1. The “Heartbeat of Harlem,” The Duke, & the King of Swing

2. Episode 4) 53:05-59:00 Gary Giddins (music critic) on the Big Band, Roseland, and intro to the Savoy

4. Modeled after the Roseland in NYC, the Savoy was Harlem’s gem Called “the Heartbeat of Harlem” by Langston Hughes Many of the Swing era dances began at the Savoy

5. Nutcracker Suite and Interview

7. 1899-1974 Born in Washington, D.C. Middle class family Influenced by Ragtime Studied piano Self-taught composer Wrote over 2000 songs Moved to Harlem in 1923 to see if he could make it in the “big city”

8. Began working at the Hollywood Inn (later called Kentucky Club) in the Fall of 1923 off Times Square Moved to Harlem’s famous Cotton Club in 1927. Became first black bandleader with a radio broadcast (CBS in late 1927)

9. Episode #3) 1:07-1:22 The Cotton Club and Duke Musical Example: Come Sunday On Piano from “Black, Brown, & Beige”

10. Considered his music simply American or “beyond category” Director of his band from 1923 until his death (1974) Career really took off in the 1940s (RCA contract, multiple hits, collaboration with Billy Strayhorn)

11. YouTube musical example (choice) YouTube Interview (Finland)

13. 1909-1986 Started the clarinet at age 10 Led his own band from 1934 on – often played Fletcher Henderson’s arrangements His title the “King of Swing” was coined by his drummer, Gene Krupa

14. Episode 3) 48:00-54:00 Benny Goodman bio

16. Goodman’s LA debut at the Palomar (left) on August 21 st, 1935 is considered the birth of the Swing era. The crowd was loosing interest until they started playing many of Fletcher Henderson’s arrangements during the 2 nd half.

17. “Ah, swing, well, we used to call it syncopation – then they called it ragtime, then blues – then jazz. Now, it’s swing. White folks, yo’all sho is a mess.” -on the Bing Crosby (radio) show.

18. Over a period of about 50 years, “hot music” spread from the whorehouses of Storyville, to the bars and clubs of New Orleans, to the speakeasies and ballrooms of prohibition era Harlem, to the dancehalls and homes of every American family. By the late 30s, swing was no longer a considered to be “black” music, it was the music of all young people. Swing was just “orchestrated Louis.” Gary Giddins, Music Critic