Swiss Balboa Weekend

I’m glad, that Natascha Podraza and Ulla Wingenfelder will be organizing another edition of the Swiss Balboa Weekend. The workshop and party weekend will happen from Friday 7th to Sunday 9th September 2012.

Workshop

Two days of Balboa classes for three levels “A – Beginners”, “B – Intermediate” and “C – Advanced” with four international and national renowned instructor couples:

• Laura Keat & Jeremy Otth (USA)
• Jo & Mel Calanglang (UK)
• Joana Ekeström & Andreas Olsson  (SWE)
• Ulla Wingenfelder & Tim Kask (CH)

Parties

• Friday: Zürich Balboa Night, integrated in the Swiss Balboa Weekend, as the official warm-up party
• Saturday with live music: The Andreas Hofschneider Quartett with Andreas Hofschneider (clarinet), Andrej Hermlin (piano), Roland Neffe (vibraphone), Michael Waterstadt (bass) and Michael Wirth (drums). Last year, they impressively proved how a band can play for a Balboa crowd. Great to have them back!
• Sunday: Good Bye Dance, only for the weekend participants.

Details & Registration

The registration is now open! Don’t miss the early bird prices until 14th June 2012. Check out the website Swiss Balboa Weekend for further informations, available in German and English.

I hope to see you in September!

Jimmy Yancey

James Edwards “Jimmy” Yancey (Feb. 20, 1894 – Sept. 17, 1951) was an afro-american pianist, singer and dancer. He is considered the pioneer of Boogie Woogie piano. Boogie Woogie was a typical element of uptempo Blues and early Rock ‘n’ Roll.

In the late 1930s, Boogie Woogie boomed but Yancey had started playing it already after 1915. Interestingly, Yancey didn’t begin recording before 1939.

Chris Kelsey on allmusic writes about his style:

“Yancey was not as technically flashy as some of his disciples, but he was an expressive, earthy player with a flexible left hand that introduced an air of unpredictability into his bass lines. His playing had a notable peculiarity: Although he wrote and performed compositions in a variety of keys, he ended every tune in E flat.”

Despite the fact, that he had quite an impact as musician, he never quit his day job as a groundskeeper for the Chicago White Sox baseball team, where he started to work in 1925.

On January 23, 1986, Jimmy Yancey was inducted into the Rock and Roll Hall of fame, largely based on his contributions to the development of Boogie Woogie as a style.

Five O’Clock Blues

This song is a great example for Yancey’s earthy style, as it is described earlier in this post. For my taste, it’s more a Blues than a Boogie Woogie tune, though.

As a Swing DJ, you have to well consider when it’s the right time to play such a song for a dance crowd!

Title: Five O’Clock Blues
Artist: Jimmy Yancey
Recorded: 1939
Album: The Piano Blues Of Jimmy Yancey
Tempo: 126 bpm
Dance: Lindy Hop, Blues

Click the link to download the song at
iTunes CH/EU ･ iTunes US ･ Amazon.de･ A’zon.com ･ A’zon.co.uk ･ emusic

Are you okay with dancing Lindy Hop to Boogie Woogie? Share your thoughts in the comment section below!

Every Monday, I post a new “Song of the Week“.
You can find the songs also on my Spotify playlist or on 8tracks.

Related Songs:

Song of the Week #40: “Piano Stomp (Shine)” by Lionel Hampton
Song of the Week #114: “Smiles” by Benny Goodman Quartet
Song of the Week #113: “Ridin’ And Jivin’” by Earl Hines
Song of the Week #112: “Ochi Chornya” by Wingy Manone
Song of the Week #111: “Town Hall Blues” by Bud Freeman

Five years earlier, Benny Goodman recorded “Smiles” with his quartet, featuring Lionel Hampton on vibraphone, Teddy Wilson on piano and Gene Krupa on drums.

Smiles

Let’s listen to two versions.

First, the studio version (it’s a bit scratchy…)

And now, a live version, obviously from the same year (although, I don’t have any evidence for that)

Smiles is wonderful song, both for Lindy Hop and Balboa. Because of the clear rhythm, it’s especially useful for Balboa (beginner) classes.

Probably, I have written this before: I definitely recommend the album “The Complete RCA Victor Small Group Recordings“. All the songs were carefully remastered in 1996 and it is one of my favorite compilations of Swing music ever!

Title: Smiles
Artist: Benny Goodman Quartet
Recorded: 1937
Album: The Complete RCA Victor Small Group Recordings
Tempo: 154 bpm
Dance: Lindy Hop, Balboa

Click the link to download the song at
iTunes CH/EU ･ iTunes US ･ Amazon.de･ A’zon.com ･ A’zon.co.uk ･ emusic

Do you like small groups or do you prefer big bands? Share your thoughts in the comment section below!

Every Monday, I post a new “Song of the Week“.
You can find the songs also on my Spotify playlist or on 8tracks.

Related Songs:

Song of the Week #35: “Smiles” by Flavio Ambrosetti Sextett
Song of the Week #93: “Moonglow” (Take 2) by Benny Goodman Quartet
Song of the Week #113: “Ridin’ And Jivin’” by Earl Hines
Song of the Week #112: “Ochi Chornya” by Wingy Manone
Song of the Week #111: “Town Hall Blues” by Bud Freeman

A highly intensive Balboa workshop

Quote from the website:

The Experiment is a highly intensive Balboa workshop built around the model of small, select groups of participants spending a week together with top dancers of our generation in an extraordinary live+work+play environment.

My first contact with The Experiment

It was back in Summer 2008, I was attending the Studio Hop Summer Camp, when I heard the first time about The Experiment. Mastermind David Rehm, who was teaching there, was handing out flyers about the event. He was painfully mysterious about the event. When we asked him what The Experiment is, he always redirected us to the website.

As a matter of fact, the first Experiment in 2009 was very exclusive. Only one week, only 24 students. You can imagine the high competition between the appliers to get a spot.

I was hooked from the beginning. In that year, I knew I can’t apply because of my dance level but I also knew that I wanna go there as soon as possible.

One year later, the event was advertised again, and this time with 2 weeks with 24 students each. I applied and to my big surprise I got accepted. I was excited and terrified at the same moment!

In this year (2012), I attended The Experiment already for the third time. The event has meanwhile grown to three weeks with 28 students each.

What didn’t change over the years is the fascination and the concept of the event.

What Is So Unique About The Experiment?

I have already written about this last year in “A Day At The Balboa Experiment“. Let me summarize one more time, what distinguishes The Experiment from all the other camps and workshops:

Sessions instead of lessons/classes

Usually, there is a morning session and an afternoon session. Some of these sessions have specific topics, chosen by the staff, and some are open (without a topic) and free to use. Examples of sessions are: watching old clips and try to copy what you see, Ask & Tell, feedback session after competition, etc.

Instructors act as coaches and mentors

Some sessions are created and led by specific instructors but mainly they are coaching and mentoring. As a student you have to be pro-active, though. In other words, you have to ask them for feedback.

Driven by the students

The primary goal is, that the participants teach, inspire and give feedback to each other. The students are all high level dancers (advanced/advanced plus/masters). It’s simply amazing how much knowledge and experience comes together in such a place. It would be a big waste, if there wouldn’t be a possibility to share and exchange that knowledge.

Combination of practicing, living, socializing, playing, …

You know that from your own experience. You spend hours with the same people again and again at workshops and events but basically, you don’t know that much about them unless your common passion for the dance.

Here, everything is happening at the same place, means: in the Experiment House. Sleeping, eating, working, playing, hanging out, social dancing, etc.

There is plenty of time to get to know your peers better and in a different way.

Feedback

I don’t know any other place where I get honest feedback about my dancing from my peers. This fact helped me the most in the last few years to grow and to become a better dancer – and also a better dance teacher!

You Should Apply As Well

If one or more of these points resonate with you, then you should apply for the next Experiment.

Even if you’re not an advanced dancer so far and you are interested in such a learning environment, apply! Who knows the future, maybe there will be a Balboa Experiment with 4 weeks!?

In the 1920s, when nearly every fluent jazz pianist played a steady stride with his or her left hand (keeping a steady rhythm by “striding” back and forth between bass notes and chords), Hines had the world’s trickiest left hand.

He would play against time, sometimes just implying the rhythm and frequently playing out of tempo and suspending time but never losing the beat.

His speedy right hand (which sometimes played octaves in a “trumpet style” so his notes would ring over his orchestra) was on the same level, and Hines was considered the first “modern” jazz pianist.

Of greatest relevance to the Swing era, for 19 years (1928-47) Hines led one of the finest big bands based outside of New York.

Source: Swing : Third Ear – The Essential Listening Companion by Scott Yanow

Ridin’ And Jivin’

The song begins with a staccato feeling before it gets smoother. The solo instruments (the trumpet played with a plunger) also change between smooth-stretchy and staccato sounds. Some nice dissonances are filled in: around 1:30 minutes in the solo and from 2:00 minutes by the backing.

A great song with a variety of possibilities to play with as a dancer!

Title: Ridin’ And Jivin’
Artist: Earl Hines
Recorded: December 12, 1939
Album: Ridin’ And Jivin’
Tempo: 153 bpm
Dance: Lindy Hop

Click the link to download the song at
iTunes CH/EU ･ iTunes US ･ Amazon.de･ A’zon.com ･ A’zon.co.uk ･ eMusic

What do you think about Wingy Manone’s interpretation? Share your thoughts in the comment section below!

Every Monday, I post a new “Song of the Week“.
You can find the songs also on my Spotify playlist or on 8tracks.

Related Songs:

Song of the Week #112: “Ochi Chornya” by Wingy Manone
Song of the Week #111: “Town Hall Blues” by Bud Freeman
Song of the Week #110: “Keep On Churnin’ (Till The Butter Comes)” by Wynonie Harris
Song of the Week #109: “Rigamarole” by Willie Bryant
Song of the Week #108: “Fariboles” by Alix Combelle

Later, German Florian Hermann composed “Valse Hommage“, set Hrebinka’s words into this romance and published it on March 7, 1884. Feodor Chaliapin popularised the song abroad in a version amended by himself.

Although this song had originally nothing to do with jazz, it became a jazz standard under the name “Dark Eyes” or in French “Les yeux noir“.

Let’s have a look at a version by American trumpeter and singer Wingy Manone (Feb. 13, 1900 – July 9, 1982):

Ochi Chornya

This is a loose English translation of the original text [source: Wikipedia]

1.
Dark and burning eyes, Dark as midnight skies
Full of passion flame, full of lovely game
I’m in love with you, I’m afraid of you.
Days when I met you made me sad and blue.
[...]

As we can hear, Wingy Manone made up his own version. He even adapted “chyornye” to “chornya” that he could write recurring rhymes.

I like this song not only because of the funny lyrics, but also because of the melancholic and romantic feeling. Manone’s trumpet lines and solos create a distinctive contrast to the soft sound base.

Title: Ochi Chornya
Artist: Wingy Manone
Recorded: March 19, 1941
Album: 1940-1944
Tempo: 166 bpm
Dance: Lindy Hop, Balboa

Click the link to download the song at
iTunes CH/EU ･ iTunes US ･ Amazon.de ･ A’zon.com ･ A’zon.co.uk ･ eMusic

What do you think about Wingy Manone’s interpretation? Share your thoughts in the comment section below!

Every Monday, I post a new “Song of the Week“.
You can find the songs also on my Spotify playlist or on 8tracks.

Related Songs:

Song of the Week #111: “Town Hall Blues” by Bud Freeman
Song of the Week #110: “Keep On Churnin’ (Till The Butter Comes)” by Wynonie Harris
Song of the Week #109: “Rigamarole” by Willie Bryant
Song of the Week #108: “Fariboles” by Alix Combelle
Song of the Week #107: “I Didn’t Like It the First Time (The Spinach Song)” by Julia Lee

Town Hall Blues

The hard pushing rhythm section of this great tune suits equally to Balboa and Lindy Hop dancers.

Lawrence “Bud” Freeman (April 13, 1906 – March 15, 1991) was one of the finest tenor saxophone players in the 1930s. Beside Coleman Hawkins, who had a harder tone than Freeman, he was one of the most influential tenor saxophonists, inspiring musicians such as Lester Young.

Freeman was a member of a group of young white Chicago Jazz musicians known as the Austin High School Gang, influenced by the music of the New Orleans Rhythm Kings. They created their own style which became part of the Chicago Jazz style.

In 1927, he moved to New York and worked with Red Nichols, Ben Pollack, Joe Venuti and Eddie Condon, among others.

From 1936-1938, he was the star in Tommy Dorsey’s Orchestra. In 1938, he joined Benny Goodman, where he never got happy and left within a year. From 1939-1940 he led his own octet, the Summa Cum Laude Orchestra.

During World War II, he led an army band. After the war, Freeman led his own bands, but was also working closely with Eddie Condon.

Bud Freeman traveled the world. From 1968-1971, he was with the World’s Greatest Jazz Band. Later in the 1970s, he lived in London before moving back to his original hometown Chicago.

He was an active musician into his eighties.

By Bud Freeman, there are two memoirs You Don’t Look Like a Musician (1974) and If You Know of a Better Life, Please Tell Me (1976), and the autobiography Crazeology (1989) available.

Title: Town Hall Blues
Artist: Bud Freeman
Recorded: November 15, 1945
Album: Complete Jazz Series 1946
Tempo: 180 bpm
Dance: Balboa, Lindy Hop

Click the link to download the song at
iTunes CH/EU ･ iTunes US ･ Amazon.de ･ A’zon.com ･ A’zon.co.uk ･ eMusic

What do you think about this song? Share your thoughts in the comment section below!

Every Monday, I post a new “Song of the Week“.
You can find the songs also on my Spotify playlist or on 8tracks.

Related Songs:

Song of the Week #24: “I’ve Found A New Baby” by Tommy Doresey & His Orchestra
Song of the Week #110: “Keep On Churnin’ (Till The Butter Comes)” by Wynonie Harris
Song of the Week #109: “Rigamarole” by Willie Bryant
Song of the Week #108: “Fariboles” by Alix Combelle
Song of the Week #107: “I Didn’t Like It the First Time (The Spinach Song)” by Julia Lee

After the introduction, we will take a look a the the theory, then we will listen to an example, where the AABA form is used and finally, you will learn a basic idea, how to implement AABA into the dance.

Introduction

The AABA form was style-defining for the popular music of the United States. It is the basic form of most of the so-called Tin Pan Alley songs.

Tin Pan Alley was the nickname of the 28th Street between Fifth and Sixth Avenue in Manhattan New York. Between ca. 1895 and 1930, a majority of music publishers were settled in this district and responsible for the flourish of the American popular song during that time.

Many songwriters and composers worked for these publishers. The songs were published as sheet music, the base for an essential part of the Jazz standard repertoire.

Theory of AABA or thirty-two-bar form

Many of the so-called jazz standards (and thousands of more tunes) are written in the AABA form.

The AABA form usually consists of 32 bars.

These 32 bars are divided in four 8 bar sections: Two A sections or verses, a B section or “Bridge” (also: middle eight) and another A section or verse:

A - 8 bars
A - 8 bars
B - 8 bars
A - 8 bars

The first two A sections (A1 and A2) are verses with similar chords and a similar melody, while the lyrics may change.

The following bridge builds a contrast to the A sections using different chords, a different melody and different lyrics, before it is transitioning to another A.

This last A section (A3) repeats the first two A’s with similar chords and a similar melody. The lyrics may be different or one verse may be repeated.

Important to know for us dancers: musicians always count on 4 while we are counting on 8. With that said: 8 bars = 4 eights.

Example: “Take The ‘A’ Train”

Artist: Duke Ellington & His Orchestra, 1941
Composer: Billy Strayhorn

Listen to the song:

0:00-0:06  Intro (4 bars)

0:06-0:52  A A B A

0:52-1:38  A A B A

1:38-1:43  Transition (4 bars) with key change

1:43-2:29  A A B A

1:43-2:52  last A repeated another two times and fading out

Note: While writing this section, I coincidentally found a great analysis of exactly that song. You learn visually, how the song is structured and which instruments are playing at the moment while listening to the song.

So, I decided to shorten this part and only to describe the structure. I strongly recommend you to head over to the Take The ‘A’ Train Analysis before reading on.

Musicality for Swing Dancers: How to Use the AABA Form

Here is a basic idea, how you can implement the newly acquired knowledge into your dance.

Let’s create a short routine:

Section A1 - first four eights:

• Swingout
• Swingout
• Swingout with inside turn
• Mini dip

Section A2 - second four eights:

• Swingout
• Swingout
• Swingout with outside turn
• Lindy Circle

Section B (bridge) – third four eights:

• Side-by-side Charleston
• Side-by-side Charleston
• Side-by-side Charleston
• Kick-the-dog / Skip-up

Section A3 - fourth four eights:

• Swingout
• Texas Tommy
• Swingout
• Lindy Circle

I guess, you get the idea: We rebuild the AABA form with different Lindy moves.

A sections are danced with swingouts and variations of them: A1 and A2 are similar, but not exactly the same. The bridge is done with side-by-side charleston to contrast the A’s, and A3 is the exact copy of A2 to show the relation to each other.

When we do something like this, then we talk about “macro musicality“.

If you feel comfortable with building four eights sections, then you can start to create more complicated variations. With the time, you don’t only dance the main melody, you become a soloist, who improvises freely without loosing the structure, like the musicians in any of these songs!

How do You implement the AABA form into your dance?

I would love to read your stories in the comment section below.

• How did you learn to implement the AABA form?
• How would you teach it?
• Any other ideas to the topic?

Sources:

• The AABA Song Form
• Exploring the AABA form in Songwriting
• Tin Pan Alley

Photo source music notes: iStockphoto

Lindy Hoppers love Jump Blues and the related Rhythm and Blues (the early one) because it’s still swinging.

African-American Wynonie Harris (Aug. 24, 1915 - June 14, 1969) was one of the exponents of that energetic genre.

Also known as “Mr. Blues”, he was a dancer, drummer and “blues shouter“, a singer who could shout to be heard over the drums and instruments of the band (especially at times where there were no microphones).

In 1944, Harris was performing in Chicago at the Rhumboogie Club when Lucky Millinder, the black bandleader of one of the best rhythm and blues orchestras that existed, hired him as the new singer.

In the same year, Harris recorded with Millinder’s band two sides for Decca. One was “Who Threw the Whiskey in the Well“. The release date was delayed and when the record finally was issued in mid-1945 and became a hit, Harris was long gone from the band.

Harris’ debut on record under his own name was in July of 1945. In 1948 he landed a major hit with “Good Rockin’ Tonight” and from then, he stayed for four years in the R&B charts with 15 top ten hits in total.

In 1952, his series of successful recordings stopped. The taste of the consumers had changed and it was time for Rock ‘n’ Roll. Interestingly, Wynonie Harris made significant contributions to the evolution of Rock ‘n’ Roll, with his music, his style and his performances. Elvis Presley was greatly influenced by Harris.

On nsea.org you can find a detailed biography.

Keep On Churnin’ (Till The Butter Comes)

This was not a number one hit, but it’s a good song for Lindy Hoppers a typical tune with Wynonie Harris’ trademark voice.

Title: Keep On Churnin’ (Till The Butter Comes)
Artist: Wynonie Harris with Todd Rhodes Orchestra
Recorded: January 9, 1952
Album: Greatest Hits
Tempo: 145 bpm
Dance: Lindy Hop

Click the link to download the song at
iTunes CH/EU ･ iTunes US ･ Amazon.de ･ A’zon.com ･ A’zon.co.uk ･ eMusic

Do you love to dance to Jump Blues & Rhythm and Blues? Share your thoughts in the comment section below!

Every Monday, I post a new “Song of the Week“.
You can find the songs also on my Spotify playlist or on 8tracks.

Related Songs:

Song of the Week #7: “No More Love” by Buddy Johnson
Song of the Week #80: “Shout, Sister, Shout!” by Sister Rosetta Tharpe w/ Lucky Millinder
Song of the Week #109: “Rigamarole” by Willie Bryant
Song of the Week #108: “Fariboles” by Alix Combelle
Song of the Week #107: “I Didn’t Like It the First Time (The Spinach Song)” by Julia Lee

I have the feeling, that we don’t hear this song that often anymore on the dancefloor, maybe because it’s overplayed. However, as a Balboa dancer you should know this song, and as a Swing DJ you should own it.

Rigamarole

Rigamarole was composed by Harald “Hal” Mooney and first recorded by Ozzie Nelson & His Orchestra on January 23, 1935.

The more popular and slightly slower version is by Willie Bryant & His Orchestra, recorded only a few months later in the same year.

Willie Bryant’s version is also more energetic and sharper.

If you wanna learn more about Willie Bryant, check out Song of the Week #77 where you can find a short biography.

By the way, since English is not my mother tongue, I was wondering what rigamarole (also: rigmarole) means. I found this definition:

1. confused or meaningless talk
2. a complex and sometimes ritualistic procedure

Did you know that?

Title: Rigamarole
Artist: Willie Bryant and His Orchestra
Recorded: May 8, 1935
Album: Throwin’ Stones
Tempo: 245 bpm
Dance: Balboa, Lindy Hop

Click the link to download the song at
iTunes CH/EU ･ iTunes US ･ Amazon.de ･ A’zon.com ･ A’zon.co.uk ･ eMusic

Do you like Rigamarole – the song? Share your thoughts in the comment section below!

Every Monday, I post a new “Song of the Week“.
You can find the songs also on my Spotify playlist or on 8tracks.

Related Songs:

Song of the Week #27: “Swamp Fire” by Ozzie & Harriet Nelson
Song of the Week #77: “A Viper’s Moan” by Willie Bryant
Song of the Week #108: “Fariboles” by Alix Combelle
Song of the Week #107: “I Didn’t Like It the First Time (The Spinach Song)” by Julia Lee
Song of the Week #106: “The Goon Drag (Gone Wid De Goon)” by Sam Price & His Texas Blusicians