Category Archives: music

beginning DJing: different DJing contexts

Rereading my first post on beginning DJing, I’m struck by the lack of clarity in my writing. I did intend that first post as a sort of first scratch-around and scene-setting for my own experiences. Kind of a way of explaining how I got to this point in my thinking about DJing for swing dancers. But it didn’t quite work like that.
So let me revise that first post.

I’ve had a few people ask questions about getting into DJing. They tend to ask things like “what’re some tips for a beginner DJ?” It’s hard to answer these sorts of questions without giving too much information…

What I meant here, was:

  • There’s so much to say about DJing generally, that a few simple tips can be overloaded by detail
  • I really like talking about DJing (and most things), so it’s difficult to rein myself in and think simply and clearly about this stuff)
  • There’s a big difference between ideas about DJing and actually, practically DJing. At the end of the day – and just like dancing – what you think and say has zero meaning when you’re out there with/on the dance floor

The second point in that (very busy) paragraph that I’d like to address is:

I’ve had a few people ask questions about getting into DJing. They tend to ask things like “what’re some tips for a beginner DJ?” It’s hard to answer these sorts of questions …without knowing about that person’s scene.

I think that, despite what we might like to think about the ‘nature’ of lindy hop, jazz dancing and jazz generally, the specific details of individual local dance scenes is far more important in shaping what DJs play and why. So sometimes advice and tips from an interstate or international DJ – or even a DJ playing on the other side of town in a very large scene – aren’t very helpful. How do I think about the different places and ways of DJing and being a DJ?

  • Regular DJing in a local scene, playing for after-class socials, regular social dancing nights and occasional bits and bobs. This is the bread and butter of DJing. This is the stuff that keeps a scene’s social dancing working. It’s the day-in, day-out stuff like this, where you turn up every week or month or whatever to play for all sorts of crowds, from the very small to the very large, that makes up the bulk of my DJing. I also think it’s where I learn the most, and it’s also often the most challenging and most frustrating. But this is also where the crowds are kindest, you get the most satisfying feedback, and you can really learn to DJ with less pressure.
    I’d distinguish between playing after-class stuff and social dancing ‘nights’. The first is where new DJs should cut their teeth, the second is where DJing can become more ‘important’, but also more pressured and more challenging. And more political.
  • DJing at large local events like dances or local exchanges This mightn’t involve large crowds, famous dancers from overseas or even very much truly satisfying DJing. But it’s a different animal to the regular stuff. There’re greater chances to stretch, but there’s also more pressure. Dancers expect more, and are usually more interested in dancing hardcore.
  • DJing large interstate or national events This is where dancers expect to hear interesting, new, challenging music. This is where you get to stretch a little. This is where I think organisers should be really picky about who they hire to DJ and how they represent their event.
  • International and ‘famous’ events I have no experience here, but I’m talking about DJing at large events overseas like Herrang, the more ‘famous’ exchanges like the DC Lindy exchange, and the ‘flavour of the month’ events like Camp Jitterbug, Showdown and so on. This is where there’s more money – to fly in and pay DJs – and more pressure.

There’re a whole range of other events for DJing: radio gigs, house parties, after after after parties, corporate and non-dancing events, DJing for competitions, DJing for classes and performances for the public and so on. These all require very different skills sets.
It’s difficult to make definitive statements about ‘how to DJ’ in each of these types of circumstances. How you DJ (and how your DJing is received) will also depend – in a very large way – on who you are.
A famous international teacher will get more leeway and a degree of arse kissing regardless of their ability to work a wave or transition between styles. Dancers may have other barrows to push, here, and demonstrating a great love for this DJ’s work might serve other purposes.
A DJ with an interstate or international reputation will be met with a degree of expectation and anticipation. The stakes will be higher, but then there might also be a degree of leeway granted simply because dancers are _expecting_ to be entertained.
One thing I’ve noticed, though: most dancers don’t know any DJs beyond those in their local scene. The longer a dancer’s been dancing, the more they travel, the more contact they have with visiting dancers, the more active they are in DJing-related online talk, the more likely they are to know a visiting DJ. But for the most part, 75% of dancers won’t have a clue and couldn’t give a shit. For them, the dancing’s the thing, and a band will always be more fun than a DJ. This is the case in most Australian scenes. I dunno what it’s like overseas. I also tend to think that this is a good way to be.
At the end of the day, the people who’ll pay most attention to your DJing are other DJs. And even then, 65% of them are too busy dancing/drinking to pay attention. Unless you really suck. Then they’ll notice.
To sum all this up, different settings require different DJing skills for most DJs. And the people who’ll know a scene best are the people who dance there, regularly, with the most people.
Other posts on beginning DJing:

beginning DJing: how i got into djing

rib.jpg
I’ve had a few people ask questions about getting into DJing. They tend to ask things like “what’re some tips for a beginner DJ?” It’s hard to answer these sorts of questions without giving too much information and without knowing about that person’s scene. So I’m going to try to write a few posts addressing key issues.
[EDIT: I’ve expanded/clarified these points here, in this post
beginning DJing: different DJing contexts’]
Of course, these are issues which I see (with my 20/20 hindsight) as key to my beginning DJing. So they’re probably not going to apply to anyone else’s experiences, or even be a terribly accurate reference point for my own DJing. But what the heck.

Firstly, here’s how I got into DJing:
It was in Melbourne in 2006. Which isn’t very long ago, really. At that time there were two large social dancing nights – CBD on Thursdays in the city and Funpit in a dance studio every second Friday night. There were also many after-class, shorter social dancing opportunities where you could get in an hour or so of dancing. The Brunswick and Camperdown classes were good spots for this. There was also a struggling Sunday afternoon/evening event at a venue called Mayfields. This died almost immediately after I did my first ever set there. I take full responsibility.
Nationally, there were two all-social dancing exchanges – Canberrang and the MLX. MLX had only just moved to social dancing only in 2005.

I had been to Herrang in 2004 and was particularly frustrated by the social dancing in Melbourne. The music really varied. There was one or two DJs who were really solid (Brian, Doris), and there were only a few who really played the sort of music I liked – classic big band swing from the swing era. Otherwise, Melbourne was awash in supergroove, neo, terrible late 90s ‘swing lite’ and contemporary artists like Michael Buble. It was killing me. I wanted to dance to the music I loved, and I wanted to dance to the music I saw in the clips from old films. DJing is not, however, a good way to do this. When you start DJing you’re almost guaranteeing you’ll never dance to your favourite songs. You’ll just be playing them for other people.

I’d been into swing for ages – long before I started dancing lindy hop. It was wanting to dance to swing that brought me to a class in Brisbane in 1998. So I’d been buying music for a while. By 2005 I had been buying CDs for dancing in earnest and had enough music to DJ with. A close friend of mine had started DJing in 2004/2005 and it was her enthusiasm and suggestions which really pushed me to start DJing. From here, it was the support of my close friends which really got me to DJing.

Before I actually played for a crowd I used to practice DJing at home, playing with my music software and doing ‘pretend’ sets. I did my first sets for small after class crowds, and they really weren’t what I’d think of as DJing. I was all caught up in the scariness/excitement and really didn’t rock. It was after about the third of these that I finally did a real set at CBD.
I was really scared.

I really could have done a ‘serious’ gig at an after-class social. But the DJing standard at CBD was so bad at that time, I don’t think I could really have done any worse.
I practiced combining songs and working on ‘flow’ between styles at home a LOT. Basically, I wanted to play stuff I loved, but I knew I was going to have to make some concessions to pre-existing tastes. In retrospect, I was going in there with an agenda: “play some good music, not that shit we hear every week.”

I think it helped that I’d been dancing so long before I started DJing. I had an idea about what might work for dancing, and I had a decent idea about the structure of swing music and how it worked with lindy hop (this is something that’s _really_ improved over my DJing lifetime). I also had an idea about what was fashionable now, and had been in the years before. So I could make some observations about ‘favourites’ and which songs had failed terribly in the past.

I did a few things for my first set:

  • I approached the organiser for a chance.
  • I did the first set of the night
  • I asked an experienced DJ to stand next to me during my set and help me set up and handle the technical stuff
  • I practiced with my laptop and DJing software til I knew it inside out. I didn’t want to have problems there in front of a crowd.
  • I DJed for an hour and a half, which was a bit too long.

This is the first set I played for a real crowd. It was at CBD on Thursday 1st February, 2006, starting at 8.30pm and finishing at 10.
[title bpm artist year album]

Knock Me A Kiss 115 Louis Jordan 1943 Swingers
Let’s Call The Whole Thing Off 120 Ella Fitzgerald, Louis Armstrong, Oscar Peterson, Herb Ellis, Ray Brown, Louie Bellson 1957 Ella And Louis Again [MFSL]
Cow Cow Boogie 120 Jennie Löbel and Swing Kings 2001 He Ain’t Got Rhythm
Splanky 125 Count Basie and his Orchestra 1957 The Complete Atomic Basie
Shoo-Fly Pie and Apple Pan Dowdy 126 Stan Kenton and his Orchestra with June Christy 1945 The Best Of Big Band – Swinging The Blues
Is You Is Or Is You Ain’t My Baby? 140 Dinah Washington 1956 The Swingin’ Miss “D”
Moten Swing 138 Oscar Peterson 1962 Night Train
Out South 129 Junior Mance Trio 1962 Happy Time
Good Rockin’ Tonight 155 Jimmy Witherspoon 1963 Jazz Me Blues: the Best of Jimmy Witherspoon
Now Or Never 167 Katharine Whalen 1999 Jazz Squad
Big Fine Daddy 125 Lavay Smith and her Red Hot Skillet Lickers 2000 Everybody’s Talkin’ ‘Bout Miss Thing
Hey! Ba-Ba-Re-Bop 136 Lionel Hampton and his Orchestra 1945 Lionel Hampton Story 3: Hey! Ba-Ba-Re-Bop
For Dancers Only 148 Jimmie Lunceford and his Orchestra 1937 Swingsation – Jimmie Lunceford
C-Jam Blues 143 Lincoln Centre Jazz Orchestra with Wynton Marsalis 1999 Live In Swing City: Swingin’ With Duke
Don’t Falter At The Altar 138 Cab Calloway and his Orchestra Are You Hep To The Jive?
Let’s Do It 148 Eddie Heywood and his Orchestra (Billie Holiday) 1941 Lady Day Swings
Apollo Jump 143 Lucky Millinder and his Orchestra 1943 Apollo Jump
Shoutin’ Blues 148 Count Basie and his Orchestra 1949 Kansas City Powerhouse
Comes Love 105 Billie Holiday and her Orchestra (Harry ‘Sweets’ Edison, Ben Webster, Jimmy Rowles, Barney Kessel, Joe Mondragon, Alvin Stoller) 1957 Body And Soul
My Handy Man Ain’t Handy No More 76 Alberta Hunter (acc by Doc Cheatham, Vic Dickenson, Fran Wess, Norris Turney, Billy Butler, Gerald Cook, Aaron Bell, Jackie Williams) 1978 Amtrak Blues
Salty Papa Blues 115 Lionel Hampton and his Septet with Dinah Washington 1943 Dinah Washington:the Queen Sings – Disc 1 – Evil Gal Blues
Drinkin’ Wine Spo-Dee-O-Dee 130 Lionel Hampton and his Orchestra 1949 Lionel Hampton Story 4: Midnight Sun
Drum Boogie 176 Gene Krupa Drums Drums Drums

Looking at it now, there’s a fair bit of stuff I never DJ any more and don’t even listen to. That Oscar Peterson version of Moten Swing for a start. But in 2006 Melbourne was heavily into supergroove. There was no real interest in old school music or dancing, beyond the kids learning at Got That Swing, and a few indy dancers. The tempos in this set are really low. Oooh, that first block is tediously slow. And low energy. The tempos in Melbourne were generally extremely low. So 160bpm was crazy fast.

I posted about the set on the Swing Talk board here, though there’s nothing here on dogpossum.org.

In general terms, I think I took a few chances which were new to or underplayed in Melbourne, but used a lot of familiar stuff which I knew would work. The transitions between styles aren’t as smooth as I’d like, and the energy levels are a bit low, but this was my first set, and this was the first set of the night at the venue. If I remember rightly, it was a bit quiet in that moment after the classes and before social dancing. And that set could be heavier on the beginner dancers.

In terms of song selection, I’m surprised I played two Billie Holiday songs. I love her so much, but I rarely play her now. Which is a massive shame – she played with such wonderful bands. Handy Man was probably a moment of ‘oh I loooove this song and I _have_ to play it.’ I dunno how it went down. This was before Melbourne got into blues, so it might have had mixed results… though the preponderance of supergroove meant that Melbourne dancers were generally ok with lower tempos.
Looking back over my set lists (I’ve kept them all as playlists in itunes), I played about 22 sets in the next six months. Which is scary. I was a totally new DJ, playing heaps of sets. And I notice most of the second sets at CBD, where I was finishing, ran way over time, from anywhere to 20 minutes to one and a half hours over my rostered 1.5 hours. I do remember the organiser for that venue wasn’t all that organised, that there was a shortage of DJs willing to do sets, and that I said yes to every set I was offered. I think saying yes (often at no noticed) was a good strategy in that it got me lots of sets and got me lots of experience and exposure and got me a rep as someone you could call on in a pinch. But I’m not sure how good it was for the dancers.

Looking over the sets themselves, I didn’t suck at all (though how can you tell without seeing the effect songs had on the floor?), but I’m not sure it’s a good idea to have so few DJs working a social scene. CBD was very popular during this period, though it did decline in the following year.
There’s some interesting comment about DJs’ sets in the DJed sets thread with some interesting parallel discussions about CBD in this thread. The DJ bubbs thread is also kind of interesting.
I’ll try to do another thread on beginning DJing generally. But I don’t make any promises…

NB: looking back over those threads from SwingTalk, I’m struck by Brian’s awesome music. He was playing stuff I still haven’t discovered. It was a sad time when he gave up DJing. :(

Other posts on beginning DJing:

reports

Running report: I can run for 28 minutes without stopping. I’m at run 3 of week 8 of the c25k. I am badass. I am considering some sort of fun run situation.

DJing report: went to BBS and DJed. DJing for blues dancers is a bit boring. Blues dancing events are a bit boring. Having said that, I had a very good time. For my money (and it was), BBS offers the most interesting bands and venues at any Australian dance event. G$ has some great photos here. That’s one of his there with this post.
My DJing was ok, and I think I did a pretty good job on the… Sunday night I think it was. On the whole I didn’t hear a whole lot of really inspiring DJing over the weekend. Most of the sets seem to lack coherency or flow. And they tended to be really low energy. The low energy is a real suck at an entire weekend of blues – you really need to keep the energy up there so people dance. One exception was Chris Haarm, who did some really nice work warming the room on the Friday night. I think his set was my favourite.
The bands, though, ROCKED. And that’s how it should be.
I don’t think I’ll bother with another blues weekend. I ended up going for a run on the Sunday because I didn’t feel like I’d had enough exercise. And that’s just wrong for an exchange.
Learnz report: I am working my way through this pgrad diploma. It’s really hard not directing your own learnz. I don’t like waiting for someone else to decide when I’m ready for the next bit of learn. I also much prefer following my own interests rather than having to follow someone else’s curriculum. Remind me to talk a bit about this more later on.
Intertubes report: I have neglected this blog for twitter. And my learnz.
That’s it.

running -> exercise -> dancing -> jazz history

There’s a man upstairs in our bathroom banging and hammering and sawing. It’s really loud. Bathing without a shower is difficult, but not that bad. It’ll be nice when we get our shower back, though.
Meanwhile, I’m still on the c25k, and did the first run of week 5 today. It’s a nine week program, so I’m over half way. This is the point, though, where most people tend to give up. I actually feel quite good. It’s not as difficult as I thought, probably because it starts so gradually and then builds progressively. Today’s program involved:
a 5 minute warm up walk
5 minute run
3 minute walk
5 minute run
3 minute walk
5 minute run
5 minute cool down walk
I was surprised that I could do all the running bits without having to stop, and I remember thinking as I finished the first run ‘Woah, I just ran five minutes without stopping. Haven’t been able to do that in years.’ I still breathe really loudly (though not as loudly as I used to) and I certainly couldn’t hold a conversation at the same time (which is the ideal running pace). But I didn’t have to walk during any of the running bits and I felt pretty ok the whole way.
I actually quite like the sessions. Thirty minutes of exercise is a tiny amount, but it’s time well spent – no dilly dallying about – and it leaves me feeling really good. I have pretty bad snots at the moment because our bathroom is being ripped to bits, but that’s not affecting my running the way it used to. I have some new aches in my left foot, under the arch, but that feels like a hamstring issue, and I have very tight calves, so I always need to stretch my hamstrings. So, generally, I feel pretty good. I’m knocking on wood as I type, as I can’t really believe this is going so well.
There are a few things that seem key to the usefulness of this approach to training. Firstly, the audio cues on the ipod are essential. It tells me when to start running, when to start walking, when I’m half way. Secondly, the music is really good. I choose songs that either pump me up, or warm me up (or down) gently. I might end up using spoken podcasts later, as they distract me from the exercise and make the going easier. After this, the steady progress, with a structure to the sessions that changes weekly (and more frequently as you progress) makes the sessions more interesting. And I think the most important part is having clear goals.
One of the things that’s made it difficult to stick to a serious exercise program in the past is the lack of goals. Learning tranky doo is fun, but once you have that under control, it’s difficult to feel motivate. One routine after another is also kind of dull. Working on dance stuff with a partner is nice, but I think that without clear goals you tend to get a bit distracted and demotivated. I guess that’s why competitions are so useful.
So I really like the couch to 5k program. I’m especially happy with the fact that I can run five minutes without stopping. No pain in my feet, and I can actually breathe. It’s very satisfying. To think that I’ll be running half an hour without stopping soon is almost beyond the imagining.
One of the other things I like about it, is feeling my muscles toning up. I feel as though my jubbly bits are kind of being compressed and firmed up into muscle. The muscles I have underneath the jubbly are slowly being revealed. I’m fascinated by my arm muscles, which are entirely the result of cycling. I can’t believe cycling gives you arm muscles. But then cycling in a hilly city is challenging – you work harder. You use your arms to control your bike, and you tend to overwork your arms if you’re too tight in your shoulders and too weak in your core. But I’m also beginning to feel stronger and more stable in my core, which is fab. I’m also finding it easier to activate my lats (so important for dancing) and other individual muscle (and groups) which in turn makes it easier to reduce the energy I spend. Using the right muscles for the job means that I become more efficient in my movement – less flobbering about out of control, less overusing the wrong muscle.
So while I’m muscling up, I’m also finding that other, tighter muscle groups (my lower back, my shoulders) are loosening up. As the rest of my body steps up and starts doing its job, those places can relax and stop doing more than their fair share. It’s all very interesting. I’m especially exploring the way these changes affect my dancing and other activities. I can feel myself becoming more stable. I have more energy and greater stamina.
This is also making me the most annoying student in classes on Tuesday night. Hollywood style lindy hop (as in west coast not east, centred on dancers like Dean Collins rather than the Whitey’s Lindy Hoppers) is a foreign country. It’s fascinatingly technical, using the same principles as the lindy I’m used to, but in different ways. It’s complex, and yet when it’s done right, it’s very energy efficient.
I’m particularly fascinated by the swingout. This type of swingout uses much the same principles of momentum and dynamic energy, but in a very different way. The thing that makes a swingout so amazing is that the follow moves towards the lead, then turns and changes direction, moving away from him. This simple process is actually really complex, in terms of energy and momentum. It’s too easy to lose all your energy and momentum when you change direction, so the challenge is keeping that energy in your bodies, and yet still changing direction.
This type of swingout involves a more thorough ‘leading’ of the follow, but it also seems to use a less ‘natural’ approach to movement… that statement could perhaps be the product of ignorance, but it seems as though the lead has to be more aware of energy and where the follow is and also where he is. I use a gendered pronoun deliberately. I’m the only female lead in the class, and I’m finding the gender stuff is quite different in this type of scene. An emphasis on vintage dressing seems to reflect a more conservative approach to gender roles. Women follow, men lead. There’s also been less emphasis on improvisation within the swingout.
For me, improvisation (within the swingout and elsewhere) is the follow’s opportunity to ‘speak.’ A decent lead doesn’t ‘allow’ the follow time to speak, but actually incorporates these contributions into their leading. So the two really do function as a team. The more comprehensive leading seems to micromanage the follow’s movement, and it’s been tricky figuring out where and how I should add in my jazz steps (I follow in the second class and usually socially – I rarely lead socially these days, which I am about to change).
The classes this week did look at variations on the swingout, and this was really interesting. It also meant that I had to stop and learn the basic footwork and shape of this type of swingout properly. I’m also wondering whether I should adopt this type of swingout when leading in class. That’s the sensible thing to do, but I worry that it will mean I’ll lose all memory of any other swingout completely. Which is kind of bullshitty, as any swingout I have now is no doubt so riddled with personal habits and problems it’s already kind of broke. Learning a new swingout will make me conscious of all these idiosyncrasies and make it possible to rebuild a stronger swingout.
At any rate, I’m thoroughly enjoying being in classes again. It’s so new, it’s challenging. I’m also out of practice, in terms of knowing how to learn in class, and I’m quite enjoying the way this makes everything more difficult. I am also the type of student who asks questions and really likes to get things right, so I’m annoying everyone. I still find leading makes more sense. I just have no sense of what my body is doing when I’m following. I’m really not aware of my body and muscles and so on when I’m following. I think it’s because when I’m leading I not only have to understand what I’m doing, but also be aware of my follow and what’s happening in their body, so understanding my own body becomes the first part of understanding momentum and how we make it work between us. What I don’t understand is why I can’t figure this out when I’m following.
This stuff makes it really difficult to follow in class. I can look at the moves and understand how they work, and I can also figure out how I’d lead it, but the lead I’m working with mightn’t, so I have to let them figure it out. But because I can’t feel the follow (because that’s me), I don’t really understand what’s going wrong/right in our partnership at that moment. Meanwhile, I find it really difficult to stop concentrating on the lead and to start engaging with following. Part of me wonders if I should just give up on following altogether. But then the rest of me refuses to be beaten.
I still haven’t found a good yoga class. Sigh.
But I have spent some lovely time in the library this week, reading some really good stuff on Frank Trumbauer, Bix Beiderbecke and Jack Teagarden and listening along to my music as I go. I’ve also been digging into the library’s music collection, listening to some of their neat stuff as I read. It’s all been really really interesting. These guys are interesting because they were white, very popular and also totally top notch. And there these moments where they recorded with African American musicians in the 20s and 30s and I think ‘how the fuck did this happen in segregated America?’ I’ve also come across interesting references to the Original Dixieland Jazz Band, a band popularly considered a crappy novelty band who claimed they invented jazz. They didn’t. But while they weren’t the most awesome band, they were very influential, and I keep coming across musicians and bands they worked with who were very good. This stuff is also interesting because Bix, Tram and Teagarden worked in Paul Whiteman’s band. I generally think of Whiteman’s stuff as a sort of wet, watered down jazz with strings and sweet arrangements. But this sort of dance music was super popular. And while I don’t like it much at all, the sales of this stuff bolstered the recorded music industry generally, which in turn made it possible for artists I do to have recorded. I don’t think it’s actually that simple a connection, but there’s definitely a complex relationship between class, race, musical aesthetics (sweet or hot?) live performances, venue ownership and management, radio broadcasting and recorded music during this period.
I don’t know that much about this yet, but it’s definitely caught my eye. I hope I’ll have time during the semester to chase these thoughts down. Probably not. Classes start next week, and I’m going to have to do some clever catching up after BBS.
Right, that’s enough of that.

eh? what’s that they’re sayin’?

I’ve made a new 8track. You can listen to it here or…

eh? what’s that they’re sayin’? from dogpossum on 8tracks.

(Image stoled from Shorpy, king of olden days pictures)

These are all songs that are a little odd. Songs that I have to listen to on headphones, repeating bits to be sure I heard correctly… But these are all songs that I’m loving at the moment. Some of the lyrics are funny (Fats and Teagarden singing about their love for one another), some of the melodies are funny (way down Borneo way), some of the songs feel kind of kooky (another orientalist), sometimes the language is charming and yet also kind of odd (French popswing), some are interesting versions of favourites (first you get a bottle…)… I am madly in love with Jack Teagarden again, so he dominates a little. I always love Fats, because he makes me giggle. Lil Hardin is badass. Teddy Wilson is scarygood – but a piano/vibes duet?

title – year – artist – bpm – length (you can find these songs without the albums, I think… because I’m tired of adding them in…)

Hittin’ The Bottle 1930 Frank Trumbauer and his Orchestra (Andy Seacrest, Nat Natoli, Bill Rank, Chet Hazlett or Charles Strickfaden, Fud Livinginston, Matty Malneck, Roy Bargy, Eddie Lang, Min Leibrook, George Marsh, Jack Fulton) 2:59

That’s What I Like About You 1931 Jack Teagarden and his Band (Charlie Teagarden, Sterling Bose, Pee Wee Russell, Joe Catalyne, Max Farley, Adrian Rollini, Fats Waller, Nappy Lamare, Artie Bernstein, Stan King) 173 3:23

Borneo 1928 Frankie Trumbauer and his Orchestra (Bix Beiderbecke, Charlie Margulis, Bill Rank, Frank Trumbauer, Chet Hazlett, Irving Friedman, Lennie Hayton, Eddie Lang, Min Liebrook, Hal McDonald, Scrappy Lambert, Bill Challis) 184 3:11

Oriental Swing 1938 Lillian Armstrong and her Swing Band (Ralph Muzillo, Johnny McGee, Al Philburn, Tony Zimmers, Frank Froeba, Dave Barbour, Haig Stephens, Sam Weiss) 181 2:59

Hey! Stop Kissin’ My Sister 1940 Fats Waller and His Rhythm (John Hamilton, Gene Sedric, Al Casey, Cedric Wallace, Slick Jones) 191 2:48

Coucou 1940 Le Quintette du Hot Club de France (Hugo Rostaing, Django Reinhardt, Joseph Reinhardt, Francis Luca, Pierre Fouad, Josette Dayde) 153 2:42

It’s Tight Like That 1929 Jimmy McPartland, Jack Teagarden, Benny Goodman, Gil Rodin, Larry Binyon, Vic Briedis, Dick Morgan, Harry Goodman, Ray Bauduc 204 2:51

Honeysuckle Rose 1937 Teddy Wilson Quartet 168 3:13

upcoming DJing

My DJing schedule for the next little while:
Sunday 28th February: DJing @ Blues Night in Sydney (8:30-9:30)
Thursday 4th March: DJing lindy hop @ Czech Club in North Melbourne (9:30-10:30)
Friday 5th March: DJing in blues battle @ Forever Dance (BBS in Melbourne about 1/3 way through the night)
Saturday 6th March: DJing band breaks 9-12 @ Y-Dance (BBS)
Sunday 7th March: DJing 12-1:30 @ The Copacabanna (BBS late night).
Just enough to keep me busy, but actually a terribly demanding load – just little blobs of sets here and there.

digital resources… mostly

This post is really just to track a range of online sources I’ve used today. I’m really interested in the relationship between different tools, and between online and face to face tools. I want to frame this post/discussion by pointing out that swing DJs are interested in music primarily as dancers and as DJs for dancers. So their interest in music and dance and history is almost always tied to the physical experience of dancing. And dancing is ALL about the body, no matter how intertubed you are. Dancers also tend to have quite extensive online networks, networks of friends and acquaintances which crisscross their country and the world. I just know that if Peter wasn’t actually playing music as I type, he’d be chiming in with useful tweeted comments and links.
The body pwns the intertubes any day.

I read this thread on SwingDJs this morning, which directed us to: this story about hot jazz in a full-text issue of Life on Google books.

I replied in the thread on swingdjs, but also in a post on my own blog, here.

Reading the list and thinking about hot jazz as I wrote that post, I was reminded of things I’d read in books (!), one of which is also available in full text on google books here.

I have also found full text versions online, but I can’t remember where. If you start with The Jazz Study Group @ Columbia and Jazz Studies Online you’ll probably eventually find them all.

But while I was reading these things in books, I came across references to a series of photographs and films which are very popular with dances – by Gjon Mili. Mili is best known amongst dancers for his short film Jammin’ the Blues which is available on youtube along with other films he made featuring jazz musicians (I link them here.)

There’re some iconic photos of dancers in Life magazine in their ‘Life goes to…’ series. These are available in Google/Life’s online collection. Gjon Mili also did some very interesting photos as part of a photo shoot for Esquire in a Jam Session series.
I’ve already written about magazines and jazz ad nauseum.
Meanwhile, that original Life article listed ’30 good hot records’. Which made me think about canons. And discographies as canons. There are various online versions of discographies, but the good ones aren’t freely available online. Boo. Hiss.

Canons and discographies made me think about following particular musicians, and all this talk about ‘essential’ lists of jazz musicians and songs made me think about the Great Day In Jazz photo, which has a documentary film attached, and which Rayned used to structure his Yehoodi Radio show, which you could stream online.

After I’d written that post earlier today, I was still thinking about these issues. And I remembered seeing a note attached to an Australian photo from the 20s in an online collection. I eventually found the photo on flickr.com in their flickr commons (with which I am obsessed) by typing ‘bands jazz sydney’ into the search box, getting this list. This is the photo. I was particularly interested in the comment that black American bands were banned in Australia from the date of this photo (1928) until 1955 (when Louis Armstrong visited Australia). I wondered if it was true.

So I asked twitter. This led to a discussion between (mostly) The SwingDJ, DJRussellTurner, a discussion witnessed by all the people who followed one or all of us on Twitter.

TheSwingDJ was sceptical.

DJRussellTurner tweeted clarified the Rex Stewart thing.

DJRussellTurner suggested a distinction between ‘band’ and ‘musicians’, and then linked to an an article by Alec Morgan in the journal Scan which used the original photo and added

But, not all musical imports were welcomed by Sydney’s moral guardians. Sonny Clay’s renowned Jazz band, The Colored Idea, arrived here from the USA in 1928 to play the burgeoning nightclubs. After a couple of white women were found in a hotel room with the Afro-American musicians, the band was escorted back to the ship and told never to grace our shores again. While the occasional black musician was allowed in after careful scrutiny for a limited period, Afro-American bands were not permitted back until the mid 1950’s when Louis Armstrong and his band pushed the colour-bar down.

I suddenly decided I needed to know more, and I certainly needed to verify this idea that ‘black bands were banned in Australia’ during this period. The important question here is why? Why did I want to be sure? Partly because this would indicate interesting things about:

  • race and racism in Australia (White Australia Policy)
  • jazz and jazz culture in Australia (jam sessions, playing with and listening to other musicians is central to the exchange and cultural transmission of creative, ideological and discursive forms. A lack of African American musicians in Australia would go some way to supporting my continuing suspicions about the whiteness of Australian jazz. And, consequently, white jazz dance.
  • the music and entertainment industry in Australia.

I had a bit of a squizz in various online sources, but eventually decided I needed to look at some more newspapers from the day. These sorts of (albeit somewhat unreliable) primary sources can be helpful.

So I started simple, and followed this link from the flickr page. Not a whole lot of help right now, but it would be worth following up the original photographer.

Then I remembered someone on twitter mentioning an online tool which allowed you to search online Australian primary sources. I couldn’t remember who it was who put me onto it (I still can’t), so I just followed a bunch of links from likely sources.

Until I saw a name I recognised: Trove. And started searching for “Sonny Clay”.

I found this newspaper article on Trove which outlined accusations about the musicians’ union from the ‘banned band”s representatives.

Meanwhile, TheSwingDJ confirmed our suspicions but also noted that Rex Stewart wasn’t black, according to the musicians’ union (I wish I had his reference for this, actually).

He also tweeted other interesting tidbits including one about ‘good reputations’ and ‘paying’ to be allowed to play.

And then there were various comments on twitter from peeps ‘listening in’ to our 3-way chat, including comments about the photos as resources for fashion, Trove’s value for private research projects and so on. I asked for help RE Trove’s browser-compatability as I wanted to edit the scanned text of the article, but couldn’t log in. Various tweeps offered tips and feedback.

Then I revisited DJRussellTurner’s link to the Scan article and the original flickr photo page and discovered that the author of the Scan article had a blog where she discussed this photo and issue. Her thinking about this issue led to her discussion of flappers and gender here and here.

I then checked our her blog’s ‘about’ page and discovered she’s at the Centre for Critical and Cultural Studies at UQ where I did my BA and MA and where I still have friends working.

In one of those blog posts she notes in a caption for (a repro of that original photo from flickr):

(Members of Sonny Clay’s Coloured Idea (including the singer Ivie Anderson) on deck as they pull into Sydney, 1928)

And this made me think: Ivie Anderson! Best known (in my world) as a singer with Duke Ellington’s band. So I did a crappy search of my music (using the wrong date) to see if she recorded with Ellington during this period. I also scanned the photo carefully to see if I recognised her. I was, pretty much, guessing. But I was using photos of Anderson I found online to try and compare them with the women in those two original photos.

TheSwingDJ beat me to it with this link to a source many Swing DJs use quite often. That entry for Anderson includes:

Born in California, young Ivie received vocal training at her local St. Mary’s Convent and later spent two years studying with Sara Ritt in Washington, DC. Returning home she found work with Curtis Mosby, Paul Howard, Sonny Clay, and briefly with Anson Weeks at the Mark Hopkins Hotel in Los Angeles. She also found work in vaudeville, touring the country as a dancer and vocalist in the Fanchon and Marco revue, starring Mamie Smith, and with the Shuffle Along revue. She was featured vocalist at the Culver City Cotton Club before leaving to tour Australia in 1928 with Sonny Clay. Returning after five months down under she organized her own show and toured the U.S. In 1930 she found work with Earl Hines.It was while appearing with Hines that Ellington first heard her sing. He hired her in February 1931, and she quickly became a fixture of the orchestra’s sound.

(I’ve bolded the important bits.)

At this point, we’re still thinking about and looking up sources. Meanwhile, colleagues from the CCC at UQ have chimed in about the author of that blog, discussions about archiving this sort of research are happening, I’m listening to 1930s Ellington featuring Ivie Anderson and I’m just about to look up youtube for some clips of Anderson to see if I can check her out more thoroughly.
But first, I think I’ll go dancing.
(srsly)

The Coloured Idea Band of Sonny Clay arrives in Sydney, 1928 / Sam Hood

The text accompanying this 1928 photo reads:

Note: The band entered Sydney Harbour playing their newly composed “Australian Stomp” on deck, with their dancers performing. After good reviews, the Truth newspaper organised for the band to be raided. They were found with Australian women and deported. African American bands were banned from visiting until 1954. The Library has photographs of the Louis Armstrong tour, the first Afro-American entertainer to visit after the ban was lifted, and of the Harlem Blackbirds in 1955, the first Afro-Amercian group to visit.

lists and canons in jazz

An interesting discussion has cropped up on SwingDJs called “30 Good Hot Records” from LIFE. This is what I’m about to post in response.
I love lists of iconic or ‘good’ songs/books/films/texts. I love them because though they are presented as definitive, they are always[ more effective as a provocation than a definitive answer to questions about what counts and is important enough to be listed. Discograhies work, pretty much, as definitive ‘lists’ or ‘canons‘.
I’ve come across a few different uses of ‘hot’ in articles and books from the 1930s, particularly in reference to discographies. Kenney’s discussion of jazz in Chicago outlines the differences between ‘jazz’ or ‘hot’ bands and music and ‘dance’ bands. These differences are not only musical, but also inflected by race, class, the recording industry, live venue management and ownership, gender… and so on. I’ve also come across quite a few discussions in an academic (rather than populist or ‘music critic’) sources about the expression ‘hot jazz’. The most useful sources point out that any attempt to finally define ‘hot’ or ‘jazz’ is not only difficult, but also problematic.
Krin Gabbard discusses the cultural effects of constructing canons – in which discographies play a key role – and points out that lists of ‘hot’ or ‘important’ or ‘real’ jazz records aren’t neutral or objective lists of songs – they are highly subjective and negotiated by the author’s own ideas about music and place in society generally.
Kenney (who’s written some absolutely fascinating stuff about jazz music in Chicago in the 20s) discusses Brian Rust’s discographies, making the point that Rust distinguishes between ‘hot’ and other types of jazz recordings. Friedwald talks a bit about Rust (and other discographers) in his jazz.com articles. Kenney’s research into the recording and live music industry in Chicago suggests that who got to record or play what types of music was actually dictated in large part by record companies’ ideas about race and class and markets rather than musicians’ personal inclination. That last point suggests that you could make some interesting observations about the correlation between race, class, recorded songs, ‘popularity’ and ‘jazz’ in Chicago jazz during this period. I don’t know enough about it, though, so all I’ll say is that you could, but you’d better have some badass sources to support your arguments. And you’d also better be prepared to accept the idea that though America had a national music industry, different state legislations and music cultures resulted in quite different local practices: it’d be tricky to generalise Chicago’s story across other cities and states. Not to mention countries.
Life and other magazines’ comments on and participation in music promotion in the 30s is also pretty interesting – these guys had ideological barrows to push, just as did Rust and other discographers. One of the effects of publishing this type of list (which was no doubt as hotly contested then as it is now – except by a wider audience :D) is that it does stimulate discussion and debate. And, hopefully, record and ticket sales. One thing I’d be interested in knowing is who owned LifeGreat Day In Jazz photo, I think about the fact that it was a photo for Esquire magazine, and that Esquire also produced a series of live concerts, recordings… and of course, photo spreads in magazines. While GDIJ works a fabulous representation of jazz it also serves as a canon, and as such is also subjective, ideologically framed and interpreted (eg asking why are there so few women in this photo leads us to questions about gender and jazz?) Canons are fascinating things, and can be the jumping off place for all sorts of great discussions and debates. I think this is why I was so excited by Reynaud’s session on Yehoodi Radio where he used the GDIJ photo as an organising structure for the music he chose. In that case, the photo became a listening guide for a radio program. I’d just rather not use them as definitive, fixed lists; I like them more as provocations, or a place from which to begin discussing (and arguing about) a topic.
If I saw a list like the one in Life today, I’d be extra-suspicious. Songs on So You Think You Can Dance, for example, are owned by the company which produces that tv show. There’s been quite a lot written about the Ken Burns’ Jazz series and its role in cross-promoting sales of records from catalogues owned by the same media corporation. The Ken Burns example is an especially interesting one: that series does not present an ‘objective’ list of important artists and songs. It is a jumping off place for a very successful marketing project surrounding back catalogues and contemporary musicians like Marsalis. George Lipsitz has written quite a bit about histories of jazz (including Burns’), and he makes this point:

…the film is a spectator’s story aimed at generating a canon to be consumed. Viewers are not encouraged to make jazz music, to support contemporary jazz artists, or even to advocate jazz education. But they are urged to buy the nine-part home video version of Jazz produced and distributed by Time Warner AOL, the nearly twenty albums of recorded music on Columbia/Sony promoting the show’s artists and ‘greatest hits,’ and the book published by Knopf as a companion to the broadcast of the television program underwritten by General Motors. Thus a film purporting to honor modernist innovation actually promotes nostalgic satisfaction. The film celebrates the centrality of African Americans to the national experience but voices no demands for either rights or recognition on behalf of contemporary African American people. The film venerates the struggles of alienated artists to rise above the formulaic patterns of commercial culture, but comes into existence and enjoys wide exposure only because it works so well to augment the commercial reach and scope of a fully integrated marketing campaign linking ‘educational’ public television to media conglomerates. (17)

Lipsitz is interesting because he says thinks like Why not think about jazz as a history of dance? Why not look into the lives of musicians who gave up fame and fortune in massively famous bands to work in their local communities?
Friedwald, Will. “On Discography” www.jazz.com, May 27, 2009 http://www.jazz.com/jazz-blog/2009/5/27/on-discography
Gabbard, Krin. “The Jazz Canon and its consequences” Jazz Among the Discourses. Duke U Press, Durham and London 1995. 1-28.
Kenney, William Howland. “Historical Context and the Definition of Jazz: Putting More of the History in ‘Jazz History'”. Jazz Among the Discourses. Duke U Press, Durham and London 1995. 100-116
Lipsitz, George. “Songs of the Unsung: The Darby Hicks History of Jazz,” Uptown Conversation: the new Jazz studies, ed. Robert O’Meally, Brent Hayes Edwards, Farah Jasmin Griffin. Columbia U Press, NY: 2004: 9-26.
References for my posts on Esquire.