All language subtitles for Ken Burns Jazz - EP05 - Swing Pure Pleasure-en

I think it's very important
that jazz is,

primarily,
a music for dancing.

You move
while listening to jazz.

And he always moves
in the direction

of elegance,

what is the most
civilized

that the human being
can.

The extension,

elaboration and refinement
supreme of effort,

elegance.

Pleasure in itself.

Farther than
We can go with life.

Equivalent to what
Ernest Hemingway called

the sweat in the bottle
of wine. "

If you do not appreciate it
the image of sweat drops

when the
white wine and tasting it,

of your partner,
of the sunshine,

You lost something.

"First of January of 1936 ...
The "swingos" think that

The swing is ticking forever.
the evolution of jazz.

With them, the style is a creed,
a code.

That's why the addicts in this
music looks so glazed

and dazzled in his
huge appreciation

by this business
called "swing".

But what is the swing?
Ask any adept, and he will say,

"Well, the swing like ... um ..."

No one can define
exactly what ".

Abel Green. "Variety."

In the mid-1930s,
while the Great Depression persisted,

jazz has come on the verge of becoming
the American popular music.

It had a new name now, swing,
and its impact was revolutionary.

Swing saved the phonographic industry.
In 1932, only ten million

discs have been sold
in the United States.

In 1939, this number would increase
to fifty million.

The swing, which had matured
at the Harlem ballroom,

would become the definitive
a whole generation of Americans.

I think we all feel
I miss the music

that we hear when
we were 14, 15, 16 years old.

This never happens, and with me,
were the swing bands.

That was my music.

She touched my heart
I will not start

and, like everyone else,
The things that you

met in the beginning of life

are those that
you look for

When do you want some?
comfort.

People needed
of dancing music

more than ever
In the USA,

because the country was
a disdain.

I think people
they needed the escape

to go to the Savoy and the others
places to dance.

They needed
of those bands.

As antidote
for depression,

I think swing
have done

same as
the MGM musicals

to help the US.

The swing gave Hollywood its theme
musical and offered entertainment,

elegance and escape
for a discouraged people.

You could hear the swing playing in radios
and vinyls on all streets

of the United States, and this
monitoring

for a variety of
exciting new dan as.

The Big Apple and Little Peach,
Shag and Suzy Q,

and the dance that began all,
to Lindy Hop,

now called "Jitterbugging".

Hundreds of bands hit the road,
and the young people

the careers of physicians with
commitment with which they accompanied

your players
baseball favorites.

Thousands of white Americans,
who had never heard jazz,

they started to fill dance halls
and theaters all over the country.

The Aragon, in Chicago,
the Alcazar in Baltimore

and Ali Baba in Oakland.

The Twilight in Fort Dodge, Iowa,
and Moonlight in Canton, Ohio.

The Arcadia Ballroom in Detroit,
the Paramount Theater in New York,

and the Palomar Ballroom,
In Los Angeles,

where Benny Goodman had enthused
the public with their version of music

touched for the first time
by Louis Armstrong,

Fletcher Henderson, Chick Webb
and Duke Ellington.

The swing was a
electrifying development

in popular culture
American.

Unleashed forces that
people did not know.

There were dancing bands,
soft bands

and romantic bands,
but when Benny Goodman

played for those young people
in Palomar, Calif.,

was like 20 years later,
with rock.

He played a song.
daniant

has been running for years
communities.

Ellington was already composed
the swing for 3 years,

and Chick Webb and Fletcher
Henderson were already playing it.

That swept the country.
and triggered

an excitement and
a physical explosion

for which no one
was prepared.

It was the time of depression,
difficult days,

and this music
it was pure pleasure.

Pure physical pleasure.

FIFTH EPISODE
SWING: PURE PLEASURE

SOPO

4 MILLION UNEMPLOYED
SER O CONTRATADOS

WORKS EXCEED CHARITY

Let's distribute the
fast money because

we want to transfer
the unemployed

from charity to
the payroll.

We are not alone
building roads,

but also bridges
and dams.

We will do public works
and other projects.

The song is the bell
of memory,

and these were
our songs.

They were part of the day to day,

and that's what Benny did
transpose the space,

leave the jazz and enter
in the living room.

He arrived with "Blue Skies".

Everyone knew "Blue Skies"
and Irving Berlin,

So it was easy.
He was our chosen one.

Less than a month after success
unexpected from Benny Goodman

at the Palomar, his albums jumped
for the third, second and

first places in stores
of California.

He was 26 years old.
and was already called "The King of Swing".

Suddenly, your music
was everywhere,

and Goodman, the shy son of
Jewish immigrants from the favelas

of Chicago, turned dolo
of adolescents.

I was in love
by Benny Goodman.

I thought he was handsome
and he loved his posture,

the way you do not call
care for yourself.

He was a "cool" guy,

and this when I had
my 16 or 17 years.

The King of Swing,
Benny Goodman ...

I turned the radio on at maximum

and put his ear
to listen to Gene Krupa.

My mother was crazy.
"What are you doing?"

And I would say, "Quiet!
I need to hear this! "

On March 3, 1937,
Benny Goodman Orchestra

in Times Square. At the same time,
they had played in hotels

and ballrooms, where they were
served alcoholic beverages

and the public was, for the most part, an adult.

But at Paramount, everyone
were welcome.

For the first time,
high school students,

who had been buying the
discs by Benny Goodman,

would have the opportunity to see
your her i personally.

The time had come,
and they leave the subway

around Times Square
like a mob.

The police
understood nothing.

Where did they come from?
What did they want?

Music had
an incredible pace.

I made you
leave yourself,

and you danced with
who was there.

It was fun to swing
to the sound of that rhythm.

The young people began to
dance everywhere,

and some went up on stage.

This generated a lot of publicity,

and Benny Goodman,
which was already a success,

became a icon, a great
her i of popular culture.

Benny was a good role model.

It comes in appearing
a gentleman

And suddenly,
in the middle of a soil,

lifted the p ,
jumped

sat on a chair
and fall back.

He let himself
take over music,

and that fascinated
the public

because it was not pretense.
It was Goodman.

Benny came up
like an explosion.

He appeared as
a mere stranger.

We met Ellington and
the other great names,

but he was a
Unknown boy.

From night to day,

he entered the room
being of Americans

bringing jazz
by the collar,

And suddenly,
the jazz,

which was almost
a cult music,

it became
popular American music.

This is what
Goodman did.

The jazz

it is not a racial song.

Everyone plays jazz.

They always played.

In teaching history
of jazz,

there are white bands
and black.

But the musicians
they do not learn that way.

A big lie
that has been taught to us.

Goodman was going to learn
the clarinet

with whom he could.

Music is like this.

Do you hear something you like?
and wants to play the same.

Not that he was
"the great white hope",

but most buyers
was white.

Critics,
the owners of the record companies.

This is how music
reached the country.

So it was logical that
the king was white.

But Benny Goodman himself
I did not think so.

I'm in love

Where did you get it?
your ideas?

My ideas?

I have millions of dreams.

Just dream
All the time.

I thought he played the piano.

This is not piano, dream.

This is dreaming.

Ellington once
defined jazz as

"black feelings",

the feelings of the
black Americans,

"set to rhythm and melody."

Ellington's Music

represented the
musical equivalent

to the American spirit
of statement

in the face of adversity.

She was constantly creative,

it generated resistance

and made possible
an experimental attitude.

Developed a
experimental propensity.

Duke Ellington never complained
publicly from the crown

by Benny Goodman as
the King of Swing, or the huge

popularity of new bands
- most white -

who came in his wake.

"Jazz music," he said.
"The swing of business."

At that time,
there was still the desire

to underestimate black
at all costs.

Duke Ellington was
a proud man

and I did not like things
which he witnessed.

Although not
the kind of man

verbalize
your opinion,

in your music,
he makes it clear

that is very proud
from who

and than ,

and feels that his music,
the music of his race,

made a huge contribution
to the world of music.

Once, an interviewer asked
to Ellington what he thought

the fact that you can not stay in
many of the hotels it touched.

Ellington replied:
"I got the energy I needed ...

to frown, "he said,
"and made up a blues."

The music of big bands
was popular

because it came from
bowels of the country.

Popular music
american flag

and they had
too much material

to sing and play.

There was the radio,
that was growing

and projected the bands.

There was also a
It's incredible in the country.

A matin at the Roseland Ballroom,
at the Cotton Club.

People listened
it's on the radio

and they thought, "That's too much!"

The show took place in NY,

and who was not there?
I thought, "Gee, NY!"

Good evening,
ladies and gentlemen.

From Manhattan to
Golden Gate,

another estréia in the
National Broadcasting Company.

One of the great attractions
was the Paramount Theater.

We teenagers
of 12, 13, 14, 15 years,

we kept money and
We could go to the theater.

and listen to our bands
favorite

I could hear from afar
the beginning of sound

of the orchestra theme.

It was a soft sound
and came from the bottom.

Then the band appeared
on a stage

and it would appear playing
its classic theme.

It was shivering.

You got goosebumps
two p s head.

In the wake of the incredible
success of Benny Goodman,

the sound of dozens of big bands
filled the air, helping to attract

millions of people to theaters
and ballrooms.

Some played very little jazz,
giving emphasis to pop

and highlight the attractive singers,
which guaranteed a good box office.

But all bands encouraged
Americans to get up and dance.

There was Woody's blues band
Hermann and the Casa Loma Orchestra.

Bob Crosby and the Bob Cats.

Kay Kyser and his "Colgio
Music Knowledge ".

International Girls
Sweethearts of Rhythm.

And Ivory Hutton and his Melodears.

Earl Hines had an orchestra,
as well as Benny Carter.

Charlie Barnet.
And Jimmy Lunceford.

Jubilee is in the air
and brings the first cam

from the battle of barrelhouse,
boogie woogie and blues.

For the laity
on the subject,

the double key
Jumbled

by downbeat father,
Jimmy Lunceford!

Jimmy Lunceford once said that
"a band with good looks,

that makes clear presentations
and seems to be liking

of your work, will always be
invited to return. "

The Lunceford Orchestra demonstrated
This night after night.

He had some great soloists, but it was
incredible precision of the set

took the Danarians to the
want them to play.

Jimmy Lunceford had
the best "show band".

The boys of the band
they were very beautiful.

They had the suits
more elegant

and everyone had a
Great appearance.

They were doing signals
with your hands

and the vocals
were unique.

They played their
trumpets in the air

and they got them
simultaneously.

Jimmy had great
respect for what he did

and infused the same
their colleagues.

There were many cousins
in the band,

but when they came together,

submerged their personalities
in the set.

It was quite a band.

It was always at its peak.

Despite being announced as
"the sentimental gentleman of the swing",

there was nothing sentimental
in Tommy Dorsey.

He was quarrelsome and drunk,
a hard-nosed, authoritarian man

who formed his own band
because I can not touch

next to the brother, Jimmy.
But his band was hugely popular,

and by her passed stars
of the caliber of Bunny Barrigan,

Dave Tough, Buddy Rich,
and a skinny singer from Hoboken,

New J rsei, called
Frank Sinatra.

Dorsey was a superb musician.

It was great to trombone.

Turned the trombone
in a singing instrument.

It was the 1st. To catch
a basic instrument,

transform it into a
singing instrument

and play melodies on it.
His control was superb.

He was a great musician,
but greatly underestimated.

More than anyone,
he was able

to create an orchestra
who had two souls.

It could be a great orchestra.
of jazz or of pop,

a soft band that played
sentimental melodies,

or a vigorous
jazz band

and there were always bad ones
soloists as a whole.

One of the most popular bands
swing story was led

by another trombonist,
Glenn Miller, who preferred arrangements

controlled, many vocals and a
of the representation.

Glenn Miller was important
because it popularized the swing

between the people who
they could not

Connect with Goodman
and Ellington.

His music was romantic.

He created the sound of that time,

a sound that will always be
associated with that age,

What is not a
contribution.

In the following years, Glenn Miller
and his orchestra would produce

a series of successes,
among which "String of Pearls",

"Little Brown Jug" and
"In the Mood", which

one of the most
popular swing.

My big dream was to play
in a jazz club.

But my dad wanted to
that I was a cowboy.

When I drove the cattle,

My dream was that the bus
from the band of B. Goodman

wanted to go through cattle,

but I would not let him
do not be

they let me climb
and play with them.

I imagined that,
one day it would be heard

by some band
that passed through here.

HOW TO TAKE A DRUG

When we talk about swing
and their bands,

It's hard to tell if we should
call it jazz or no

because most of the
were commercial.

Young people were like
all of your age;

had an interest in
pop music because it was the fashion.

This is what I call swing!

The adults loved the swing,
but it was the teenagers

which turned it into a
national craze.

Sales of trumpets have doubled,

and sales of clarinets,
the instrument of Artie Shaw

and Benny Goodman, tripled.

There was even a non-official uniform;
the boys wore blazers and slippers

equal to their heroes,
and the ma as preferred socket socks,

heeled shoes and round skirts,
that stood when they

they won the dance floor.

Every band leader
had a club.

The girls covered the musicians
most beautiful with letters

and phone numbers.

Artie Shaw once called
the "jitterbuggers" of "idiots"

and even Benny Goodman,
whose presentation at Paramount had

raised the platja,
confessed that their enthusiasm

Sometimes it frightened him.

To be leader of a band
in those days

it was like being a musician
of rock these days.

They were revered
by the average.

They were the new celebrities,
something new in music

and in American popular culture
which lasted almost 10 years.

But the swing had its critics.
Blue Barron, leader of a

romantic band, denounced him as
"nothing more than orchestrated sex ...

a phallic symbol
to the sound of music. "

And Dr. A. A. Brill,

a well-known psychiatrist,
was even more worried.

The swing represents
a return

to the primitive tom-tom-tom,

a rhythmic sound that pleases

both to the wild
about the children.

Acts like a narctic

and makes people
forget reality.

They forget the Depression

and the loss of their jobs.
how to take a drug.

There was a sense that
We were rebels,

that we did something about that
Our parents did not know

and they should not like it very much.

The jitterbugging, of course,
was part of the dance.

He was agitated, and the girls
wore short skirts

and socks;
when they rolled,

the skirts rose
a little.

It was nothing like
what we have today,

but it was cool when
You were a boy.

MEN WORKING
TOGETHER

It was my first year
at Gonzaga University.

I was in the gym
one day,

sitting at the piano, playing.

A young man entered and
He listened.

He leaned against the piano,
he listened,

looking at me
and smiling.

I stopped and asked:
"So? What do you think?"

And he says:
"I like your touch.

It's good, but it's not
playing the right style.

Is not playing
the right way. "

He took me to a
downstairs living room

and played a record of
T. Wilson and B. Goodman.

I had never heard
that music before.

I've never heard jazz.
Not even Louis Armstrong.

I knew nothing,
s popular music discs.

And suddenly,
upon hearing that piano,

I said, "God damn it!
Hang on! Who is this? "

And he says:
" Teddy Wilson,

and as soon as you should
play the piano."

One of the most popular
Benny Goodman was "Body and Soul",

song played by a trio who
it was only used on recordings.

The whole country knew the record,
but he had never thought to take

the trio on stage because the pianist,
Teddy Wilson, was black.

Wilson was a reserved boy and
sophisticated son of a librarian

with an English teacher
of the Tuskegee Institute.

Your soft touch is
your innate technique

they married perfectly
the sound of Benny Goodman.

There was never a pianist.
like Teddy Wilson.

One of the things
that highlight

among its precursors,

Waller and Duke Ellington,

was that they had
a percussive touch.

Teddy Wilson had a
light and lyrical touch.

It was an exquisite sound.

Each note sounded like a bell.

It was very fast.

No one had ever done
The piano sounds like that.

In 2 bars,
you recognize Teddy Wilson.

Goodman played with Wilson for the first time
time in a jam session in 1934.

"Teddy and I started playing,"
he would say, "as if we were

thinking with the same brain. "

A few weeks later, Goodman
led his drummer, Gene Krupa,

and Wilson to the studio
to record together.

But when a show was marked in
Chicago, and the promoter, Helen Oakley,

suggested that Wilson be included in
in the program, Goodman was reluctant.

I said, "Let's take Teddy.
It will be a great attraction. "

Benny said:
"I'm not that silly.

I'm getting along well
This is going to be my career.

I do not want to ruin everything.
featuring a black talent

in the middle of it all.
I do not like the idea. "

It was the time of the Depression

and the last thing that
he wanted to do

was to risk it and
throw it all out the window,

to run what it seemed
be a big risk.

Helen Oakley, who knew what
profoundly goodman had been

influenced by black musicians and who
I was anxious to show

that integration would work on the stage,

finally convinced him
when betting on Wilson.

At that time,
black and white musicians

had already fraternized
there were times.

They made jam sessions
together until 3:00 in the morning.

But what Goodman
did was put

Teddy Wilson no showbiz.

Goodman never forgot to
first appearance of the trio.

"The three of us worked together
as if we were born

to play that way, "
he said.

"The trio with Goodman was so solid
like a family, "Wilson would say.

"We were all there,
as if we were brothers. "

Benny Goodman failed to see motives,
outside the habit and the prejudice,

not to improve your band
with the hiring of other

great musicians only
they are black.

At a small bar in Los Angeles,
he heard Lionel Hampton,

a master of a
new instrument, the vibraphone.

Goodman hired him on the spot and
turned the trio into a quartet.

"They play every night and
they do an unbelievable music.

Not a misspelling.
A finishing his solo

and returning to the accompaniment.
Then the other.

All adding inspiration to the rhythm
be too intense to stop.

That's instant composition.

And collective. The most beautiful example
of men working together

to be seen in public. "
Otis Ferguson. "The New Republic."

Despite the success of the quartet,
few other leaders

bands that have dared to
follow Goodman's example.

Music could ignore color,
but the country does not.

In 1935, Duke Ellington invited a
unknown 19-year-old singer

to appear in a short film
called "Symphony in Black".

Her name was Billie Holiday,
and she had already been living a difficult life

which he portrayed in the film.

Born as Eleonora Fagan in 1915,
she was raised in Baltimore.

Her parents never married,
and she spent most of it

of your childhood yearning
by his absent father, Clarence Holiday,

a guitarist who came to play
with Fletcher Henderson.

The father's example attracted her to the world.
of music, but its rude way

and womanizer to be would mirror
in many of the men by whom

she would fall in love during
Whole life.

She was molested and beaten.
as a child,

and at the age of twelve,
worked as a prostitute

in a brothel by the river.

I earned some extra money
accompanying the phonograph in the living room

- the music of Louis Armstrong
and Bessie Smith.

At age thirteen, she lived in
New York, where he presented

in exchange for tips at parties
clubs in Harlem,

and sang for fun
in jam sessions.

Finally, she changed her name to Billie
Holiday, in honor of the absent father.

One night, in 1933, she was singing
in a club called Monette's when

the critic of jazz and business John
Hammond appeared on l .

He was delighted
with its appearance ...

and with his way of singing.

Despite his small vocal range,
just over an octave,

Holiday gave to each song
your personal touch,

partly for singing
just behind the rhythm.

She phrased the melodies of the same
way that the jazz instrumentalists,

and considered herself a musician
before being a singer.

Hammond soon organized a series
of recording sessions,

led by Teddy Wilson.

Benny Goodman attended
sometimes.

Billie had a voice
strangely scratchy.

He had that incredible
sense of time;

before and after the notes.

When you hear
the first discs,

the feeling of the blues,

which always suggests a
certain melancholy,

say, or suggests
what life reserves

a hard blow on the way,

perfectly balanced
for this type of indifference.

She's very witty.

s listen to "A Fine Romance"
and others similar.

She sings with so much
enthusiasm

that seems to be
having fun as never before!

Holiday was very independent.

A woman who knew her
since childhood he said that

she did not give the minimum
for nothing.

Billie Holiday would be like this
the whole life - cursing,

drinking, fighting, seeking partners
of both sexes

and living so close to the edge
that his friends were surprised

that she could survive.

But in the midst of all this,
made an unforgettable art,

and would become the most important
singer of jazz history.

When you listen
Billie Holiday sing,

listen to the spirit
by Bessie Smith

and Louis Armstrong
together in one person.

There is the fire of the singer
of blues

and the smart choice
of notes

of the great jazz musician.

But with it, you have a
deep sensitivity

for the human condition.

It conveys the pain of the blues.

Of life.

But within this pain,
there is courage,

and that's what attracts
people.

Do you remember?

"Do you remember what it was like?
Maybe yes. Maybe you were there.

Maybe you were in New York
in the mid 30's,

when there were so many
big bands playing.

You could go to the Manhattam salon,
of Hotel Pennsylvania,

where Benny Goodman played with his
great band including Gene Krupa ...

Maybe you'd rather go to another room.
of hotel, like the Palm, of the Commodore,

to hear the soft swing of
Red Norvo and Mildred Bailey ...

or the Salão Grill, from Lexington,
to enjoy Bob Crosby

and the Dixieland Bob Cats ...
There were also dance halls ...

the Roseland, with Woody Herman,
and Savoy, with Chick Webb. "

George T. Simon. "Metronome".

The Savoy Ballroom,
on 140th Street with Lenox Avenue,

it was still the most
Hot Harlem,

and Chick Webb, who had been
one of the first band leaders

to touch the swing, still commanded
the show.

Chick Webb is a phenomenon.

There has never been another like it.

It was a hunching year that
had suffered a deformation

in the spine in infancy.
A brilliant drummer.

There was this man
wee

sitting behind a
full battery

that had to be
nailed to the stage

to prevent
that he wore

pedal overturned
the bass drum.

Chick Webb was my first her i.

My father took me.
to see it.

I should have
about 12 years.

I was looking for
the drummer,

but only via
a huge bass drum,

with a head
appearing on top

and two arms in motion,

touching incredible things.

On May 11, 1937,
Benny Goodman ventured

in Harlem to challenge Webb
in what was announced as

"The Musical Battle of the Century".

"Guys, this is my moment,"
Webb told his colleagues,

"Whoever misses a note does not need
back to work."

Four thousand fans filled the hall
dance, and mounted police

and the firefighters had to be
called to control others

five thousand who could not get in
and who refused to go home.

Among those who entered were
standard Miller and Frankie Manning,

professional dancers who came
defying and defeating whoever

who would face them in contests
around the world.

They had returned to the Savoy
to see your her i measure for as

against his most famous challenger.

The night that B. Goodman
faced C. Webb

It was 1938.
"It was an electrifying night.

The whole Harlem was there.

The atmosphere in the Savoy
it was indescribable.

There were Benny Goodman,
the king of swing ...

Chick Webb, the king of swing.

The king of the swing for us.

C. Webb was facing
B. Goodman.

Goodman was a giant.

They called him king
of swing at poca.

Any band that played
swing bought his records.

We met Goodman.

A lot of people do not notice

of which many of the arrangements
by Benny Goodman

were the same
those of Chick Webb.

Only when they went on stage

What could you know
of bands was the best.

Only when they played
the same arrangements.

For me, Chick excelled
Benny that night.

Yes, I say the same.

I do not say this
- No prejudice!

For being Chick Webb,
or out of prejudice,

but I think Chick
overcame Benny that night.

I saw the guys from the band
by Benny Goodman ...

While Chick Webb was playing,

they would be shaking
the head.

The Benny Goodman Band
was defeated.

Gene Krupa bowed in reverence
to the man who had beaten him.

"Chick Webb," he said,
"You gave me a spanking."

"No one," one of the
Goodman's musicians,

"could have defeated Chick
at that night."

CODA

Despite his incredible popularity,
the swing did not captivate the heart

of all the musicians ...
or of all the fans of jazz.

Some found the rigid big bands
too many behaved.

John Hammond, who had helped
to ride the band of Benny Goodman,

now thought that the swing had
if it became too commercial,

and which stifled freedom
and artistic expression,

leading jazz in the wrong direction.

There was pressure on the
leaders of jazz bands.

Not everyone succumbed
pressure,

but Goodman, on a topic
recording session,

made 2 last instrumental
of jazz and 2 pop vocals.

There was always this pressure
to be commercial,

to reach
the popular platform,

to break the barrier
by Glenn Miller.

One night in 1936, John Hammond
got tired of listening to Benny Goodman

play his greatest hits in the
Congress Hotel in Chicago.

Hammond got out, got in the car, and
turned on the radio, hoping to hear

something new, something different,
something less predictable.

He tuned in a
it's experimental

who was broadcasting live
of Kansas City.

"It was one o'clock in the morning ...
the live broadcast of the show

by Count Basie Band
in the Reno Club was starting ...

I could not believe
in what I was hearing. "

John Hammond had now
a new mission: Lead Count Basie

and the sound of Kansas City
for the rest of the country.

TO BE CONTINUED...