The question of how modern jazz bands can better cater to dancers is a crucial one in the swing scene. Creating music that truly inspires dance requires a nuanced understanding that goes beyond simply playing good jazz. While a comprehensive guide would involve extensive interviews with musicians and dancers, alongside research into the philosophies of big band pioneers, some immediate insights can be shared. Having discussed this topic in various forms with numerous band leaders, here are some key pointers to help bands ensure their music truly makes a dance.
1. Keep Songs Danceably Concise
Brevity is your friend on the dance floor. Even legendary swing bands understood the importance of song length when it came to keeping dancers engaged. Extending songs beyond the three-minute mark, especially with multiple solo choruses for each band member, can easily exhaust a dance floor. For local bands starting to play for dancers, this is often the most impactful and simplest adjustment to make, yet it’s frequently overlooked. Prioritizing shorter song structures ensures dancers have the stamina to enjoy the entire set and the whole night.
2. Master Tempo Range for Different Dance Styles
Understanding tempo is paramount, but it’s not just about speed; it’s about appropriateness. Bands need to do their homework and recognize that different dance styles and dancer skill levels require distinct tempo ranges. A floor full of beginner Lindy Hoppers will thrive on a different tempo spectrum compared to advanced Lindy Hop dancers, and both will differ from the ideal tempos for Shag or Balboa events. A skilled band learns to “read the floor,” gauging the energy and dance style to adjust their tempo selections accordingly. A general guideline is to remember that beginner dancers often populate the floor earlier in the evening, while more experienced dancers tend to arrive later as the night progresses.
3. Ensure a Smooth Tempo Flow
Tempo variation is essential to keep things interesting, but abrupt shifts can disrupt the dance flow. The transitions between tempos should be gradual and connected. Avoid jarring changes, like jumping from a relaxed 120 bpm to a frenetic 230 bpm, then back down to 115 bpm, and up again to 270 bpm. While such dramatic shifts might be engaging for passive listeners, they can be incredibly disruptive for dancers, subtly impacting the overall dance experience throughout the night. Smooth transitions create a more danceable and enjoyable atmosphere.
4. A Solid Rhythm Section is Non-Negotiable
The rhythm section is the backbone of danceable music and cannot be the weak link. They must possess a deep understanding of jazz rhythms and maintain unwavering solidity across all tempos. Consider this analogy: imagine a water skier being towed by a boat. The boat (rhythm section) pulls the skier (dancer), allowing them to harness momentum for surfing and freestyling in the wake. If the boat surges, drops speed, or bumps along choppy water instead of gliding smoothly, the skier’s experience is compromised. Similarly, a rhythm section with inconsistent tempo or rhythm makes it challenging for dancers to find their groove and express themselves. Jonathan Stout’s insights in his interview (linked below) further emphasize the crucial role of the rhythm section in creating danceable swing music.
5. Improvisation with Dancer-Friendly Predictability
Soloists who can improvise in a somewhat predictable manner are invaluable for dancers. “Predictable” here doesn’t mean boring; it refers to solos that utilize clear phrasing, reinforce the main melody’s theme, employ repetition and musical “alliteration,” and essentially craft a musical narrative that dancers can follow and interpret with their movements. While modern, stream-of-consciousness style solos with unpredictable tangents and rhythms can be intellectually stimulating for listeners, they can be difficult for dancers to “process” and connect with physically. For an excellent example, listen to Illinois Jacquet’s legendary sax solo on 1942’s “Flying Home” (link below), showcasing narrative, repetition, and thematic development that dancers can easily engage with. While every solo doesn’t need to reach this iconic level, understanding this approach is key. This distinction highlights the fundamental difference between dancers and listeners: listeners follow music with their ears, while dancers follow it with their feet. Following with feet is inherently more challenging. Musicians aiming to truly play for dancers must grasp this difference. It might surprise musicians to realize that expressing music for dancers to express themselves through dance is fundamentally different from their usual experience of performing solely for passive listeners. A skilled swing musician playing for dancers gauges their music’s success by observing how dancers respond and move to it. This doesn’t mean soloists should avoid challenging dancers entirely. Introducing a wild or intricate rhythm can be exciting, but repeating that rhythmic motif a few times during the solo gives dancers the opportunity to recognize it and incorporate it into their dance.
6. Gypsy Swing Considerations for Dancers
For Gypsy-swing or Manouche style bands, a specific consideration arises: incorporate at least one instrument capable of sustained notes, like a clarinet or violin. A night of dancing solely to the percussive “plinks” of picking guitars, while beautiful, can become melodically repetitive for dancers over extended sets. Otherwise, maintaining a good range of tempos remains crucial for these groups. Gypsy swing, originating as a primarily listening music genre, often features very fast tempos or slow, minor-key ballads. Therefore, these bands should particularly focus on tempo selection and song length when playing for dancers, especially if they are not accustomed to dance-oriented performances.
These points offer a starting point. Now, let’s consider the perspectives of band leaders interviewed previously, who offer further valuable insights.
Paul Cosentino
Boilermaker Jazz Band
“Mainly just making sure that the tunes were not too long. Each solo generally should just be one chorus instead of as many as you want. You don’t want to kill anyone out there. Other than that, it is not too much different from playing a concert- change up the tempos so that it doesn’t get boring, pass the vocals around. It’s not too complicated if you just give it a little thought.”
As Paul Cosentino of the Boilermaker Jazz Band succinctly puts it, song length and solo duration are key considerations. His emphasis on not “killing” the dancers with excessive song lengths highlights the practical needs of a dance audience. Varying tempos and vocalists also contributes to a more engaging experience for dancers, mirroring the dynamics of a good concert set while remaining mindful of the dancers’ physical engagement. Further insights can be found in an interview with Jonathan Stout, leader of the Campus Five (linked below), which delves deeper into this topic, particularly focusing on rhythm. Josh Collazo, Stout’s drummer, further elaborated on swing drumming techniques for dancers in a video interview (also linked below).
Glenn Crytzer
“Well, there’s no one single thing, it depends on the crowd and the night, but it definitely makes it easier to know what dancers are feeling when you know how to dance. Overall I think that the most important things are probably to have a good mix of tempos, to play arrangements, and to have the right style.
A lot of bands really don’t play anything that’s mid tempo because it’s, IMHO, the hardest music to swing on. I try to pick a lot of charts in the 130-180bpm range for our sets. Of course someone’s always going to complain about any band and say that there’s not enough mid tempo music because everyone has a different idea of what they consider to be mid tempo. I think live music generally feels faster to dancers as well because it has 10x the energy of a recording and so it’s more demanding of dancer’s energy at any speed. I usually try to keep a BPM counter and a metronome on the bandstand with me to make sure we’re hitting lots of tunes in the range.
Arrangements are another important thing when it comes to playing for dancers. Even if they’re simple arrangements it really makes a difference; I find it boring as a dancer to hear a band play head tunes all night. It’s a dance, not a jam session – a good band leader respects that. Honestly, it’s a giant pain in the ass to write arrangements and actually find people who can both play them and who also understand the style, but it’s essential and pays off so it’s worth it in the end.
The style is a tricky thing. About 90% of jazz musicians think they get it, about 10% actually get it. I try to only play with ones who do. Of course there are other more subtle details to this as well but I suppose those are my trade secrets. :)”
Glenn Crytzer emphasizes a deeper understanding of the dancer’s perspective, suggesting that knowing how to dance oneself is a significant advantage for musicians playing for dancers. He highlights the importance of tempo variety, particularly including mid-tempo ranges (130-180bpm), which he notes are often overlooked yet crucial for swing dancing. Crytzer also stresses the value of arrangements over simply playing “head tunes,” emphasizing that a dance event is not a jam session but a performance intended for dancers. Finally, he touches upon the elusive but critical element of “style,” suggesting that a true understanding of swing style is essential for bands aiming to truly connect with dancers.
In conclusion, bands that make a dance are those who understand the unique needs of dancers. By considering song length, tempo appropriateness and flow, rhythm section solidity, dancer-friendly improvisation, and stylistic nuances, bands can elevate their swing music from simply listenable to irresistibly danceable. The insights from experienced band leaders further reinforce these principles, offering a practical roadmap for musicians seeking to create music that truly inspires movement and joy on the dance floor.
