Instrumentation and Arranging for the Radio and Dance Orchestra by Norman Ellis

I found this wonderful volume in a bookshop yesterday whilst going for walk on a glorious Saturday wintery morning.

Norman Ellis was a musician who arranged for and worked with the prime swing musicians of New York in the 1930's including Benny Goodman, Billi Holiday and Bunny Benigan.  His "Instrumentation and Arranging for the Radio and Dance Orchestra" was released in 1936. It has many fascinatng passages and by way of example here is an extract from the introduction.  As you read  remember that this music was already spreading world wide.  Artists from Harlem were already touring Europe and Australia and World War II with the GIs (over paid, over sexed and over here) was all about to happen...

 Today popular dance music embodies two distinct styles of writing: the smooth "Sweet" style which bears the influence of pure romantic classical music; not of the polyphonic school, and the "hot" or "swing" style which is a refinement of the cacophonic forms previously used in "Dixieland" renditions and is quasi-polyphonic in character due to the partical obsrvance of the laws of harmony and counterpoint.  I might add that "Jam" sessions, a revivial of the "Dixieland" style, have become popular but, like any other fad, I believe that they are apt to be merely transitory.

 The arranger now holds a very important place in the dance music field.  In many cases it is the arranger who sets the style of a band, the orchestra leader merely carrying out the arrangers ideas.  To fit the wide and varied demands upon his services, the arranger must be a musician equipped with a thorough knowledge of harmony and must be trained in the classical forms of music.  The competitive standards reached today have made it necessary for the arranger to explore his mind in search of new ideas and effects as did the old masters.  The resulting efforts have most certainly taxed the musicinaship of all dance instrumentalists.


The dance musician has reached a high level in execution and when compared to the serious mucisian he stands in a very favourable light.  An interesting point, I might add here, is the strange way in which the serious musician attacks a popular number; he is obsessed with the idea that to produce a jazz effect every rule of music has to be broken, whereas this is not the situation at all.  Moreover a "so-called good musician" is many times found to be lacking in creative ability (a requirement absolutely necessary for a dance musician for "ad lib" purposes) and in the ability to produce a sweet legato tone required for the performance of solo work in a sweet dance arrangement.  Also, many of the serious musicians are not of a sufficiently flexible mind to execute the more intricate dance rhythms which are by all means theoretically correct and not at all difficult to perform.  It s a known fact that a Trombonist from the dance field had to be called upon to execute a passage in the high regsiter of the Trombone at a performance of a leading symphony orchestra due to the inability of the symphony Trombonists to execute this particualr type of work, an American creation of jazz.  I do wish to state, however, that full respect must be given to the serious musicians for their fine executrion and interpreation of the master works.

 While jazz was incubating, it is true that dance musicians were mostly all, with rare exception, illiterate and untrained and the writers themselves were lacking in the elementary knowledge of melody writing and composition, not to mention the higher forms of writing.  It is principally for this reason that many people today still fail to recognise the unquestionable merits of modern dance muisc now developed to a degree easily compared in many instances with some of the master works, a statment which no doubt will recieve wide criticism from many.  Allow me to state at this point that my musical background as a pianist and an arranger has been crowded with the study of all the master works under many famous teachers and it is therefore without termerity that I venture to make this statement.

 A truly wonderful service has been rendered by jazz to music generally. The range of many wind instruments has been extended.  Also, the creation of many types of mutes for the Brass has enabled the instrumentalists to produce many tone color effects of beauty and has made possible the blending of Brass instruments with Violins and Woodwind, heretofore not accomplished successfully.  A smooth legato style has also been developed on the Trombone.

 The requirements and responsibilities of future arrangers will be increased more and more due to the rapid advancement being made in the dance music profession and the demands upon the arranger will be very similar as those in previous years of the trained composer. There is no limit to the fine developmnet of American popular dance music and its subsequent influence on the newer forms of classic music.

Norman Ellis, 1936

The Importance of Creativity in our Lives

Kevin Spacey wrote a great article in support of Arts Funding in times of recession which hit one of my current hot buttons. Go Kev. I'm with you all the way (see end of article).

As someone who runs a small arts business with no public or external funding, no sponsorship or support deals I can't praise this article enough. Here, here for self supported arts organisations! Here, here for us injecting joy and skill , confidence and creativity into the world!!

When in London I visit the Old Vic regularly as their programme is second to none and they always show something I want to see. The article got me thinking about what aspects of life we draw on to reflect our society and our individual identity. It's not work for a lot of people. It's not economics for a lot of peole or politics or the difficulties or problems we encounter; But our identity is defined more by our hobbies, interests, the people around us and our personal creativity. I know a ton of brilliant scientists, engineers, bankers, 9-5 workers and IT professionals who love and are dedicated to their work...and they cannot breathe the joy of life if they can't go dancing.

Each and every one of us is creative. All of us are artistic. We're not all famous. We're not all earning our keep from it. We're not all in the pubic eye or focussed on our creativity, but everyone I know enjoys either dancing, making music, seeing films, enjoying TV, drawing, knitting or creating a craft, seeing a play, musical or exhibition, taking a photograph, trying to juggle, act, sing, flip or doing something to challenge their creative spirit and thinking.

Come budget time however, the Arts is the last thing left on the hand out plate. Whenever we reflect on our times, contemporary culture, film, TV, literature, the arts is the first thing to go in the time capsule to be buried, as it gives great understanding of who we are. Ah the irony.

Sport would not be where it is without the funding it receives. The performing arts, the visual arts, the literary arts. These fields are the stuff of life. they give life to knowledge, history, science and all manner of our society. Even sport and politics. Who would think Paul Keatings' career would be summarized in the hugely successful "Keating the Musical!". Stories of history and documentaries informing are told through film to millions of people who may not otherwise access this knowledge. How can they think the arts is not important? In times of recession "good feel" films are needed. CD sales go up. How can they think the arts is extravagant and superfluous. I simply don't understand it.

And me? I run Swing Patrol. We teach swing dancing (1940's jitterbug) in Melbourne, Sydney, Tasmania and London. We teach anyone who wants to dance, to dance (and some who do not wish to dance or learn too...) Adults discover themselves and build confidence, self esteem and physical and mental flow on the dance floor.
It's physical,
Its sensual,
It's emotional, striking and challenging and they make and/or break themselves on the dance floor. All the celebrities who have done "Dancing with the Stars' have spoken of these aspects of their dance which has seen already successful people "finding themselves" in new ways.

We give people who have never performed in front of an audience the terrifying chance to do so. Its amazing to watch every year, people practicing, getting nervous as they've never put themselves on the line like that before. One woman brought her whole netball team along to watch her dance a routine. It was just amazing. I know the feeling Kevin Spacey had watching the kids programmes at the Old Vic. I do exactly that with our nervous very self conscious adults every year. Some of them go on to join our performance troupe, travel the world and attend dance camps meeting new friends and connections and living the kind of life that is really very unbelievable, through their hobby. Others go on to teach or do both holding down a full time job all the way. My company was started by myself and my business partner. It's a user pays system and there is no sponsorship or government support either ongoing or in the form of grants. If we had this kind of funding we could do a lot but i'm proud that we've gone for 10 years, have expanded out and depend on no government or support money. Yes we struggle. Yes, its hard and yes I wonder (quite often) if its worth it, but then I see the dancers and I know.


http://www.timesonline.co.uk/tol/comment/columnists/guest_contributors/article6251188.e

Farewell Manchester Lane

Well its the end of another era. We said that when The Last Laugh closed. We said that when The Continental closed. We said that when The Bullring closed. Now we're saying it again with the closure of Manchester Lane. Rumour has it its been sold. I had thought it was owned by eco-beauty mega business The Body Shop. So it all seems a bit odd. Stay tuend for an update when I know more!

All I know is that Manchester Lane is one of those familiar venues like the bullring or the Conti that I felt was my second home. Having a drink, listening to a band, teaching dance lesson. Yes I taught Saturday afternoon dance lessons there for around 18 months when the Pearly Shells had a residency. I'd prep the floor for the evening and it was beautiful to dance on. The swing dancers always said they could tell when I hadn't taught the lesson as the floor was gluey.

It was at Manchester Lane I got rip roaring drunk at our end of year drinks and watched the dancers in drunken sentimental admiration and pride.

It was to Manchester Lane I went the night my father died. Just to touch base with my real world in the surreal shock of death. I walked in and everyone knew and they just surrounded me and had a huge group hug in the middle of the floor.

It was at Manchester Lane that the swing bands had a bit of a regular gig; the place to refer people, the place to see the Pearly Shells, Micke McQuaid and the Red Hot Rhythmakers, Cairo Club Orchestra, Esstee Big Band, Duck Musique just to name a few.

I hope it's re-incarnated into an even bigger and better music venue.