Big band first burst onto the musical landscape in the Roaring Twenties; the 1930s
and 1940s, however, marked its golden age, with the likes of Count Basie
and Dizzy Gillespie leading large jazz and swing orchestras that
would blaze a trail for bebop and free jazz. Many of these big bands continued to
thrive into the 1970s and beyond, aided and abetted by a new generation of contemporary
artists dedicated to keeping the big band spirit alive. Among its torchbearers was
Montrealer Vic Vogel.
Big Band's Early History
The history of big band, many scholars agree, begins in the 1920s with a man named
Fletcher Henderson. An Afro-American musician, orchestra leader
and arranger, Henderson formed what is widely held to be the first jazz orchestra
in 1924. Working closely with arranger Don Redman, he developed
new arrangements for large orchestras. The Fletcher Henderson Orchestra was a fixture
at New York's Roseland Ballroom, setting the tone for the swing style of the
The jazz and swing orchestras of the big band era typically included three sections
– reed instruments, trombones and trumpets – and a three- or four-part
rhythm section made up of drums, bass, piano, and occasionally an acoustic guitar.
As well as 16 to 19 instrumentalists, big bands often featured one or more singers
and soloists as well. Tenor saxophonist Coleman Hawkins and clarinettist
Lester Young were among the many soloists who first starred
with jazz orchestras. Finally, most big bands were eponymously named after
their band leader.
The Golden Age
Big band's popularity reached its apogee in New York in the mid-1930s, when
venues like the Cotton Club and the Savoy Ballroom were all the rage. In its heyday,
the Cotton Club welcomed the likes of singer Cab Calloway and Duke Ellington,
who broke new ground with his creativity and cutting-edge arrangements.
Providing the musical entertainment at the Savoy Ballroom were the Chick Webb
and Jimmie Lunceford orchestras.
At the helm of one of the greatest jazz orchestras of all time was the venerable
Count Basie. From 1936 to 1940, Basie and his
orchestra toured extensively, with stints at the Roseland Ballroom
in 1937 and Carnenie Hall in 1938. Other big bands of the period opted for a more
commercial sound, among them the Harry James and Glenn Miller
The 1940s were marked by the advent of bebop, made popular by big band leaders
Billy Eckstine and
Dizzy Gillespie. The decade was also one of experimentation,
with some orchestras - notably that of Stan Kenton - integrating
woodwinds and strings. The late forties belonged, in large part, to Miles Davis, who literally redefined the genre
with the Birth of the Cool sessions of 1948 and 1949. With its restrained
harmonic structures and relaxed feel, the cool jazz style of the 1950s signalled
a definitive break from the up-tempo virtuosity of bop.
The newfound freedom afforded by free jazz was a boon to some large orchestras like
Anthony Braxton and the Creative Music Orchestra
and Lester Bowie and the Sho' Nuff Orchestra.
By and large, though, the 1960s saw big band fall out of public favour - a vestige,
to many, of a bygone era. Still, a handful
of original big band artists distinguished themselves, among them American jazz
composer and pianist Sun Ra and his Arkestra,
the Globe Unity Orchestra and the AACM Big Band.
The move toward smaller ensembles with star soloists - a trend begun in the 1960s
- continued into 1970s and 1980s and beyond, driven in part by financial concerns:
smaller bands commanded lower appearance fees. The illustrious Glenn Miller,
Tommy Dorsey and Duke Ellington orchestras continued
to appeal to audiences nostalgic for the big band sound, while musicians like
Thad Jones, Mel Lewis and Gil Evans sought to refine the classic big
Big Bands at the Festival
Montreal-born pianist and composer
Vic Vogel has been an enduring presence at the Festival.
At the 1988 edition, he marked the 20th anniversary of his big band, and in 2001,
the band welcomed the late great trumpet player Freddie Hubbard.
In 2008, Vogel appeared at the Festival with Jean Fréchette,
Dave Turner, Alexandre Côté,
Al McLean and
André Leroux - each of the saxophonists from his Jazz
Big Band. Then, in a 2009 concert under the stars, Vogel gave a
rousing tribute to the jazz greats.
To mark its 30th anniversary in 2009, the Festival played host to a friendly clash
of the big bands featuring the
Harry James Orchestra and the Glenn Miller Orchestra. The previous
year, the GMO had squared off with the Tommy Dorsey Orchestra during
the memorable event dubbed
Battle of the Bands. In a similar exercise, the
Ellington orchestras went head to head at the
Also appearing at the 2009 Festival were Quebec-born pianist and composer Lorraine Desmarais, who presented her
album Big Band, American
Maria Schneider and her Jazz Orchestra, and guitarist Brian Setzer, who returned after
a long absence, accompanied by his high-octane big band.
Finally, in 2009, as at every edition of the Festival, a number of school bands
served notice that the big band tradition is still very much alive.