SWING FANS Diamond 48, Black Body - Teak Blade

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Despite all the campaigns of defamation and prohibition, as well as the incarceration of some jazz musicians and jazz fans,it cannot be said that there was no German jazz scene in the Third Reich. Sustained by professional and amateur musicians, jazz bands, and also by enthusiastic swing fans and record collectors, it is more accurate to say that the development of jazz was severely encumbered by political conditions. This made the jazz scene increasingly dependent for its survival upon the loopholes of Nazi cultural policy. Such loopholes existed because the cultural politics of the Third Reich vis-a-vis jazz and jazz-related music was characterized by the coexistence of contradictory and ambivalent measures, for which no unified strategy existed. Depending on the inner dynamic of Nazi ideology and foreign policy developments, Nazism’s response to jazz oscillated between prohibition for ideological reasons, and toleration and appropriation for economic and market-driven considerations. This explains why the Nazis did not decree an all-encompassing, nationwide ban on jazz, nor issue any corresponding law. Jazz in the Camps HR: Horizontal roof unit designed for general ventilation. High efficiency motors. Standard Temperature.

Bergmeier, H.J.P., 1998. Chronologie der deutschen Kleinkunst in den Niederlanden 1933–1944., Hamburg: Hamburger Arbeitsstelle für Deutsche Exilliteratur. Considine, J. D. "The missing link in the evolution of JUMP BLUES". Baltimoresun.com . Retrieved 23 February 2021. Multi-genre mandolinist Jethro Burns is widely known for playing Swing, Jazz, and many other forms of the genre on the mandolin. He has produced many albums that feature Jazz rhythms and swing chord progressions. He is often considered "The Father of Jazz Mandolin". Nye, Russell B., 1976, Music in the Twenties: The Jean Goldkette Orchestra, Prospects, An Annual of American Cultural Studies 1:179–203, October 1976, DOI: 10.1017/S0361233300004361 It's not very difficult to understand the evolution of jazz into Swing. 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." Downbeat, February 1939, pp. 2–16When he played, everything became quiet. He magically produced the sound of an entire band. […] Everywhere where Pechmann went, he reassured these frightened people. Swing music is a style of jazz that developed in the United States during the late 1920s and early '30s. It became nationally popular from the mid-1930s. The name derived from its emphasis on the off-beat, or nominally weaker beat. Swing bands usually featured soloists who would improvise on the melody over the arrangement. 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, when people were dancing the Lindy Hop. The verb "to swing" is also used as a term of praise for playing that has a strong groove or drive. 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, Artie Shaw and Django Reinhardt. Due to its special position as a 'show camp', Theresienstadt had at its disposal an extraordinary amount of cultural freedom and a high-standing –both quantitatively and qualitatively – musical life. Alongside numerous performances of classical music, there were regular jazz concerts. The jazz combo of the clarinetist and saxophonist Bedrich 'Fritz' Weiss was one of the first music groups to be formed there. Besides this, the incarcerated jazz and dance musicians accompanied cabaret shows and grouped together to form various bands. The most famous of these was the Ghetto-Swingers, which matured from a Czech amateur band under the leadership of the pianist Martin Roman to become an big band. Their music was often rejected by older camp inmates, while younger ones like Klaus Scheurenberg considered the musicians a sensation. In 2001 Robbie Williams's album Swing When You're Winning consisted mainly of popular swing covers. The album sold more than 7 million copies worldwide. In November 2013, Robbie Williams released Swings Both Ways. Berrett, Joshua (1 October 2008). Louis Armstrong and Paul Whiteman: Two Kings of Jazz. Yale University Press. ISBN 978-0300127478– via Google Books.

VR: Vertical roof unit designed for general ventilation High efficiency motors. Standard Temperature. Harker, Brian C., 1997, Early Musical Development of Louis Armstrong, 1921–1928, unpublished PhD Dissertation, Columbia University, 390 p. plus Appendix In 1927 Armstrong worked with pianist Earl Hines, who had a similar impact on his instrument as Armstrong had on trumpet. Hines' melodic, horn-like conception of playing deviated from the contemporary conventions in jazz piano centered on building rhythmic patterns around "pivot notes". His approaches to rhythm and phrasing were also free and daring, exploring ideas that would define swing playing. 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. He also used "stops" or musical silences to build tension in his phrasing. [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. Gensler, Andy (6 June 2016). "Squirrel Nut Zippers Reissuing 'Hot' - Listen to Unreleased 1991 Song 'The Puffer': Exclusive". Billboard . Retrieved 14 June 2017. Ritter, F. ed., 1994. Heinrich Himmler und die Liebe zum Swing. Erinnerungen und Dokumente., Leipzig: Reclam.

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Walker, Leo (1972). The Wonderful Era of the Great Dance Bands. Garden City, New York: Doubleday. p.152.