to be playing style to Henderson’s band. Armstrong’s virtuosity is clearly evident, but it his approach that really changes everything. He basically shows everybody that having a whole bunch of fun and making peopl e smile is a very good thing. Listen to this version of “Shanghai Shuffle” with Louis Armstrong. The song starts out kind of staid and straight laced. On ce Louis comes in with his solo the whole band picks up and plays with much more joy all the way throu gh to the end. Armstrong’s influence reverberates throughout the dance band community of the New York area and forever changes the way bands and musicians approach their music. Fletcher Henderson’s band with Louis Armstrong. That’s Louis third from the left and Henderson fifth from the left. After “Shanghai Shuffle” comes a cookin’ version of Henderson’s “Hotter than ‘e ll” from New York, September 25, 1934. This is ten years after Louis’ time in the band, but you can still hear the joy and swinging style that he brought New York. This style of playing and arranging is what Benny Goodman adopts to end up becoming swing mu sic’s first big star.