A Quote by Gary Giddins

Nobody knows where jazz is going, because nobody has ever known where jazz was going. I mean, you couldn't possibly predict the Swing Era from the '20's or bebop from the Swing Era or Avant-garde from Bebop, or Effusion, or on and on and on. So, we don't really know where it's going.
I went through the whole number, you know. The swing era, the boogie woogie era, the bebop era. Thelonious Monk is still one of my favorites. So a lot of these people had their effect on me.
In those days before hearing Charlie Parker and Dizzy, and before learning of the so-called bebop era--by the way, I have some thoughts about that word, "bebop"--my first jazz hero ever, jazz improvisor hero, was Lester Young. I was a big "Lester Young-oholic," and all of my buddies were Lester Young-oholics. We'd get together and dissect, analyze, discuss, and listen to Lester Young's solos for hours and hours and hours. He was our god.
They said Bird played bebop, but Bird could still swing. I've heard a lot of guys play bebop, but they wasn't swinging.
There was a time, from 1935-1946, when teenagers and young adults danced to jazz-orientated bands. When jazz orchestras dominated pop charts and when influential clarinettists were household names. This was the swing era.
I worry more about the marketing that's taken hold since the 70s. The Jazz era, the Swing era, those were huge. Entire decades were named for music. In the 1940s - after World War II - changes in taxation, ballrooms closing, people moving to the suburbs, and the onset of target marketing and the confusion of commerce with art caused some things to happen as a result that have taken us away from jazz and what jazz offers us.
I kept on buying records and listening to them. Finally, I was able to hear the relationship between the jazz improvisers' solos and the underlying structure that it's based on, the chord progression. That was pretty easy to do in the swing era, y'know, when jazz was, like, pop music, you know. It had made the charts and everything like that.
Jazz comes from a tradition where it swings. Swing was the main ingredient of jazz. And once it loses the swing...well, that's it.
'Swing' is an adjective or a verb, not a noun. All jazz musicians should swing. There is no such thing as a 'swing band' in music.
Truth of the matter is, jazz is American music. And that doesn't mean bebop. Jazz is really about improvising. All the music that's been created in America has been pretty much improvised... Whether it's hillbilly or rock n' roll for blues, it's basically jazz music... It's basically about another way of hearing what comes out of America.
Most of what I listen to now is mainstream jazz from 1935 right up to and including early bebop and cool jazz.
Hell, nobody knows where jazz is going to go. There may be a kid right now in Chitlin Switch, Georgia, who is going to come along and upset everybody.
When I heard Charlie Parker, I knew that that was going to be the new wave, the new way to play jazz. From that point on, I was sold with... the idea of bebop.
Swing your swing. Not some idea of a swing. Not a swing you saw on TV. Not that swing you wish you had. No, swing your swing. Capable of greatness. Prized only by you. Perfect in it's imperfection. Swing your swing. I know, I did.
That's the whole point of good propaganda. You want to create a slogan that nobody's going to be against, and everybody's going to be for. Nobody knows what it means, because it doesn't mean anything.
Basically my influences have been American influences. It's been blues, gospel, swing era music, bebop music, Broadway show music, classical music.
I got into trad jazz, then modern jazz, then avant-garde jazz, between the ages of 16 to 18.
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