Festivals celebrating the diverse world of pre-swing, or Dixieland, jazz often feature bands performing “Hot Dance” music. This term, rooted in popular culture, might not perfectly capture the essence of the jazz style it represents, leading to some misunderstandings. Let’s delve into what “hot dance” truly means in musical terms, clarify common misconceptions, and provide a clear definition for enthusiasts and newcomers alike.
“Hot dance” can be defined as a Dixieland jazz style, predating the swing era, characterized by ensemble sections that are primarily arranged. These arrangements, whether meticulously written scores or memorized voicings, distinguish hot dance by limiting improvisation to solo passages.
To fully grasp this definition, it’s crucial to differentiate between an “arrangement” and a “routine.” A routine is a shared understanding among musicians regarding the structure of a piece, including the sequence of sections, key changes, breaks, and instrumental participation. Routines are essential to all jazz performances, even in improvisational jam sessions, guiding the flow of the music. Many Dixieland standards, like “Tiger Rag,” possess intricate routines known by seasoned musicians, often executed without formal arrangements. While musicians might informally refer to routines as “charts” or even “arrangements,” a true arrangement, in the context of hot dance, involves pre-determined musical passages where instrumentalists have limited or no choice in the notes they play during ensemble sections.
With this understanding, let’s address two prevalent misconceptions about hot dance. The first is that hot dance is solely a big-band phenomenon. The second is that hot dance is somehow less authentically “jazz” compared to other Dixieland styles.
It’s true that large ensembles playing 1920s jazz naturally lean towards the hot dance style. With more than eight instruments, arranging ensemble passages becomes essential to prevent musical chaos. In this sense, hot dance can be loosely considered the big-band jazz style of the 1920s, analogous to swing’s role in the 1930s.
However, smaller combos can also embrace arrangements for some or all of their repertoire, thus becoming hot dance bands. Just as swing music isn’t limited to big bands, hot dance extends beyond large ensembles. Record labels like Stomp Off have released notable hot dance albums by smaller groups, typically with seven or fewer musicians. The Hot Antic Jazz Band, for example, masterfully utilizes the doubling talents of its five or six members and intricate arrangements to create the sonic impression of a larger ensemble, showcasing that hot dance thrives even in smaller group settings.
Addressing the second misconception, hot dance is unequivocally a jazz style. The very term “hot” signifies its jazz essence. If a performance lacks jazz elements, it’s simply ordinary dance music. Therefore, “hot dance” should not be used as a generic term for all 1920s popular music.
Mosaic Records: Exploring Hot Dance Jazz
So, how can you identify a hot dance performance? First, confirm that it’s fundamentally a jazz performance, characterized by jazz phrasing, licks, and feeling. Second, ensure it’s within the Dixieland realm, consciously avoiding swing or more advanced jazz idioms. Third, listen closely to determine if the ensemble passages seem pre-arranged. If all three criteria are met, you’re likely experiencing hot dance.
The third criterion, discerning arrangements, can be the most challenging. It’s not always immediately obvious whether a piece is arranged simply by listening. Arrangements are typically employed when aiming for a specific effect that improvisation alone might not achieve. However, if a band meticulously recreates a fully improvised performance, such as McKenzie and Condon’s Chicagoans’ 1927 rendition of “China Boy,” the arranged version should ideally sound indistinguishable from the original improvisation.
This raises a valid question: why define a jazz style based on a characteristic that isn’t always audibly apparent? The answer lies in understanding that all jazz styles are best defined by the musicians’ intentions and approaches. Musicians operating under the same musical principles and objectives, even with varying skill levels and individual styles, are essentially playing the same style of jazz. They could seamlessly collaborate and perform together. It’s when these core principles shift – perhaps towards greater solo emphasis or repertoire complexity – that a new style emerges. While these shifts are often noticeable to experienced listeners, subtle nuances, like the presence of arrangements in hot dance, might require closer attention.
Another crucial aspect is that the skills needed for hot dance differ significantly from those required for other Dixieland styles. Hot dance musicians must be proficient in executing written or memorized arrangements while maintaining jazz phrasing and a sense of spontaneity. In contrast, other Dixieland styles might not necessitate music reading or strict adherence to scored parts. Chicago style Dixieland, for example, prioritizes individual soloing talent and creativity.
It’s important to remember that the style is defined by the performance itself, not solely by the band. While many bands specialize in a single style, like uptown New Orleans or West Coast revival, and are rightly categorized as such, some bands adopt a more eclectic approach.
The Coon-Sanders Original Nighthawk Orchestra, fondly remembered as a leading white hot dance band of the 1920s, exemplifies this eclecticism. However, a comprehensive listen to their recordings reveals a mix of straight dance music alongside their jazz-infused pieces. It was when the Nighthawks embraced jazz-permeated material like “High Fever” and “Roodles” that they truly became a jazz, or hot dance, orchestra. This variability is common among hot dance bands. Their performances might include dedicated hot dance numbers, fully improvised pieces (especially with smaller lineups), and conventional dance tunes. Failing to recognize this distinction leads to mischaracterizing bands like Paul Whiteman’s 1920s orchestra as primarily hot dance bands. In reality, most Whiteman performances, despite featuring jazz luminaries like Bix Beiderbecke, are fundamentally dance music with isolated jazz embellishments rather than consistently jazz-focused hot dance.
Paul Whiteman Band: Not Always Hot Dance
Some might perceive hot dance as a less significant style within Dixieland. However, pre-swing recordings by pioneering Black orchestras like those of Jimmie Lunceford, Duke Ellington, and Fletcher Henderson are accurately classified as hot dance. Technically, these musicians faced the same task as their white counterparts like Coon-Sanders: interpreting arrangements and delivering “hot” solos within them.
Labeling early Ellington and Henderson as “hot dance” might unsettle those who believe these groundbreaking groups shouldn’t be grouped with lesser-known white bands. It’s crucial to acknowledge two points: Firstly, quality variation exists within all jazz styles. Secondly, Black jazz orchestras of the 1920s were significantly more advanced than their white contemporaries, making direct comparisons challenging. Black bands exhibited a deeper jazz feeling and boasted far superior soloists. Hypothetically, if Ellington’s orchestra had recorded the Coon-Sanders arrangement of “Brainstorm” and vice versa, the Ellington rendition would likely have been so superior that “Brainstorm” might have become a standard, overshadowing “The Mooche.”
It’s important to reiterate that using Coon-Sanders as an example here is not intended to diminish their contributions. Their best recordings remain highly enjoyable and are cherished by fans today. It’s simply that consistently reaching the innovative level of an Ellington orchestra is an exceptionally high bar.
Ultimately, how can one best appreciate hot dance music? The key lies in focusing on the arrangement itself. Consider: Does the arranger creatively utilize the ensemble’s resources, crafting a distinctive and pleasing sonic blend? Does the arrangement highlight unique aspects of the composition or offer a fresh perspective? Does the band execute the arrangement with precision and unity, free of rough edges? And regarding solos, do the soloists possess the skill to elevate their passages and contribute to the arrangement’s overall design?
Cultivating this appreciation will enrich your experience at jazz festivals when you choose to explore a hot dance set amidst a schedule of more improvisational performances. For those already drawn to or curious about hot dance, this exploration should provide a solid foundation for deeper engagement with this vibrant and vital style of Dixieland jazz.
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Texas Shout Book: Dive Deeper into Dixieland
Want to delve further into Dixieland jazz? “Texas Shout: How Dixieland Jazz Works,” a comprehensively illustrated paperback, gathers the complete “Texas Shout” series. This book is available for purchase.
Tex Wyndham’s 3 CD Guide to Dixieland offers a curated musical journey with commentary, also available for purchase. A separate CD, A History of Ragtime: Tex Wyndham Live At Santa Rosa, is also available. Contact Tex Wyndham directly for purchase information and personalized autographs.
Note: Links, images, videos, and graphics were added by the Syncopated Times editorial team and do not necessarily reflect the views of Tex Wyndham.
Tex Wyndham
Tex Wyndham was a prominent figure in the world of Dixieland jazz and ragtime music from 1970-2010. Renowned as a cornetist, pianist, bandleader, and insightful critic, Wyndham’s expertise spanned Dixieland jazz, ragtime, and related genres, making him uniquely respected across these musical domains.
