One perfect phrase (32 bar chorus standard time).
I fucking hate motivational quote images.
This is a post that continues my thinking from that previous post about Basie and Jazz BANG, but here I work specifically with Count Basie and his influences. This post is a product of some discussion on facebook about Basie (and my previous 8tracks post), and really has grown out of this Basie session at Jazz BANG. It does of course, also develop the theme of innovation, improvisation and impersonation – step stealing and cultural appropriation/transmission in vernacular music and dance culture. And we all know how obsessed I am with THAT stuff. Love love love.
This post is shaped by some useful comments and references supplied by Andrew Dickeson on the Facey, in response to my 8tracks post, and more specifically, to my question about Fletcher Henderson’s influence on Basie and other musicians.
I’ve written about this version of Honeysuckle Rose many times before (here and here), I find myself using various versions of this song for teaching all the time, and I DJ with it a lot. I am very obsessed. I’m also fascinated by Fletcher Henderson, and the way he went from big name arranger and band leader to ‘joining’ Benny Goodman’s band. His life (which was somewhat tragic), and the role John Hammond played, really catch my interest. Also he had fucking MAD skills.
So here is an excerpt from a useful book Andrew hooked me up with, and an 8track set I put together to illustrate this section:
The early Basie book was casual and frequently borrowed, either in bits and pieces or, sometimes, whole. The ultimate sources was often Fletcher Henderson’s orchestra. Basie’s arrangement of Honeysuckle Rose is a slight simplification of Henderson’s. Basie’s Swinging the Blues comes from Henderson’s Hot and Anxious and Comin’ and Goin’*. Jumpin’ at the Woodside (as Dan Morgenstern points out) comes from the Mills Blue Rhythm Band’s Jammin’ for the Jackpot, with perhaps a glance at the arrangement of Honeysuckle Rose that Benny Carter did for Coleman Hawkins and Django Reinhardt. Jive at Five from the same ensemble’s Barrelhouse. The Mills’ Blue Rhythm Band was a Henderson-style orchestra.
*A more complete history of this piece is interesting and revealing. The 1929 Ellington-Miley Doin’ the Voom Voom, in AABA song form (an obvious Cotton Club specialty), became the 1931 Horace Henderson-Fletcher Henderson pair of pieces called Hot and Anxious (a blues) and Comin’ and Goin’ (partly a blues). those pieces all added the riff later called In The Mood. These, in turn, became Count Basie’s Swinging The Blues. Meanwhile, Doin’ The Voom Voom had obviously inspired the Lunceford-Will Hudson specialties White Heat and Jazznocracy, and these in turn prompted the Harry James-Benny Goodman Life Goes to a Party. In the last piece, the background figure (an up-and-down scalar motive) to one of the trumpet solos on Voom Voom had been slightly changed and elevated into a main theme.
(Williams, Martin. The Jazz Tradition, 1992. p117-118.)
Honeysuckle Rose 1937 Count Basie and his Orchestra (Buck Clayton, Joe Keyes, Carl Smith, George Hunt, Dan Minor, Caughley Roberts, Herschel Evans, Lester Young, Jack Washington, Claude Williams, Walter Page, Jo Jones) 3:00 The Complete Decca Recordings (disc 01)
Honeysuckle Rose 1939 Benny Goodman and his Orchestra (Jimmy Maxwell, Johnny Martel, Ziggy Elman, Ted Vesely, Red Ballard, Vernon Brown, Toots Mondello, Buff Estes, Jerry Jerome, Bus Bassey, Fletcher Henderson, Charlie Christian, Artie Bernstein, Nick Fatool) 3:04 Classic Columbia and Okeh Benny Goodman Orchestra Sessions (1939-1958) (Mosaic disc 01)
Swingin’ The Blues 1938 Count Basie and his Orchestra 2:48 The Complete Decca Recordings (disc 02)
Hot And Anxious 1931 Fletcher Henderson and his Orchestra (Rex Stewart, Russell Smith, Bobby Stark, Claude Jones, Benny Morton, Russell Procope, Harvey Boone, Coleman Hawkins, Clarence Holiday, John Kirby, Walter Johnson, Bill Challis, Don Redman, Horace Henderson) 3:25 Classic Coleman Hawkins Sessions 1922-1947 (Mosaic disc 02)
Comin’ And Goin’ 1931 Baltimore Bellhops (Fletcher Henderson, Rex Stewart, Benny Carter, Coleman Hawkins, John Kirby) 3:12 The Fletcher Henderson Story (disc 02)
Doin’ The Voom Voom – Take 1 1929 Duke Ellington and his Orchestra 3:08 The Duke Ellington Centennial Edition: Complete RCA Victor Recordings (disc 02)
White Heat 1939 Jimmie Lunceford 2:31 Rhythm Is Our Business
Life Goes To A Party 1938 Harry James and his Orchestra (Buck Clayton, Vernon Brown, Earl Warren, Jack Washington, Jess Stacy, Walter Page, Jo Jones) 2:52 Life Goes To A Party
Life Goes To A Party 1938 Benny Goodman and his Orchestra (Harry James, Ziggy Elman, Chris Griffin, Red Ballard, Vernon Brown, Hymie Schertzer, George Koenig, Art Rollini, Babe Russin, Jess Stacy, Allen Reuss, Harry Goodman, Gene Krupa, Horace Henderson, Edgar Sampson) 4:17 Benny Goodman Live At Carnegie Hall (disc 1)
Jumpin’ At The Woodside 1939 Count Basie and his Orchestra 3:10 The Complete Decca Recordings (disc 02)
Jammin’ For The Jackpot 1937 Mills Blue Rhythm Band (Charlie Shavers, Carl Warwick, Harry Edison, Al Cobbs, Wilbur DeParis, Tab Smith, Eddie Williams, Ben Williams, Harold Arnold, Billy Kyle, Danny Barker, John Williams, Lester Sonny Nichols, Chuck Richards, Lucky Millinder) 2:30 Mills Blue Rhythm Band: Complete Jazz Series 1936 – 1937
Honeysuckle Rose 1937 Coleman Hawkins and his All-Star Jam Band (Benny Carter, Andre Ekyan, Alix Combelle, Stéphane Grappelli, Django Reinhardt, Eugene d’Hellemmes, Tommy Benford) 2:47 Ken Burns Jazz Series: Coleman Hawkins
Jive At Five 1939 Count Basie and his Orchestra 2:51 The Complete Decca Recordings (disc 03)
Barrelhouse 1936 Mills Blue Rhythm Band (Lucky Millinder, Henry ‘Red’ Allen) 3:05 Mills Blue Rhythm Band: Harlem Heat
Jumpy Nerves 1939 Wingy Manone and his Orchestra (Chu Berry, Buster Bailey, Conrad Lanoue, Zeb Julian, Jules Cassard, Cozy Cole) 2:53 Classic Chu Berry Columbia And Victor Sessions (Mosaic disc 05)
In The Mood Bob Wills and his Texas Playboys 3:19 The Tiffany Transcriptions (vol 9)
We did a superfun session at Jazz BANG that got dancers and musicians talking and demonstrating together.
(This is Kat Galang’s photo from the session. She has a really good eye for catching the feels of a situation. Look at that first year Con student having his mind blown by lindy hop. <3 )
The session was described like this:
"This is a combined stream workshop, with all participants working with Marie [N'Diaye], Lennart [Westerlund], and musicians led by Andrew Dickeson, dummer and teacher in jazz history at the Sydney Consevatorium of Music. “What made Basie’s band so great?” In this session, musicians and dancers explore the answer together.”
We also invited Thomas Wadelton to join the session, bringing his talent and teaching experience as a top shelf tap dancer to the mix. On the day itself, we also invited Georgia Brooks, talented vocalist and dancer to jump in. Andrew brought two of his students with him to pretend to be Freddy Green and Walter Page.
The session was fantastic. Andrew explained how the Basie rhythm section worked, and then they demonstrated, piece by piece. He also explained what Jo Jones did on the drums that was so important, and how Walter Page approached assembling a rhythm section like this.
Then Marie explained what she liked about this feel, Andrew invited her to show us what the groove felt like, and she did.
Then Lennart talked about why the band was important to dancers, talking about the old timers’ opinions of the band.
Then Lennart and Marie did a bit of lindy hop to the band and we squeed.
Then Thomas explained what he liked about this rhythm section, and more importantly demonstrated with some tapping. That bit was exciting, because we could see and hear how Andrew managed the band (telling the guys when to play and when not to to), making the tapping + band work as one unit.
That was extremely exciting.
At this point I got excited and asked Georgia if she wanted in, and at first she was shy and they realised: nicest people ever and she was in. Andrew was all “Yeah! More the merrier!”
We took a moment, I spoke to Marie and Lennart, and Marie had a plan for demonstrating why boogie woogie and non-boogie swinging stuff feel different, so she spoke to Andrew about the plan, we got the whole crowd up on their feet, and then there was a great bit:
the band demonstrated a boogie rhythm, and we all dance to it (solo of course)
then Georgia joined in and they played a proper swinging song and we all danced and it was amazeballs.
I was sitting near some of the musicians from the Squeezebox Trio who’d come to watch, and they had a moment of “DANCING! HOW?!” and then they just relaxed and got it.
It was all very exciting and interesting. My favourite part was seeing how the musicians and dancers took my very rough plan and made it work. Andrew and his students had prepared some very good material, and Lennart and Marie (even at the end of a long, tiring weekend), just came through like guns. I think my other favourite bit was seeing Andrew and Thomas deciding they were bffs in rhythm.
I loved seeing Andrew manage that band in real time. Because my favourite part of jazz is that it’s improvised, and musicians and dancers are actually really excited and stimulated by new and unexpected things, and that’s what gets their creative juices flowing. For me, I was quite excited by my role as organiser (though I wanted to take a very light touch, and to let them do the coordinating and managing, I had to keep an eye on time, and make sure everyone had a chance to talk and demonstrate). It felt really stimulating and exciting to see just what might happen that we didn’t and couldn’t plan for. I like to embrace Lennart’s ‘we will see what will happen’ approach to events, and while it’s a bit scary and challenging for someone as control-freaky as me, it’s also exciting and wonderful.
I would LOVE to do more like this, and the feedback from the attendees was a) they wanted more dancing in that session, b) they wanted more of these sorts of session.
I am 100% in for that sort of plan, the only barrier being cost. Having musicians in the class means you have to pay five people for a workshop, not just one or two. Which makes that session cost as much as a live band. Which is expensive. But if I can find a way to absorb the cost, I will. Because it was THE BEST THING I’VE EVER DONE.
It wasn’t the first time I’d organised a band-in-dance-class session. We did something similar at the Little Big Weekend with Leigh Barker and the New Sheiks (who are part of the Melbourne Rhythm Project with Kieran, Ramona, Thomas and other great dancers). But the focus there was a bit different, and we really drew on the way that band works together as a group, and the less traditional, more unusual work they’ve been doing with dancers. This session with Andrew and Marie and Lennart and Thomas was a bit more historically focussed and traditional, which was a really nice complement.
It was really good to have the two different sessions to compare. They were both about how musicians and dancers work together, but they took very different approaches. Leigh’s work is very much grounded in historical authenticity, but the approach the group takes is much more contemporary, in everything from funding to working and labour practices. Which makes sense, because this isn’t 1940, no matter how much we may wish it was.
The final point from all the musicians in both sessions is that working with dancers brings something new to playing. But Andrew said something that I thought was quite cool: he said (and I paraphrase) that playing for dancers who just dance through the same steps in the same way each time is really BORING. And he’d rather they just didn’t. And I agree: if you’re just going to dance the same way all the time, why are you dancing lindy hop and not ballroom dancing? You’re certainly not listening to the music, and you’re not responding to each partner as a unique person.
This point dovetailed nicely with the points Marie and Lennart made all weekend: first you take care of the music, and you take care of your partner. There’s no ‘correct’ way of doing anything (this foot could go here or there, it doesn’t matter), but you must take care of the rhythm. If the rhythm isn’t tight and present, then you’re in trouble. Each of us gets to the rhythm in a different way, and our bodies are all different, so the way we move will be different, and our visualisation of the rhythm will be different. Cherish that.
I think it’s a bloody good motto for dancing and life: take care of your partner, take care of the music.
I’ve continued this thinking with a post about Count Basie and his influences over here. This post is a product of some discussion on facebook about Basie (and my previous 8tracks post), and really has grown out of this Basie session at Jazz BANG. It does of course, also develop the theme of innovation, improvisation and impersonation – step stealing and cultural appropriation/transmission in vernacular music and dance culture. And we all know how obsessed I am with THAT stuff. Love love love.
I think that that whole philosophy as change-is-good guides everything I do in dance. I am so NOT interested in just doing things the same way all the time. It’s so BORING. I like change. It scares the pants off me, but I love it.
I am insanely busy.
So of course, here is a post. Also I am tired, so these words = rubbish.
I find teaching with a few very good, very clever and observant follows teaches me so much about teaching and dancing. I am so lucky to get to work with such great dancers and teachers.
This is what I’ve been thinking about swivels lately, after an intensive two months working on the ‘Frankie 89′ choreography Lennart and eWa taught us in Herrang.
Swivels are not styling, they are a powerful movement that makes swinging out at higher tempos possible. Relatedly: do not drop your triple steps.
Frankie taught follows to swivel right from their very first class. I know some teachers don’t do this, because they think that swivels are ‘too hard’. I think a lot of people think lindy hop is really hard. But it’s not. As Lennart says, “It is really a very simple dance.”
Doing more work with old timers this year, and with people who worked closely with old timers, I’ve realised that their approach is fundamentally different to modern lindy hoppers’. Modern dancers are recreationists, and are (for the most part) trying to reverse engineer lindy hop. Old timers invented lindy hop. And old timers were social dancers. So lindy hop is pure function.
What does that mean?
If you approach all lindy hop in the simplest terms, it makes a lot more sense. A swing out is really just two partners sometimes being together, and sometimes being apart. Now what’s the simplest, most efficient and practical way to handle that? Use a little turn – a slingshot. Just like launching a rocket into orbit, and then out into the solar system. A swing out is just a circle where you let go half way. A swing out open to open is just a stretch and then a little turn in the middle to redirect the momentum.
I feel quite strongly that you don’t ‘add styling’ to your dancing. Your ‘style’ should just be a natural consequence of your movements (of you, your body, the way it works, and the way you use it). Your arms swing in charleston because you bounce, you bend a bit at the hip in your athletic posture, and you allow your upper torso a bit of rotation/torque. Your fingers are ‘alive’ and not floppy, because you feel feels.
With this in mind, then, swivels must have function. A function that’s aesthetically pleasing, but effective function none the less. If you treat swivels as ‘just a fancy way of walking’ – two steps with a bit of shape – then you get down to a) the rhythm of the step, and b) the function of the step. I’m all for swivels on the spot as well, but traveling swivels are a key part of most dancers’ repertoires as well.
I’m avoiding digressing into talking about how followers’ movements are led by the leader here, ok? I know we could have a discussion about whether followers should take a step for every step a lead makes, but that’s going to get us off track, ok?
So how is a swivel a powerful way of moving? What makes the swivel more awesome than just walking? Yes, yes, we know they look fabulous. But we’re trying to stay on track, right?
I like to teach swivels this way:
Imagine you are doing the twist, 1960s style. Your weight is evenly distributed between your hip-width feet. You are wearing skiis, so don’t let your skiis tangle or cross.
Now, as your feet point to the right, shift your weight to the right. As they point left, shift your weight to the left.
Boom. Swivels on the spot.
Remind yourself to bounce/pulse while you do this – you need the bounce, because bounce is your body preparing to move. Each bounce is like a little spring coiling – it’s stored energy – and that stored energy is released when you take a step.
So now, instead of just shifting your weight while you twist, take an actual step. Right, left, right left.
BOOM. Traveling swivels.
You need to: bounce; wear skiis (for efficient alignment for the sake of your knees, but also to ensure a nice clear line of energy from the ground to your core and back again); use athletic posture (you know – jump up in the air, then land with slightly bent knees, arms out, a bit of bend at the the hip, etc etc); make clear weight changes.
Once you have all this happening, your swivel becomes a very powerful step. Powerful in terms of energy and muscle power, not symbolic feminist energy**. The bent knees, arse out (hip bend), relaxed arms, open chest, clear weight changes, bounce, etc etc makes this posture and way of movement super powerful and strong. Each step/swivel becomes a little power-push, just like a sprinter leaping from the block at the beginning of a race.
You really, REALLY need this power when you’re dancing fast. It’s one of the ways the follows feed energy into the swing out cycle. Add that to the way a bit of stretch on one/two works, a very efficient 3&4 (the turn/circle in the middle – triple step to add power and aid travel!), and you have this fantastically powerful little engine.
All of this makes for great biomechanics.
But it has also made me a much better teacher for follows. I tend to favour talking about leads, because I am a lead. This makes me cranky because it makes lindy hop sound lead-centred. But once you understand that follows really aren’t passive at all, that the way follows move contributes importantly to momentum, suddenly you have tools for talking to follows in class.
Sam’s moment of personal growth: understanding following empowers follows, makes this leader a better teacher and a better dance partner.
I often say (stealing an idea Naomi Uyama used in a class) that follows have a responsibility to keep the rhythm for the lead. Ramona says that each partner has a responsibility to ‘take care of the beat’. Lennart says you need to ‘make friends with the music’. Steven Mitchell grunts “MM! Yeah!” I like to have partners bounce together on the spot before they start dancing, because it’s a way of reassuring your partner that you can find the beat (as well as a way to connect with your partner and the music).
These concepts all tell you that maintaining energy in your dancing is the responsibility of both partners. A science teacher friend in my practice group noted that swing outs can’t be 100% relaxed low impact. The stretch or ‘tension’ (in the sense of stored energy) has to be fed into the cycle somehow. If you let go earlier (5), if you lead by moving your body, you need to have 1 and 2 be much more powerful to feed the energy in. A powerful swivel helps follows contribute energy, a bit of stretch before leading in lets the leads contribute energy. Just like Frankie. This energy, then, is coming directly from your core: it’s built into the coiled spring of a vertical bounce, and it’s managed by strong glutes pushing, and a stable core.
This is where my knowledge ends. I just don’t know enough about biomechanics to say more. And I suspect I’m a bit full of bullshit, really.
But I find this approach really important for the way I then think about social power in following. It’s patently ridiculous to think of following as ‘passive’. A passive follow would be a dead weight. An active follow is engaging their muscles and actively contributing to the energy in the dance. Even if they never do a single jazz step or ‘variation’.
So following in lindy hop cannot be passive.
This then upsets the idea that a lead ‘controls’ the partnership. Nothing a lead tries will work properly if the follow isn’t actively contributing to and maintaining energy and momentum. The lead may think that a move has ‘worked’ under these conditions, but they won’t actually be leading.
*Teach your beginner students to swivel right from their first class. Skill them up. Give follows power. Don’t be afraid of lindy hop.
**But why can’t you think of swivels as a symbol of powerful feminist mite?
I think Suzanne Nguyen and Daniel Reeders’ piece Defining and Responding to Everyday Racism is useful to the discussion about race, ethnicity, and anti-semitism in lindy hop happening at the moment. It gives me some tools for figuring out just why these recent events get right up my bum.
I am heartily tired of people insisting that such and such is a ‘really nice guy’ (oh, i’ve known him for a million years, he’s my bff, he’s so nice!) or ‘just made a mistake (yet again)’ (she’s russian! we don’t know about black face!), or ‘he’s harmless’ (he’s just being a dick. Again. He’s harmless), and so they can’t have been engaging in racist/anti-semitic behaviour.
There seem to be an awful lot of privileged white guys who are ‘just joking’ when they wear black face or black face or a fat suit or make an anti-semitic gesture in high profile dance competitions. Just once, and I’d think aberration. But so many times, and I’m thinking pattern.
I don’t even think these are as simple as the ‘micro-aggressions’ described in Suzanne and Daniel’s piece: this is a straight up pattern of bullshit which reminds the lindy hop community that straight white folk have power in our community. And if we question the dodgy things people do, we are just ‘not getting the joke’. Apparently ‘the joke’ is that it’s ok for white guys to pull offensive bullshit that effectively normalises racism, anti-semitism… and all that other nasty stuff.
I have a minute (when I really should be working):
(via yehoodi on faceplant)
Deary me, this one is a mess.
My first comment is: if someone has to be dared to do something, surely they’ve figured out that it’s not a great idea? Or that there’s some sort of risk?
And I don’t buy the ‘living outside France, didn’t really know what was up with the quenelle argument.’ I live outside France, I’m not French, and even I’ve learnt about the quenelle.
My second comment is: you made a neo-nazi, anti-semitic gesture at an international dance competition. Not once, but several times. Your friends (high profile, international level lindy hop teachers) dared you to do it.
So you and your friends made a gesture which is associated with groups who advocate (and perpetrate) violence against jews in a public forum, in front of an audience of hundreds (thousands if you include the internet). You meant to make the gesture – it wasn’t an accident.
At the very least, all of them have (or _should_ have) jeopardised future teaching contracts around the world, and at the worst, you’ve presented the ILCH and lindy hop as a community that is not only ok with anti-semitism, but advocates violence. More to the point, even if you all were blissfully unaware of the real meaning of the gesture (and I call bullshit on that point), you have all made it clear that you have very poor judgement, and are likely to do very stupid things just on a dare. Not exactly great qualities in a teacher who’ll be flown around the world at great expense to teach dance and work as a role model and mentor to lindy hoppers in many different scenes.
The part that bothers me most about all of this, is that event organisers will probably still hire you to mentor and work with dancers in their scenes, even though you’ve made it clear that you are capable of fairly serious failures of common sense.
To my mind, even the very best apology you can possibly make will not in any way wipe this slate clean.
“Oh, it’s ok, he’s a nice guy who just wants to have fun. So his anti-semitism was just a joke.”
“It’s awful we can’t watch their routine any more, because my pleasure in their dancing is more important than their anti-semitism.”
Lindy hoppers, get a fucking reality check. We’re talking about two French dancers knowingly including an anti-semitic gesture in a dance routine at an international lindy hop competition. There is no way they would not known what quenelle is – the gesture is freaking illegal in France. And to argue that this gesture is ‘just anti-authoritarian’ rather than anti-semitic is one fucked up argument. Your government has made anti-semitic gestures illegal, so your making that gesture is ok because you’re just ‘fighting the man’, and can’t possibly be contributing to, or normalising, anti-semitic sentiment? PUHLEESE.
I hadn’t heard anything about this issue until it had mostly passed, because I was running an event that weekend, and have been very busy since, but when a friend commented about it on facebook, I commented with:
Wowsers. That’s really full on. I didn’t know anything about quenelle before this, so I didn’t recognise it in the routine. I did go and look it up, though, and it’s clearly a fairly offensive gesture. On the one hand it’s a hitlerian salute – an inverted ‘heil hitler’ gesture’ with clear anti-semitic overtones. On other hand, the meaning of the gesture has changed a bit in France to more ‘anti-establishment’. HOWEVER, the gesture is banned in France, and is so well-known, and so hotly debated, that you’d have to be living under a rock in France if you didn’t know that it is considered anti-semitic, and is used by scary arse neo-nazis in France.
I don’t think many australians (or perhaps americans?) realise just how scary the new right (neo-nazi) movement is in Europe at the moment, and it seems ridiculous that people would make a ‘hitlerian’ gesture at all. But Irene and William made a very poor judgement using that gesture. While they may have been riffing on the ‘momma, you treat your daughter mean’ theme in the dance, it was a bad thing to do. And it was correct for ILHC to immediately distance themselves from that – they do _not_ want that sort of gesture associated with their event. No matter what the intent.
I’d double check the facts on this, though, as Rick’s made some factual errors on the yehoodi site lately.
William’s response to this issue:
William Mauvais: Hey guys, im sorry if i have hurt anybody with the routine it was not our intention and i think this is really crazy!!!!!
My mom and i worked so hard from far away, i leave in France she lives in Canada and she worked pretty hard by herself to make this routine fun. Anyway all of those things are going so far… We are dancers and not politicians!!!!!!
Anyway i think that this is really sad. Take off a video from youtube especially when its a swing routine with no political thoughts behind except the joy of sharing our passion.
For those who see something im very sorry but thats not the meaning we wanted to have….
Its just sad that my mom cannot share this video with our family cause that’s why we did it, because we are leaving far from each other and all our family wants to see what a son and a mom can do and the complicity that we can have together!!!!
Anyway after 7600 views on our video in 2 days and only good comments on the video, our family is devastated about the situation!!!!
Just to finish with, if people are offended about the video please don’t hesitate to contact me and talk about it.
I’m not gonna talk about this again cause i think its a waste of time!!!
Thank you and keep on swingin’ (source
Frankly, this response is even worse than the ignorance of including the original gesture. “I’m not gonna talk about this again cause i think its a waste of time!!!” Are you fucking KIDDING ME?
You think a discussion about anti-semitism is a waste of time?! You didn’t notice that anti-semitism in Europe is on the rise, and also PEOPLE ARE DYING?!
As I said on the facey, “I reckon William just didn’t think it through, and perhaps just doesn’t think that anti-semitism gestures are that bad. Which implies he’s ok with anti-semitism. Which scares me.” It’s also terrifying that Eruopeans might be so ‘used’ to anti-semitism, and have so internalised anti-semitism that they just don’t see it as worth their time. This is some scary arse shit. And it’s really serious and important.
James William McGraw commented on the Yehoodi FB page:
I’m not satisfied with William’s response. Did he know A) That this gesture was in the piece before it was performed and B) Did he and Irene know what it meant before they performed it. If it is the case they both knew and did it anyways, they should have their placement stripped and be banned from the event for at least a year.
28 August at 17:09
And I agree. I’m just not satisfied by this ridiculous answer.
Honestly, so many people were ‘ok’ with blackface routines, and others are ‘ok’ with sexual harassment and misogyny at a national competition night, and now we think questioning anti-semitism is a waste of time?
WHAT THE ACTUAL FUCK, LINDY HOP.
EDIT: William posted this 20 hours ago:
To the lindy hop community,
In regards to my pro am with my mom this year at ilhc:
In the dancing there was a gesture that has become a huge misunderstanding. This was intended to be harmless, but regardless of that, it offended people in my life and community that I care about very much.
For that, I would like to express my apologies to the ILHC team and anybody that was offended by the gesture.
For the video removal: we completely understand the decision and are very grateful that we were not disqualified. Thank you for your understanding.
We love the lindy hop and our community, we didn’t mean to hurt anyone. This is a dance and community that is based on fun and having a good time. We wish only to do that, and once again apologize to anyone that was offended.
Keep on Swingin’ and hope to see you all soon!!!
20 hrs · Like · 8
Don’t read the whole of that thread. The stupid: it burns.[/edit]
EDIT 2: I was going to keep updating this post, because it’s an interesting (and ongoing) issue. But I just don’t have the time at to do it justice at the moment. So I’ll have to leave this here, I’m afraid. And I’m sorry I had to leave it on such a fierce note. Perhaps the best thing about this issue, is that there’s been ongoing public discussion about it, and that the ILHC has been publicly engaged with the discussion, and William and his mother Irene have also returned to the discussion. I’m not entirely happy with the way this is being resolved, but I am happy that we are having an open, public discussion.
I recommend keeping an eye on the ILHC facebook page, rather than the yehoodi page, because I’m finding the yehoodi page is a beat behind and tends to not quite have the facts straight.
It’s super late and I shouldn’t be fiddling about on the internet, but I am.
Last week was my second week back teaching properly after about a month off on holiday, doing non-teaching dance things. It was really wonderful to have a good, solid break after teaching every week all year. I came back refreshed and inspired, and having given my own dancing a good kick up the bum. It took me a while to get back into the groove, and to remember that as the teacher it was my job to manage the class (not just coast along with the group as a participant), but I figured it out eventually.
Some important points:
1) I want a weekly rhythm tap class here in Sydney really badly. I went along to a class taught by the only ‘rhythm tap’ teacher in my area and it was AWFUL. Worst teaching ever. Shitty dancing, too. I really enjoyed being a beginner tap dance student at Herrang, and I want that hardcore learning again. But I am very strict about decent teaching.
2) I can’t get enough lindy hop.
Just now, reading back through my blog, I came across the post Student centred teaching – some rough ideas from back in May.
Since I’ve been back in Sydney, I’ve taught with four different teachers, all women, teaching at three different venues, and six different classes. Wowsers, that’s HEAPS! Anyway, it gave me a chance to revisit some of my ideas about teaching, and as per usual, I learnt a lot from comparing and learning from different teachers.
The thing that really struck me, in teaching with all these people, that this is perhaps the most useful thing I know about teaching: make people laugh. And laugh yourself. The next most important thing:
Talk One Thing, Do That Thing.
After answering a student’s question, or offering one tip, we dance on it immediately. Only give one tip at a time.
If you wait, they forget. I usually answer a question, then say “Ok, let’s test it out” and we all dance on the issue to figure it out.
(From that post above)
This rule keeps me from talking too much, and it keeps us all dancing more. I really like the ‘lets test it out’ approach, as it’s a nice way of saying “Let’s see if this thing I just said really is true.” And it’s a good way for people to see if they understand what we just talked about.
But I love this: say one thing, do that one thing. It really does stop you bullshitting on.
One thing I’ve learnt over the past few weeks as we approach the Winter Ball: teaching routines by drilling is fucking boring. One of the women I taught with told me they’d been teaching routines by devoting the last 15 minutes of their weekly class to the routine. I reckon that’s a great idea. I’ll try it. But god, drilling routines is boring. I really am a social dancer at heart.
Our routine is looking quite fabulous, though, and I’ve been super mega excited by the students’ whole heartedly embracing styling and improvisation. We ask them to put their own flavour into various sections, and they Bring it with massive enthusiasm. It’s very exciting to see. Especially as they maintain good, solid rhythms while they do all this playing.
We are combining our solo and lindy hop classes, and had originally intended for the two groups to dance two separate parts, but they all want to do everything! Except the hardcore solo people who are all ‘solo before everything else and also yolo!’ who do not want to lindy hop. This brings me even more pleasure. I am very happy with the routine (good song, simple moves, but with nice transitions and some very good, strong rhythmic work), and the students are just the best. We have all enjoyed the process, which is important, and hopefully we’ll have a ball performing. Good times!
Something else: it’s time to do some hard work in our solo class. Time for the Big Apple again, I reckon.
I love lindy hop.
An issue has come up over on Wandering and Pondering. I did write a comment there, but it got too long. The post there is responding to a post on Authentic Jazz Dance by Harri Heinila, which has managed to shit off an awful lot of people. I don’t have a whole lot to say about that particular post of Harri’s, mostly because I find the written expression so clunky it obscures his point. I just can’t figure out exactly what he’s trying to say. So I don’t really want to engage with it one way or another. But I do have some things to say (of course I do).
Here is the huge comment I deleted from the Wandering and Pondering page:
If I was marking this essay [Harri's blog post], I’d give the comments: “There are some problems with your written expression, which at times confuse your argument” and “I would recommend closer critical engagement with your own approach to ideas about dance, power, the uses of language and ideology in dance.”
There are some really confusing bits of writing, that I think perhaps might be a product of having English as a second language? And I also suspect that some of the points of conflict (eg the use of the word ‘vernacular’) might be a product of confusion about language use, rather than a real disagreement. From my perspective, I find the use of historical methods problematic: as a feminist cultural media studies person, I want more engagement with ideology, and less emphasis on ‘sources’ and ‘facts’. But then, I’m not a historian.
Having said that, I’ve noticed that the further we get from Frankie the man (ie the more time passes after he passed away), the less critical engagement with his life and work we have, and a more uncritical, adulatory tone we take in describing him and his work. This actually came up in the Frankie Stream discussion session at Herrang, where one of the newer dancers actually said something like (and I paraphrase) “You [the teachers and everyone] say many good things about Frankie, but was he this perfect? What were his faults?”
It was interesting to see that none of the teachers or participants were willing to discuss Frankie’s faults as a dancer or person. You can understand why – we are reluctant to speak ill of the dead, and particularly reluctant to disrespect someone so important to the modern lindy hop scene, who was also a dear friend and respected mentor and teacher. But I think the questioner (and I) were left wondering if perhaps we are losing a wholer picture of the man by taking such an adulatory tone.
Similarly, I think we are doing ourselves a disservice when we take an uncritical approach to the ‘lindy hop revival’ narrative: we should be asking questions like “Who benefits from this revival?” and “What are our limits when it comes to ‘growing the scene’?”
….at any rate, I think that one of the things that Harri makes (and which I think is lost in his writing style), is that the history we tell of the ‘dying out’ and ‘revival’ of lindy hop tends to lack context, critical engagement, and complexity. It’s easy to tell the story like this:
“Jazz stopped being popular, so people stopped lindy hopping. Then in the 1980s some people (mostly white, mostly European, but also American) found the old time dancers and then they revived it.”
This story is very popular for a number of reasons, and I think that Harri approaches a convincing point when he suggests that money is at the heart of this. I don’t think money is actually the reason these stories dominate (though, contrary to public mythology, you can actually make a living from lindy hop, most of us actually don’t). I think that the ‘myth of the rediscovered lindy hop’ actually reinforces and cements existing power structures in modern day lindy hop. And we should be very sceptical of these.
To be blunt, I think that this story is inaccurate: lindy hop did not ‘die out’. At the very least, it changed form a bit (because it was a vernacular dance), and it moved out of the public eye. I haven’t done enough research on this stuff, so I can’t comment on who was doing what dancing where, or what its standard was, or whether it counted as ‘lindy hop’.
I’m actually increasingly suspicious of the mantra that we should ‘grow the scene’ or convert more people to lindy hop at the cost of all else. There is a loud discourse in lindy hop that we should sacrifice all (income, time, relationships, health) to bring more people to lindy hop – to continue the revivalist project. I have an intense dislike of this martyred approach to running events, teaching, or working in the lindy hop scene. It normalises exploitation, it encourages working for free, rather than economic sustainability, and we see the same sorts of people being exploited, while the same sorts of people benefit from this exploitation. This system (and ideology) of ‘sacrifice’ ultimately attributes power and status to the people who take organisational roles in this project.
[A brief interjection: when I run events I am 100% keen on NOT exploiting anyone. I am STRICT about good working conditions, about breaks, about reasonable workloads, about people being paid, about punters paying for things. This shit is part of the music and entertainment industry, not some bloody religious movement. So nobody gets screwed over if I can help it, and I have NO PATIENCE with martyrs.]
If we were to realise that lindy hop didn’t actually die out, and if we were to realise that the world won’t actually explode without lindy hop, then all that revivalist sacrifice and work will be for nothing, and all that power and status will just trickle away. So there are bodies and people with vested interests in maintaining an uncritical support of a revivalist project, and revivalist mythology.
Me, I think that we’d do just fine without lindy hop. I’d be pretty darn sad, but life would go on. I think there are some really big problems with the way power and status work in our various communities, and I think that Harri is quite brave for raising the issue. I do not, however, agree with the core of his arguments, nor do I like his approach.
I think that we should be more critical of adulatory and ‘sacrifice’ narratives about the revival (and Frankie), but we should also be respectful of elders, respectful of each other, and supportive of projects which are, at their heart, about a philosophy of dance which encourages tolerance, mutual respect, peace, and harmony.
I think that one thing the modern day ‘revivalist’ project has brought us (largely through Frankie Manning’s personal example) is an ideology of dance which prioritises: interpersonal connection and respect (‘you are in love with this person for three minutes’); creativity and self-expression, from all dancers (the swing out has built-in improvisation time, and solo dance is a key part of lindy hop); and an open, welcoming social dancing culture, where anyone is welcome, and where peace and goodwill are valued.
At the same time, though, I like to remember that lindy hop itself has a built-in capacity for critical engagement, for resistance, and political commentary. Imitation, impersonation, competition, ‘step stealing’, and so on are all elements of lindy hop that make it a great vehicle for ideological and political resistance. And if we forget that – if we forget the importance of constructive criticism – then we’re forgetting the most powerful part of lindy hop.
[Another addd comment: Yes, the Savoy was a wonderful place for overcoming segregation. But you're fooling yourself if you think that racial tensions, issues of power and privilege and sexism and class weren't a part of that community space as well. We should be deeply, deeply suspicious of bullshit claims that lindy hop dissolves all differences. Because the corollary to that point is that if you are speaking up about wrong doing or about racism or sexism or bullshit in the scene, that idyllic view of the past makes you a trouble maker.
Relatedly, a Swedish friend noted in Herrang that the idea that Herrang is this wonderful, hedonistic place where everyone is happy and wonderful and joined by a love of dance is actually a problem. If Herrang is this wonderful a place, what do you do if something bad actually happens to you? Where do you go if you are assaulted or threatened or bullied? And you're fooling yourself if you think that these things don't go on.
When we insist on this idealised idea of lindy hop, we ignore the difficult stuff, and we make it impossible for people to raise challenging issues. Yes, this is a very happy dance. But we are still humans, and we can do pretty awful things to each other. So we should be actively vigilant and critically engaged, not just telling each other to shoosh up and be happy.]
Thinking about DJing for swing dancers? Dancing a bit of lindy hop and looking for music? You’ll need some music.
I’ll say this right now: if you want to DJ for swing dancers and you don’t like jazz, then you should not be DJing for swing dancers. It’s not for you. If you’ve got this super cool modern pop song that really swings, stop. Stop right there. You’re not doing something new. Sure, play that action at home, dance to whatever moves your soul. But if you’re a swing DJ, you need to have and play swing music. That’s the bottom line.
Who’s who in the world of swing? I’m going to try to write a series of these posts about the important band leaders, bands, or artists, but knowing me this’ll be the only item that series :D Yolo, right?
You must own Count Basie. Lindy hoppers like Frankie Manning tended to agree: Basie was the best. What made him so good? A great rhythm section (Walter Page: bass; Jo Jones: drums; Freddy Green: guitar; Count Basie: piano).
Great players like Lester Young on sax, and Buck Clayton on trumpet.
Peeps tend to talk about two phases in Basie’s huge recording career: the 1930s and 40s (‘old testament Basie’) and the 50s-60s (‘new testament Basie’). I’d probably add the ‘Moten era’ as a third phase – the earlier stuff Basie recorded with Bennie Moten’s band around about 1929-1932. Songs like Prince Of Wails, Moten Swing, Toby, Small Black. All fabulous. The sort of Basie that appeals to dancers who are into that earlier moment of swing – sort of pre-swing.
We could also talk about his later stuff with his small groups, or his work with Benny Goodman’s small groups, but I think his big band is really where it’s at, especially for a newer DJ or collector.
If you’re just starting your collection, you’ll need to get stuff from the new and old testament phases.
It’s difficult to list specific songs, as there’s just so much fabulous stuff. I’d go with the studio recordings at first, even though there’re some truly magical live recordings. Just because the quality can be kind of off-putting.
Here are some of my favourites, starting with the old testament band.
Honeysuckle Rose – 1937 – 217bpm. This is exciting instrumental stuff. Perhaps a bit challenging for newer dancers, structurally, but it’s so exciting and fun it’ll make them dance anyway. Yes, it’s fast, but yes, it’s fucking fantastic.
Don’t You Miss Your Baby – 1937 – 161bpm. With vocals by Jimmie Rushing, this is a great introduction to Kansas ‘shouters’. It has all the trade-marks of old testament Basie – shouting vocals, blues structure, uptempo fun, lots of energy, a fairly chunky piano (as opposed to the sparser stuff of his new testament), good, solid Freddy Green guitar keeping the beat, and a nice little trumpet part at the beginning. There are quite a few songs in this style from this period – I could just have easily have chosen ‘Sent For You Yesterday’ from 1938 (and I should have – I overplay that song badly). There are also lower tempo songs in a similar stompy blues style, even down into the lowest tempos which are great for blues dancing.
Topsy – 1937 – 196bpm. I think of this as classic old testament Basie Orchestra. There are quite a few songs with just this style and feel: it’s very much pop music, and it’s fuckloads of fun. A chunky, heavy rhythm section (so you know right where the beat is), a fun, dramatic melody, and a nice, energetic tempo. Other songs that are very similar: One O’Clock Jump, Dogging Around, Every Tub, Shorty George, Jumpin’ At The Woodside, and so on and so on. There’re a bunch of songs in this 1937-38 period that are just good, solid lindy hopping songs. The tempos are higher, but fuck, that’s what lindy hop was in those years. This is THE business.
The band’s style changes a little in 1939 and into 1940, with a bit more emphasis on the brass, and you can begin to hear jump blues coming in the future. Songs from this era that are worth looking at include Dickie’s Dream, Lester Leaps In (particularly versions by Basie’s Kansas City Seven – good times!). And then Basie and his rhythm section did some mindblowingly good songs with Benny Goodman’s small groups – songs like Wholly Cats, Benny’s Bugle, Royal Garden Blues, Gone With What Wind, all from 1940. This is my absolute favourite type of music. It tends to be quite fast, and you can hear the earlier moments of Basie’s shift to a lighter, more technically fancy style, probably a result of Goodman’s influence. Or the freedom of a small group so keenly devoted to exploring new and exciting things in swing music.
Tickle-Toe – 1940 – 223bpm. This has a lot in common with that bunch of stuff in the Topsy group, but things are changing a little. More brass, a slightly different edge. But still stamping good stuff, custom-built for lindy hop.
Easy Does It – 1940 – 150bpm. You need this song. You must have it. It’s iconic, and this medium tempo Basie version is perfect. Just perfect. It will make you swing out like Frankie. This is still very much in that earlier Basie style, but it’s definitely a sign of the new testament to come, with more complexity in the melody and arrangements, and a more interesting approach to dynamics beginning to happen.
In 1941 there were more recordings with Goodman’s small groups. This shit blows my mind. I fucking love it. But I don’t DJ it very often. It’s fast, complex, exciting, cerebral. Perfect. It’s like Basie’s blunt hammer is tempered by Goodman’s tightywhiteyness, and both become more interesting for the collaboration.
There are other big band Basie recordings from Basie in 1941/2 which are worth looking at, but kind of samey – 9:20 special, Feather Merchant, Down For Double, Feedin’ The Bean, One O’clock Jump, It’s Sand, Man!, Ay Now, etc etc. Great, but kind of samey.
Undecided Blues – 1941 – 120bpm.
Goin’ To Chicago Blues – 1941 – 94bpm.
Harvard Blues – 1941 – 94bpm.
These are all Jimmy Rushing vehicles, but you HAVE to get them. A sort of dark humour and piss-taking that really characterises the rough edges of these Kansas musicians. Very much the same sort of song, doing classic blues work with the machinery of a top shelf big band. Win.
This blues structure is significant for Basie: a lot of his stuff uses the 6 eights to a phrase structure, which is totes fine for social dancing and funsies, but will give you trouble if you’re looking for competition music. It can also be a bit predictable, which makes your dancing a bit ordinary. But fuck, it pisses all over anything non-swing. This shit is the business. And a good recording of One O’Clock Jump at 181bpm from 1942 is pretty much perfect lindy hop. PERFECT.
It’s worth pausing to look at the late 40s Basie before we get into new testament Basie. We can definitely hear the jump blues influence, rock n roll isn’t too far away, and a lot of this stuff has much in common with people like Louis Jordan and other vocal-driven pop music of the late 40s. Julia Lee is in this family too, and I guess it’s that brand of Kansas blues that really kicked off rock and roll. It’s fantastic. But it tends to be heading away from classic lindy hop territory. I find it great for DJing rock n roll/swing cross over crowds. Also it’s spanking fun.
Open The Door Richard – 1947 – 127bpm. Too many vocals to really rock it for DJing, but totes fun.
The Jungle King – 1947 – 127bpm. Pretty much the same song.
Free Eats – 1947 – 163bpm. Same, but a smear faster.
Swingin’ The Blues – 1947 – 157bpm. This is an interesting one. You can definitely hear new testament Basie, here. This is much more in the pocket (it has a more ‘delayed’, swinging feeling), but it’s still very near this jump blues stuff. I love it because it’s quite odd, structurally, but still good for dancing. I DJ it quite a bit.
Shoutin’ Blues – 1949 – 148bpm. This is a great one. Similarly odd, structurally, but a good, solid, chunky dancing song. You can hear some interesting experiments in dynamics here, as Basie starts digging on the new recording technologies. His playing style has definitely shifted into a more minimalist style – sounds tinkly, but still has a bit of thunder at the edges. And Freddy Green really is rocking the rhythm guitar, here.
Did You Ever See Jackie Robinson Hit That Ball – 1949 – 156bpm. This is a lot like that early block from 1947 with the lyrics and pop appeal. It’s an easy-win song that tends to go down well.
You’re My Baby You (vocal or instrumental version) – 1950 – 150bpm. I love this song. It’s got neat Clark Terry lyrics, and you can hear how he would eventually (and quite soon) head into supergroove territory. It feels like a pop song, and the vocals are really much of the focus.
Solid As A Rock – 140bpm – 1950. This is solid favourite. With vocals by the Deep River Boys, it’s a gospel favourite with a swinging big band edge that goes down well with dancers. It’s overplayed, and for my money it doesn’t really stand up to the overplaying the way other songs do. But this is a very useful song to have in your collection: shouting, clapping, a simple beat, a moderate tempo. It’s really a little out of the ‘proper’ lindy hopping realm, so it’s something I’d sprinkle into my set, rather than leaning on. Again, it’s a good song for a rock n roll/lindy hop crossover gig.
There are a few other jump blues songs in this period that really are a bit too far away from lindy hop to really work out. But at the same time, you get Basie doing things that are really, truly wonderful. And definitely heading into the new testament world.
Jive At Five – 1952 – 136bpm. This is really new testament Basie. This is a moderate tempo, it has that characteristic use of dynamics that was Basie taking advantage of a big band using new recording technology, and it has contrasting moments of light and dark (tinkly piano and stompy rhythms; sax solos and sharp trumpets over stompy bass piano parts). This is really, truly, great lindy hopping action. It’s amazing that Basie was doing this 2 years after he did something like Solid As A Rock. It’s just such a completely different type of song.
Ok, now I’m going to do something terrible, and basically write off the 1950s and 1960s as ‘new testament’ as though they were all the same sorts of songs. They weren’t. Basie did all sorts of cool things with big and small bands, including exciting projects like re-recording his 30s hits with this new big band. You get to hear songs like Jumpin’ At The Woodside in stereo, with that stomping intro, but with modern solos and sensibilities. This is where you realise that Basie’s band was just fucking fantastic: experienced, talented professionals doing things that blow your brain. There’s a 1952 version of Every Tub (290bpm) that’s just so great. It makes you want to dance like a fool. But it’s further into the pocket than his 30s stuff, and the solos get weirdo, definitely echoing what was happening in bebop at the time. Excite!
There’s a Basie Verve Mosaic box set that compiles all this 50s stuff. And in it is a song I just adore:
Basie Beat – 1952 – 179bpm. Basie plays organ, there’s a nice little muted trumpet part, and the rhythm is solidly chunky supergroove. It really pounds along with lots of energy, and I just LOVE it. I think of this as new testament Basie at his best: musically complex and sophisticated, but at the same like a big barrel of bricks, pounding out a thumping good rhythm that makes you want to leap to your feet and fucking DANCE. Wow!
In the same year you hear the band redo songs like Goin’ To Chicago with Jimmy Rushing (79bpm) and higher tempo songs like Sent For You Yesterday. The brilliant thing about these songs is that you’re essentially getting the same sort of songs (both the 1930s and 50s versions), but you get a hifi version and a lofi version, a slicker version and a rougher version. So the same song can be used in different ways when you’re DJing, and appeal to different audiences. Yet it’s the same fabulous song.
In the 50s you get some of the songs I think of as ‘revival Frankie’ Basie. Songs Frankie would dance and teach to in the 80s and 90s. Solidly in the pocket, moderate tempos, totally accessible, fantastic dancing.
Down For The Count – 1954 – 115bpm. Yes.
Corner Pocket – 1955 – 137bpm. Feels like almost the same song. Goddess bless stereo sound and a big, fat orchestra on a mission.
Shiny Stockings – 1956 – 126bpm. Frankie’s favourite. Pretty much the same thing. Still fab dancing.
Splanky – 1957 – 125bpm. More of the same. More fab.
Moten Swing – 1959 – 125bpm. I like the live version from Breakfast Dance And Barbecue (you must buy that album). More of the same. Utterly wonderful.
At the same time as all this is going on, you get those nice hi-fi reworkings of the 30s and 40s classics, you get the supergroove stuff, the small group stuff, and you get the wall of sound big band fabulousness that is songs like…
Blues In Hoss’ Flat – 1958 – 144. Structurally simple, pretty much the definition of meat and potatoes. Fucking best dancing fun. BEST. It’s pretty much the epitome of crowd-pleasing safety song.
I think I’ll end this here. There are about three million other little pockets of Basie that I didn’t discuss. The vocal stuff with Joe Williams and Ella Fitzgerald. Williams and Fitzgerald singing a duet on Every Day I Have The Blues in 1956 – it’s like the ideal song. Kind of slow and boring for lindy hop, but pretty much the definition of super powers in collaboration. And I haven’t even touched on the 1970s ‘Satch and Josh’ (Oscar Peterson and Count Basie) recordings. They’re pretty much the definition of supergroove. And quite wow. You should definitely look them up on youtube – live recordings!
But Count Basie had a really long career, and he was really, really good for dancing. You have to have him in your collection if you’re a lindy hopper, and if you don’t have him and you DJ for swing dancers, you should be ashamed of yourself. ASHAMED. You’re also robbing yourself of a valuable DJing tool. Basie had such a long-ranging career, he pretty much has something for everyone, from the pre-swing to the supergroove, the total beginner to the nitpicking old stick dancer.
As a note, you might find this video about Basie’s band useful: