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Swing אנחנו מעודדים כל לקוח להביא לידי ביטוי את הצד היצירתי שבו ולהגשים את החלום העיצובי שלו. בזכות הגישה 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 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". 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. Goodman's slot was on after midnight in the East, and few people heard it. It was on earlier on the West Coast and developed the audience that later led to Goodman's Palomar Ballroom triumph. At the Palomar engagement starting on 21 August 1935, audiences of young white dancers favored Goodman's rhythm and daring arrangements. The sudden success of the Goodman orchestra transformed the landscape of popular music in America. 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] 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.

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. 2–16They liked it and were happy about the variety it brought whenever we sang 'In the Mood' or 'Bei mir bist du schoen' or 'A Tisket, a Tasket' or whatever. Swing המותג המוביל במאווררי תקרה איכותיים, מעוצבים ועמידים. כמותג מוביל , חרטנו על דגלנו ערכים של חדשנות, יצירתיות, יעילות Swing אנחנו מאמינים במוצרים שלנו ומעוניינים לקדם ידע מקצועי בתחום מאווררי התקרה, כדי שתוכלו לבצע רכישה מושכלת שתואמת לצרכים הפרקטיים והעיצוביים שלכם. לכן, אנחנו מעניקים שירותי ייעוץ מקצועי בחנויות הרשת, בטלפון ודרך מספר פלטפורמות באתר וכמובן שנשמח לספק לכם גם שירותי משלוח והתקנה But precautions had to be taken so that the performance of hated jazz melodies was not accidentally discovered by an overseer: 'Sometimes at night, after lights out, we were quite precocious and would cover the windows with our bed sheets and then we would sing.'

Blowin' Hot and Cool: Jazz and Its Critics, by John Remo Gennari, PhD (born 1960), University of Chicago Press (2006), pg. 58; OCLC 701053921 eVertical DVC: Designed for elevated ambient temperatures operating up to 120°C. Ideal for kitchen extract with the motor out of airstream. High Temperature. Dregni, Michael (2004). Django: The Life and Music of a Gypsy Legend. Oxford University Press. ISBN 0-19-516752-X. 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 VR: Vertical roof unit designed for general ventilation High efficiency motors. Standard Temperature.

Between the poles of hot and sweet, middlebrow interpretations of swing led to great commercial success for bands such as those led by Artie Shaw, Glenn Miller and Tommy Dorsey. 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". "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. Nigger jazz’ [… was] offered here in outstanding form without objection from the SS. For us young people, Viennese Café music was boring, but the new style of the Ghetto-Swingers buoyed us through their weekly performances in front of the café. 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. The rhythm section consisted of a sousaphone and drums, and sometimes a banjo. By the early 1920s guitars and pianos sometimes substituted for the banjo and a string bass sometimes substituted for the sousaphone. Use of the string bass opened possibilities for 4/4 instead of 2/4 time at faster tempos, which increased rhythmic freedom. The Chicago style released the soloist from the constraints of contrapuntal improvisation with other front-line instruments, lending greater freedom in creating melodic lines. 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. swing. [10] Main article: Swing era Benny Goodman, one of the first swing bandleaders to achieve widespread fame 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. The level of improvisation that the audience might expect varied with the arrangement, song, band, and band-leader. Typically included in big band swing arrangements were an introductory chorus that stated the theme, choruses arranged for soloists, and climactic out-choruses. Some arrangements were built entirely around a featured soloist or vocalist. Some bands used string or vocal sections, or both. 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.

Walda, D., 1980. Trompettist in Auschwitz: Herinneringen van Lex van Weren, Amsterdam: De Boekerij. 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. Muth, Wolfgang: „Rhythmus” – Ein internationales Jazzorchester in Buchenwald. In: AG Jazz Eisenach (Hg.): 25 Jahre Jazz im Klubhaus AWE. Eisenach 1984 , 10-15, quote on 12. During the Weimar Republic, jazz conquered Germany and in the process became a symbol of the Roaring Twenties. Yet bitter protest was already stirring from nationalist conservatives and right-wing circles. After Hitler took power in 1933, the conflict over jazz intensified. So-called fremdländisch (alien) music had to be eradicated. After someearly prohibitions in this regard and the creation of the Reichsmusikkammer, which would mean exclusion for Jewish musicians and impede artistic exchange with foreign musicians, there followed a liberal phase owing to the 1936 Olympic games being held in Berlin.With the success of the new jazz-style swing and the strengthening of the so-called Swingjugend (Swing Youth), however, further repression came in 1937 and 1938. District Nazi party leaders, police directors and local businesspeople began to issue numerous decrees prohibiting swing, jazz, and swing dancing for their respective region, city or local establishment. Despite these restrictions, jazz’s presence continued, because of the ease with which ignorant inspectors were outsmarted, and the sympathies for the agreeable swing style harboured even by some Nazi functionaries. Considine, J. D. "The missing link in the evolution of JUMP BLUES". Baltimoresun.com . Retrieved 23 February 2021.Harker, Brian C., 1997, Early Musical Development of Louis Armstrong, 1921–1928, unpublished PhD Dissertation, Columbia University, 390 p. plus Appendix Dregni, Michael (2008). Gypsy Jazz: In Search of Django Reinhardt and the Soul of Gypsy Swing. Oxford University Press. pp. 10–13. ISBN 978-0-19-531192-1.

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. Thereupon I had my portable record player, along with about one hundred records sent to me – English and American swing records. They got here, but I never received them. Schitli [Wilhelm Schitli, head of the detention camp] called for me and said that there was already something in my files about connections to English industrial circles. The records, therefore, had to be confiscated and would be stored along with my effects. This popularity and even a performance in a propaganda film about the camp could not, however, protect the Ghetto-Swingers from deportation to Auschwitz-Birkenau. Those who had survived the selection formed the core for the newly-founded camp band. Guitarist Coco Schumann talked about this in an interview: In the French prisoner camp in Perpignan in 1942, for example, the Viennese Erich Pechmann, imprisoned because of his Jewish faith, sang blues pieces and, in addition, imitated instruments with his voice. Using only these simple methods, as Fred Wander relates, Pechmann was able to boost the morale of his fellow prisoners: Depending on the particular camp and the specific situation of the camp, the function of jazz and jazz-influenced music in the Nazi camp system was extremely variable. On the one hand, it was an essential component of illegal and/or tolerated camp culture; on the other, it was a means of propaganda and distraction for the henchmen of the Nazi regime. In their own field of responsibility, individual SS members hardly bothered themselves about the music guidelines of the regime. And so it came to pass that even the SS- Rottenführer (an SS leader) Pery Broad jammed together with Dutch jazz musicians in the men’s section of Auschwitz-Birkenau. Only through such varying motivations could the scorned jazz 'survive' in, of all places, the Nazi camps. Likewise, the saxophonist Miroslav Hejtmar summarized of his performances with the Buchenwald jazz orchestra Rhythm:

Hasenbein, H., 1995. Unerwünscht – toleriert – instrumentalisiert. Jazz und Swing im Nationalsozialismus. In eitschrift für Sozialgeschichte des 20. und 21. Jahrhunderts 10. 38-52.