30.Fats Waller

While Fats might not be one of my personal favorite artists on this list, (don’t throw your shoes at me!) there is no mistaking his musical contribution to the history of Jazz. Pianist and vocalist, Waller had a highly distinct set of lyrics that has never been matched. Recording such tunes as I’m On A See-Saw, Your Feets Too Big, and The Love Big Will Bite You, Waller’s vocal stylings are an unmovable force in the history of jazz.

29.Charlie Barnett

Of all the saxophone players that I hear in a given night dancing, Barnett, to me, has the most identifiable sounds of any. Leading what some called, “The Blackest White Band Of Them All,” Barnett recorded the balboa classic, Cherokee, with its memorable melody and strong rhythm section coupled with a fantastic arrangement, Cherokee is always a hit on the dance floor. Barnett was also known to be a huge, outspoken fan of both Basie and Ellington, so much so, that he named two well known tracks in their honor, The Count’s Idea and The Duke’s Idea. Both favorites of dance floors around the world. While it was said “Swing and Sway with Sammie Kay”, you could also hear “Swing and Sweat with Charlie Barnett”.

28.Edgar Hayes

While his recorded music collection may be limited to a handful of songs, Edgar Hayes has recorded some of the most best swing music around! From Swingin’ In The Promised Land to Manhattan Jam and Stompin At The Renny, Hayes makes a memorable statement by his strong use of Baritone saxophonist, Joe Garland. In particular, Swingin’ In The Promised land is not shy about its heavy of the weighty instrument all throughout the song including a lengthy, and highly curious solo at the start of the song. There is also “rumor” that Stompin’ At The Renny birthed the riff for the ever popular song Flying Home, take a listen for yourself (2:00), sounds mighty similar to me.

27.Will Bradley

King of the Big Band Boogie Woogie sound, Will Bradley offers one of the most unique big band experiences around. Born, Wilbur Schwitenberg (that’s a mouthful), Bradley was a trombone player and band leader who was regularly featured on “The CBS Saturday Night Swing Club”, when in 1939, he formed a band with drummer Ray McKinley. Bradley was also one of the first band leaders to appear in soundies (think MTV music video of the 30′s). There are several tracks of his that are on regular rotation, including: Scrub Me Mama With A Boogie Beat, This Little Icky Went To Town and Beat Me Daddy Eight to the Bar.

26.Hot Lips Page

Most notably known in the swing community for the widely popular version of Lafayette. The one song that altogether bluesy, swinging, fast, melodic and rich. This song has some in the community (we all know what happens when I tell everyone about your favorite song Kate Hedin) on the dance floor every time. There is something about that mean ole’ intro that makes you want to get down or something. Don’t be fooled by the faster version from the Kansas City soundtrack (excellent in its own right) that will get you in trouble at most events for it’s length and faster tempo.

25.Charlie Christian

Father of the electric guitar, Charlie Christian is quite possibly the most well known figure in jazz guitar, second only, in my opinion, to Django Reinhardt. He is also credited with helping to create the post-swing sound of bebop and cool jazz. Christian gained national exposure when he joined the Benny Goodman sextet in 1939. Giving up all of his credits and accolades, he was not one for solos. When presented with the opportunity to perform a solo with a big band, like Goodman’s, he would often just continue playing the rhythm of the song (see Honeysuckle Rose, 1938).

24.Bob Crosby

Yes, he is related to Bing Crosby, but fortunately, Bob got all the swing and jazz rhythms that are often missing from Bings repertoire (/snaps). Crosby is most notably known for the hard driving song, Big Noise From Winnetka, however, my most favorite song by Crosby has to be his version of At The Jazz Band Ball. A great combination of strong dixieland sound with high quality musicianship. Love those mood changes! The beauty of the Crosby band was the variety of sound you get from the him, Savoy Blues, Tea For Two and Fidgety Feet could not be any more different from each other, yet deliver the high quality music you expect from a big name band.

23.Earl Hines

Jazz pianist and big band leader, Earl ‘Father’ Hines has left a large imprint in jazz history. He started his career dazzling the likes of Louis Armstrong with his “trumpt-style” piano-playing allowing his piano “to be heard out front”. When Hines replaced Armstrong’s wife, Lil; Hardin Armstrong, on piano, the two came together to record one of the most famous jazz records ever, the 1928 trumpet and piano duo, ‘Weatherbird’. In the swing community however, he is most notably known for Rock ‘N Rye and Ridin’ And Jiving. Hines’ orchestra delivers a gritty, urban and roughneck sound through Ridin’ And Jiving. Hines was successful at separating his recordings from the often flitty and sunrise sounds of Goodman and Shaw. After the fall of the big band era in the 40′s, Hines shifted his interests outside music, but fortunately kept one eye on the piano. Through the 60′s and 70′s Hines returned to recording with small groups, including recording an excellent live record, Earl Hines Live in New Orleans, 1974; with a great version of Blues My Naughty Sweetie Gives Me. A not too far departure from his big band days, this album delivers a strong swinging New Orleans small combo sound. A must have for any dancer or music collector.
Favorite Tracks: Cavernism, Rock N Rye, Ridin And Jivin, Blues My Naughty.

22.Willie Bryant

Although most, if not all, of his recorded music can be found on one CD, Chronological Willie Bryant, two tracks stand out as classic balboa tracks in the swing community: Rigamarole and CHimes at the Meeting. Rigamarole is a non-stop swinging masterpiece that delivers a strong rhythm, excellent solos and great energy. Not to be out done, Bobby White’s favorite song (did I say that outloud?), Chimes at the Meeting is a classic delivering a loose swinging beat, and a memorable intro.

21.Gene Krupa

Second to only one, Gene Krupa continues to have a huge influence on both jazz and popular drummers today. Known as the dancers drummer, Krupa believed that a drum solo should not be the part of the song where dancers to get a drink of water. Playing what is referred to as break time, Krupa’s solos are just as danceable as any other part of the song. Krupa also felt that the drums need not be relegated to the back of the proverbial bus. Instead, after leaving Goodman’s band, Krupa pushed his instrument to the front of the stage; showcasing his talents in a way that hadn’t been done before. More popularly known in the swing community for his work with Anita O’day, Krupa made a name for himself, or at least with Goodman, when he took over Sing Sing Sing off the album Benny Goodman: Live at Carnegie Hall, 1938. Although today, we are accustomed to very long renditions of the song played by our local bands, this was not the original intent. During the Carnegie Hall concert, Krupa was not happy with the bands performance, (nor was he happy with Benny Goodman, but that is a whole other story). In an effort to strike up the band and inject some life into his mates, he took several ‘longer than normal’ solos during Sing Sing Sing…much to the delight of the crowd, and the anger of Benny Goodman, Krupa’s drumming was a rousing success. Not too long after this incident, Krupa and Benny Goodman parted ways, both continuing to have successful careers after the split. Check out the B-Movie “The Gene Krupa Story” for two reasons. One, Benny Goodman isn’t mentioned ANYWHERE in the movie, and two, Gene dubbed the drum solos for the movie, which you can tell because I don’t think the actor even knew HOW to play the drums.

Check out the rest of the list:

100 – 91

90-81

80-71

70-61

60-51

50-41

40-31

40.Frank Sinatra

Ole Blue Eyes, Frank Sinatra, had one of the most prolific careers of any jazz vocalist. Getting his start with Harry James and Tommy Dorsey, Sinatra dazzled his listeners with superior vocal styling and a presence on stage matched by no one. From his early years with Dorsey, his time with the Rat Pack and through the 90’s, Sinatra recorded more songs that became standards that you can shake a stick at. Hands down, my favorite Sinatra recordings are on ‘Sinatra Live At The Sands, featuring the Count Basie Orchestra’ and should be on the must buy list for any swing aficionado. My two favorite tracks on that album are Come Fly With Me and Get Me To The Church On Time.

39.Jean Goldkette

To me, Goldkette and his Orchestra will be forever known as the band who took down Fletcher Henderson at the Roseland Ballroom. Hailing from Detroit, this all white band was one of the most bad ass in the land. With only top shelf musicians like Jimmy and Tommy Dorsey, Eddie Land, Frankie Trumbauer, and Bix Beiderbecke, The Goldkette Orchestra was tauted by Rex Stewart as “the first original white swing band in jazz history.” After Paul Whiteman stole away most of Goldkettes musicians due to cash flow problems, he help to organize both McKinneys Cotton Pickers and the Casa Loma Orchestra.

38.Jack Teagarden

Weldon Leo “Jack” Teagarden, better known as Big T or The Swingin’ Gate was a huge influencer of jazz trombone, often times considered the Father of Jazz Trombone and the most innovative white jazz trombonist pre Bebop era. Self taught, Big T developed several unusual positions and novel special effects with the trombone. His most stand out track has to be Harlem Jump, a regular song in Balboa events around the world.

37.Don Redman

As an arranger with the Fletcher Henderson Orchestra, Don Redman helped to create the classic big band sound. The trademark of Redman arrangements was harmonized melody lines and pseudo-solos within separate sections of the song; a highly innovating and sophisticated technique. My favorite Redman track: Christopher Columbus and Swingin’ With The Fat Man

36.Les Brown

To swing dancers Les Brown is mostly notably known for “Leap Frog” The quintessential song used in music appreciation classes to demonstrate the classic AABA format of big band swing. It took me a long time to find anything else worthy of playing at a lindy hop event, until I found Les Brown and his Duke Blue Devils. Man, that guy can swing! Check out his version of Rigamarole. Man that song kicks!

35.Harry James

You can’t say The Big Band Years without hearing mention of Harry James. Starting with Ben Pollock, and then making a name for himself with Benny Goodman (being a part of the great Carneige Hall concert of 1938). With a playing style as unique as James’ career, he was featured in several Hollywood films including: The Benny Goodman Story, Springtime In The Rockies and Two Girls and A Sailor. James has many well-known tracks including my favorites: Flyin Home(live), Life Goes To A Party, Boo Woo, Cottin Pickin and of course Two O’Clock Jump.

34.Teddy Wilson

Jazz pianist and member of the first integrated jazz band, Teddy WIlson had a supremely sophisticated and elegant style that was featured with the likes of Benny Goodman, Louis Armstrong and most notably Billie Holiday. Most notable is his pairing with Billie Holiday. It might be cliche to say, but it is truly a match made in heaven. Check out When You’re Smiling and What A Little Moonlight Can Do.

33.Boots and His Buddies

Lead by drummer Clifford “Boots” Douglas, this territory US territory band might be one of the lesser known bands you dance to, but well worth the discovery. I found them not too long ago, and simply cannot get enough. Hard driving and solid through and through, hopefully Boots will become a favorite of yours as fast as he became mine. Check out Rose Room and True Blue Lou.

32.Teddy Powell

Most notably known for the song Jamaica Jam, Teddy Powell delivers a strong swing rhythm, with excellent melodies and interesting arrangments. Notable to Jamaica Jam, and similarly to Jamaica Jam #2 (yes that is the name, albeit not very creative ) Jamaica Jam, for some, including myself, is about as close as you can get to “balboa music.” Note that I said “as close as you can get.” As most are well aware, I am not a fan, nor do I believe that there is such a thing as balboa music; but I digress. If you are a fan of Jamaica Jam, check out these other awesome tracks: An Ode To Spring, Flee On A Spree, 4:15 Jump and Tomaschefsky’s Laundry (He did have some great song titles)

31.King Oliver

One of the earliest recorded artists on this list, King Oliver, Trumpet, is credited with creating a style of collective improvisation, what we call today, Hot Jazz. Mentor of such greats as Louis Armstrong and Bubber Miley, Oliver played in several bands from the birth of jazz through the late 1920s. King Oliver is also credited with pioneering the use of mutes (a.k.a. the plunger looking things at the end of a trumpet ) According the Armstrong, “If it had not been for Joe Oliner, jazz would not be what it is today.”

Check out the rest of the list:

100 – 91

90-81

80-71

70-61

60-51

50-41

40-31

More well known for her solo work, Billie Holiday sang with Benny Goodman (My Mother’s Son In Law is my favorite and Billie’s recording debut) Artie Shaw, and Teddy Wilson. Her autobiography, Lady Sings The Blues, is a must read for any music fan. But for those who can’t wait for the book, check out this great article on Billie Holiday.

42. Bix Beiderbecke

Beiderbecke is a jazz icon, alongside Louis Armstrong, is the most influential jazz soloists of the 1920s. (His styling on Im Coming Virginia and Singin The Blues, would later help to define cool jazz of the 1950’s) His career was tragically cut short due to alcoholism at age 27. Despite his short career, we have been left with a large vocabulary of his works including Ain’t Misbehavin’, Diga Diga Do and Break it Down, three favorite tracks.

43. Kid Ory

Ory, who played with the likes of Armstong, King Oliver, and Sidney Bechet, led the first African American jazz band from New Orleans to record a record in 1922. I am sad to say that I did not discover his genius until recently. More specifically the song, Baby, Wont You Please Come Home. OMGWTFBBQ! This song swings hard, has great musicianship and wont bore anyone on the dance floor! And if they look bored, kick ‘em.

44. Billy May

I wouldn’t call Billy May a jazz music pioneer or virtuoso, but to the swing community, his “recordings” of For Dancers Only, Lean Baby, and Tain’t What You Do put him high on the list. In particular, his recording of taint what you do, is the unofficial call for shim sham, atleast to the events I have been at. And, where would you get this gem you might ask? Well, unfortunately, the track was released on a CD called Oscillatin Rhythm, which has now been discontinued (last I knew). So, if you ever see it on a shelf, or online, but it! Buy it! Buy It! It is an amazing collection of HiFi classics, and it absolutely fabulous.

45. Slim and Slam

Most notably known for their recording of Hellzapoppin Jam, Slim and Slam have a large collection of popular dance tracks including Cement Mixer and Flat Foot Floogie. Slim, on vocals, has a …particular…vocal style, scating and using hipster slang. Sorry kids, not a fan of these guys. Too many food based songs for me.

46. Stephanie Grappelli

Most noted for founding the Quintette du Hot Club de France with Django Guitarist, Grapelli is the eminent master of the jazz/swing violin. With an unmistakable sound of his swingin’ violin, if you hear something that sounds like a violin, chances are its Grappelli. A couple of not so straight forward favorites: H.C.Q. Strut and I Wonder Where My Baby Is Tonight, off the Chronological Classics Django Reinhardt, 1939.

47. Paul Whiteman

King of Jazz. Yes, King Of Jazz. If you don’t believe me, read Duke Ellington’s autobiography where he confirms that statement. Not necessarily a band that you will hear a lot of on the modern day dance floor, but Whiteman’s contributions to the swing/jazz community are unparalleled. Check out Wang Wang Blues and Charleston.

48. Frankie Trumbauer

The other half of the Bix and Tram duo, I just can’t ever get enough of Trumbauers recording of Troubled. So rich with story, texture and a hard swingin beat, you can’t not help but love this song. A new favorite: I Hope Gabriel Likes My Music

49. Bunny Berigan

One of the few jazz trumpeters of the swing era that didn’t sound like Louis Armstrong! Berigan was a huge fan of Sachmo and recorded with such greats as Benny Goodman and Tommy Dorsey. Voted a Metronome All Star in 1937 and 1939, his recording of Blue Lou remains one of my favorite recordings of that big band standard.

50. Eddie Condon

Jazz guitarist and bandleader, Condon was a member of the famed Austin High School Gang, and is credited in leading the so-called “Chicago school” of Dixieland. Condon for me is spectacular jazz to listen to when you want killer live recordings. Check out the Town Hall Concerts, and my favorite The Complete World Broadcasting Jam Session: Everybody loves my baby.

Check out the list:

100 – 91

90-81

80-71

70-61

60-51

50-41

60. McKinney’s Cotton Pickers
With tight musicians and pretty sweet arrangements, McKinney’s Cotton Pickers were one of the few bands that could compete with the likes of Fletcher Henderson and Duke Ellington back in the day. If you aren’t sure where to start, check out Four or Five Times and Will You, Won’t You Be My Babe.

59. Wingy Manone
Manone, who got his name after losing his right arm in a street car accident at age 10, is most popularly known these days for his killer version of Ochi Chornya. But don’t stop there! Check out Swingin At The Hickory House, The Isle of Capri and In The Slot. Wingy Manone with Bing Crosby

58. Lucky Millinder
You can’t say Lucky Millinder without yelling “SAVOY!!!” And you really can’t hate a song that mentions bacon. Is that song old hat to you? Check out these two favorites by Millinder “Mason Flyer” and “Little John Special”. But if you are still diggin on Savoy, make sure you find the faster version. It swings just as hard as the popular version.

57. Pete Johnson
For me, Pete Johnson will be known in my head as the one man who provided me with the listening pleasure that is the song “Roll Em Pete”. Most notably recorded by Big Joe Turner and Joe Williams (personally I am more of a fan of the Williams version, but I think that is because he is back by the Count Basie Orchestra, so I might be a little biased).

56. Kay Kyser
Kay Kyser’s Kollege of Musical Knowledge had a personality like no other of its time. Personally, he reminds me a bit of Weird Al, in that funny lyrics and gimmicks to his music. Song titles like Strip Polka, Praise the Lord and Pass the Amunition, and of course Woody Woodpecker. But that doesn’t mean that there is no value in his music, check out his version of Who’s Yehoodi.

55. Erskine Hawkins
Tuxedo Junction is a popular tune among swing dancers, especially to do the Shim Sham (Glenn Miller and Harry James have great recordings). But have you ever heard the live version by Hawkins? I have to thank ex-San Luis Obispo DJ Jesse Gearhart for introducing me to his extended collection of Hawkins music, including a wonderful 6 minute live version of Tuxedo Junction. Those growling horns in the beginning are so intriguing.

54. Jan Savitt
Starting out as a symphony violinist with a major U.S. Orchestra, Savitt had an unparalleled ambition, when he wanted something, he got it. Savitt had top musicians in his band at all times, no exceptions. With a strong shuffle rhythm, great for dancing, two of my favorite tracks has to be Blues In The Groove and Green Goon Jive.

53. Dicky Wells
William ‘Dicky’ Wells played with such memorable bands as Count Basie, Buck Clayton and Fletcher Henderson. Wells made his mark on the jazz community playing trombone with his signature ‘pepper pot’ mute. Hear it featured on this great track, Dicky Wells Blues.

52. Cootie Williams
With a name like Cootie, it has to be good. Hells yes! One of my favorite Hi-Fi albums, Cootie Williams In HiFi, features Air Mail Special and Summit Ridge Drive, two classic swing dance songs. While he played with Chick, Fletch, Duke and Benny, there is a great volume of tracks on his own from the 50s. It’s a tad less swingy than his classic big band stuff, but his sound is not to go unheard.

51. Joe Williams
I was lucky enough to be able to see Joe Williams live before his passing in 1999, and man what an amazing show that was. If you have ever wondered if a vocalist can swing all on their own, be sure to check out any recording of Williams singing Everyday or Roll ‘Em Pete (backed by the Count Basie Orchestra) you will be amazed! No really you will.

Check out the list:

100 – 91

90-81

80-71

70-61

60-51

50-41

Through the years I have gone through several phases in which I evaluate my DJ software and try to determine which is best. If I had the skills, I would create my own. I have yet to meet a piece of DJ software that addresses, successfully, every demand I have. Since I am not a software engineer, I have to make sacrifices.

The following list of DJ software options is by no means an attempt to determine which one is best for you, as that answer lies within your inner DJ. However, I hope to at least point you in the right direction.

The list below is meant for swing djs. That means, I could care less about mixing and beat matching. As we all know, dead air is a swing djs best friend. This is also not an exhaustive list of options out there for you. If you use something not on this list, let me know below and why you use it.

What I look for in DJ software:

• Complete and proper ID3 integration
• Support for multiple sound outs
• Big playlist/medialist areas
• Simplified or smaller “now playing” area
• Playlist support (specifically iTunes)
• Continuous play OPTION! (sometimes I need to go the bathroom you know)
• Preview ability through headphones or second sound out
• ID3 editor (bulk editor if posible)
• ID3 sorting
• Fast search feature
• Rudimentary equalizer (just in case)
• Multiple volume controls (master out and individual outs)
• If you add stuff I don’t need or want, give me the ability to remove or alter those options
• Customization of display (rarely, if ever an option)

This list is in no particular order, and I do not receive any financial gain from promotion of these products.

MegaSeg (Mac only, Free trial, $99, $199)

My current software of choice. I love the large playlist and media library areas. Makes for seeing what’s going on really simple. Inherent support for dual outputs (on board sound and USB sound device). Built in preview function, and support for ID3 tags. Including sort options for BPM, Artist, Album, Title, and others. It also supports iTunes playlists.

BPM Studio (PC, 99 – 499 Euro)

My original DJ software. I was forced to change from this to a dual winamp setup after my “extended trial” ended suddenly (as in, 1 day before Camp Hollywood I got caught and had to uninstall) Excellent support for ID3 tags. Multiple channel outputs with playlists for each. The playlist areas weren’t as large as I would have liked.

Winamp (Mac and PC, Free)

I used a dual Winamp setup for years and years. It was easy to use, allowed me to push directly from a windows explorer window. Supported multiple instances (which allows for dual sound output) and I could color each instance separately so I knew which one was pushing to my headphones and which one was pushing to the PA. The downside to this setup is that you aren’t running natively. The dual instances are exactly that, two separate instances of a program. So moving music from one to another wasn’t as fluid as I liked

Tracktor (Mac and PC, Free Trial, $89)

So many buttons, so little time. I tried this software years ago and did not like it at all. This software, to me, feels more appropriate for a professional club DJ than a swing DJ. The bells and whistles are great, when you use them.

DeeJay (mac, $19.99)

This is the new kid on the block. I saw a few DJs with this earlier this year and it looks super slick! Even though you are djing digitally, the album cover that you are playing from shows up on a virtual record player and spins around while it plays. The GUI is great. They even have an iPad app! All these bells and whistles just don’t do it for me though. I need core functions, not glitz and glamour.

Virtual DJ Home (Mac and PC, Free, $329)

I haven’t used this product. By looking at the single screenshot available on the website and the fact that they have several versions above this free one, I would safely say that this is built for a professional club DJ. Lots of video and beat matching options.

PCDJ (Mac and PC, Free Trial)

Man, this software has seen a major update since I last tried it. The screenshots look great…for a club DJ. Again, swing djs dont need all those channels, graphs, pie charts, cross fader options, visualizations and pez dispensers. No verdict on this one.

Jriver Media Center (PC, Free Trial, $49.98)

This looks pretty cool! I know that this was popular several years ago, not sure where it stands now. They have a supped up visual display of your playlists/albums etc.., and with an infinite scroller thingy that looks sweet. But, just because it looks sweet, is it? I don’t know. They claim to play more file formats than anyone else. Which could be a good thing. If you are using a lot of random file formats, or a specific audiofile one, this could be a great place for you to start.

MediaMonkey (Free, or $49.95 for Gold)

If I recall correctly, and I could be easily mistaken, I think Allen Kerr (San Francisco) uses this (or used it). I like the organization and the display from Media Monkey. It removes all the sound effects, visualizations and honestly…crap, from the interface. Playlist, tag, auto updates and syncing between devices. This looks pretty slick. There is a both a free version and a paid gold version with additional options.

Cog (Mac, free)

This is very popular among mac DJs for a couple reasons. It’s free and allows you to use itunes as your second player. It also look just like itunes!  The problem I have with it is that, one, you are using itunes, and two while seeing it in action, it crapped out 3 times! Turned out one was a sound driver compatibility issue (never had those on my mac, guess I’m lucky) But seeing that makes me think more than twice about using this. There are people out there who have used this extensively, without problem, so your milage will vary.

Itunes (Mac and PC, free)

This is great for beginning DJs who just play music from memory as to what it sounds like. The biggest problem with iTunes is that you cannot have multiple instances open from it. No music preview for you! This makes it a no go for me.

What software do you use and why? Let everyone know below!

In light of the severe beating that Chick Webb and Django Reinhardt took this year at the ABW Battle of the Bands, I thought I would list out 12 great Artie Shaw recordings for those who might be new to his sound, or just don’t know what songs to request from your local DJ when you need your Shaw fix.

Did I miss your favorite Artie Shaw song? I very well could have. This isn’t a definitive list of Shaw songs, nor is it a list of his 12 best. This is just a list of cool Shaw songs that I like and hope you will to.

There is no specific order to these numbers, these are just 10 kickin Shaw songs that I am sure you will enjoy.

Blues Pt. 1

Who says you cant get down to Artie Shaw? This track will make you think otherwise.

Cross Your Heart

Classic and fastly becoming a standard for instructors to teach to, or dances to use as a beginner song. Strong, definable rhythm. Swingin harder than some Basie tracks, Cross Your Heart also features the Harpsicord. An instrument that one would never guess would ever show up in swing tune. If you like the harpsicord sound, check out his complete Grammercy Five album along with the track Special Delivery Stomp.

St. Louis Blues

This song is a standard track of mine, no matter who recorded it. Easy addon for this list.

One Foot In The Groove

A popular song selection at any event. Strong swingin rhythms, and an interesting arrangement.

Shine On Harvest Moon

Despite the awesomeness of the song, I think the one thing I like most about this track is the fact that it is 5 minutes long. That is 5 whole minutes of Artie Shaw goodness.

Non-Stop Flight

This song comes in a variety of flavors. So if you are fond of the song, but not too sure about the version I linked, keep searching. ARGH! I love the clarinet on this one!

The Yam

The Yam? Really? I knew that band leaders and song writers were weird, but naming the song The Yam?  LOLWTFBBQ. that is all

Oh! Lady Be Good YouTubeVideo

This might be my favorite Shaw track of all time. Rip roaring arrangement of a classic tune. Add that with the shag dancers in the background of the video clip, and you get a song you can rock out on the dance floor too, all the while, have a running video in your head of some legit shaggers.

Man From Mars

Perhaps one of the definitive tracks in the Artie Shaw repertoire. 4 minutes of ins and outs, slap you silly, Artie Shaw badassery. No need to say more, the song speaks for itself.

Hold Your Hats 

A new song on my “play whenever you can” list. Fast, slick, and still swingin hard. Love that first trumpet solo. If that doesn’t get you going, then stop dancing.

What songs did I miss that are your favorite? Let me know below.

A successful DJ considers more than the order of the songs they play. There are several instances at any given event or dance where the DJ has to alter their song selection to best enliven the crowd.

• Is there a band?
• Is it late night?
• Mixed crowd?
• Local/Regional/National event
• Time of the evening

These are all examples of various situations I consider when choosing what music to play. And most of the time, they do not occur independently of one another.

Specific to this article, I will focus on how a DJ modifies their play selections based on the following:

A mixed, National event with a featured band. — The Band Break DJ

Before we go on, let’s throw out a few disclaimers.

One, I choose the word “rule” only for ease of use. I do not want to impose “rules” on any DJ, so whenever you see the word “rule” read it as “experiential recommendations”. My experience comes from DJing since 1997 across the globe at events ranging from Balboa to Blues.

Two, the word National simply means that the attendees are from all over the country if not the world; giving us a wide variety of personal tastes. Three, mixed event means that there is not a singular focus at the event in terms of dance style. Rather, it is an event which shares a common idea spread across several dance styles, but I am not including Hip Hop, West Coast Swing, Country etc…

DJing is an organic experience. There are several instances where I can account for exceptions. However, I am not going to account for every exception to every sentence I write. So I ask of you, the reader, to consider that there might be exceptions for everything I write about in this article, and to understand that I may or may not address those exceptions.

From the start

The most important rule is to never play a song recorded by the band. This might sound rudimentary, but you would be surprised. Not playing a song by the band on stage extends throughout the entire evening; before the band takes the stage continuing through when the band packing up their equipment and has gone home. Would you rather hear a song recorded by your favorite band, or would you rather hear it played live?

Be careful, you might get a proposal during a band break!

Guessing game

Don’t play a song that the band “might” play that night, or has already played, regardless of who recorded it. One of your primary goals as a band break DJ is to show off the band, not show up the band. Just because you didn’t like the version they played of “Blues My Naughty Sweetie Gives To Me” doesn’t mean you can play the Bechet version to “show them how it’s done.” Sometimes this is easy; you are highly familiar with the band and know their setlist by heart. Other times, it isn’t so easy.

How do you go about doing this if you are unfamiliar with the band or they play a wide variety of music?

Approach the band leader and ask them if there is a set list written out for the night you can copy down or take a picture of. No setlist? Ask if there is a CD for sale you can buy (or look at if you aren’t interested) and see what songs they have recorded. This won’t cover spontaneous changes to the band’s program, but it will give you an idea of what they play.

What if the band is new and has no CD nor set list? Just ask the band leader what songs they play. Just as DJs like to geek out over their music, musicians are just as proud to talk about what they play.

Sometimes, this is all easier said than done. You can’t find the band leader, or there is no time to do so. If this is the case, you are just going to have to wing it.

Wingy Manone’it

First, predict what style of music they will play. Do they have a bunch of strings and no horns? Perhaps they are a gypsy band (Mark off Django from your potential song list) Are they a small combo that plays at a local blues bar (Mark off Jimmy Witherspoon and T-Bone Walker) Are they a big band with a band leader who plays clarinet? (Mark off Goodman and Shaw) After the band has started playing a few songs, determine style, era, and genre of artists/songs they might play and try to steer clear of them. Let’s say it’s Jonathon Stout and his Campus 5.

Jonathon has a penchant for 30s and 40s charts and plays as a small combo, typically Guitar, Bass, Piano, and some horns (~5 pieces). Mark off Goodman’s small groups, maybe some John Kirby and definitely Charlie Christian and Django Reinhardt. Focus on Henderson, Basie and Ellington. This should keep you out of his way in terms of playing songs he might have in his book (note: I said MIGHT).

Now that we have figured out what NOT to play, what DO you play?

Remember, one of the main priorities of a band break DJ is to showcase the band.

What to play immediately following a band set

Keep it straight forward. You have to execute some modesty here and influence the dancers to associate their current dance excitement level with the band, NOT the DJ. This doesn’t mean that you have to play a metronome for 3 minutes, but keep your songs straight ahead and on the mellow side (mellow doesn’t mean sleepy and doesn’t mean slow). If the band just finished a rousing jam of Flying Home, come at the dancers with Easy Does It by Basie, or even an Ella vocal. Remember we are showcasing the band.

Consider the opposing bookend, what song to play before the band goes back on

Just as when they left, we want songs that showcase the band and not us. So keep your song selections straight ahead. However, with this section of a band break we have to consider the 2-3 songs BEFORE the band goes on. Why?

At this point, the DJ is like a warm up act. We want to get the crowd going, but don’t want to tire them out. At at mixed event, chances are the band is going to be sitting somewhere in the 150 – 180 range. So we need to prepare the dancers for this. 2-3 songs before the band goes on, start increasing the energy of the songs (this doesn’t just mean tempo). But be careful, we don’t want to get things going too hard and tire out the dancers right before the band goes back on. If the band has a setlist and you have a copy, see what they are opening with and prepare the dancers for it. Think of it this way:

You have a flow as a DJ, it’s just now, that last song in your flow is going to be played by the band, not you. So if the band is going to open with a high tempo song, how would you work up to that song? You wouldn’t play 3 songs at 290bpm in a row, right?

Massive crowds during band breaks are always the norm

In between the bookends

This is tricky. Typically you have only 2-3 songs in this space to play, so what do you do? The same thing you would do on any other night. Play good music, music you love, and music that works to the room. It’s like a micro set. But don’t fret, any good head DJ will give you plenty of time outside of the band breaks to show off, so just be patient and don’t over play those 3 songs.

But the band sucks!

Firstly, you might think the band sucks, but there could also be plenty of people in the crowd who absolutely love the band. It is not for you to judge the quality of the band and ‘take charge’ of the evening with what you think is good music. However, there is a rare occasion for some, and, unfortunately, not so rare of others, where the band is just not jiving with the crowd. Ultimately, you still have to stick with the plan and showcase the band. Maybe by your music will inspire the band and the dancers.

If there is a serious problem with the band, trust that the dancers and every attendee at the event is letting the promoter know their feelings, vehemently. At this point, just continue to showcase the band and wait for the head DJ do give you direction.

As this is being written it might sound like I am recommending that the DJ neuter themselves in favor of the band. Absolutely not! I am simply saying that during the band breaks we are not there to show up the musicians. With all due respect to every musician out there, they aren’t Benny Goodman; they aren’t Artie Shaw; they aren’t Count Basie. You know that and they know that. They aren’t even trying to be an historical icon of jazz. So you do not need to attempt to show off and try to upstage the band. Save your “OMG this song will kick the bands ass!” for your headphones.

Compliment, Complement, Compliant…I can’t spell

We are there to compliment the band. If the band is a 4 piece group with piano, drum, bass and clarinet, no one wants to hear more of that during the band break. Give the dancers a complimentary sound. If the band is a 1930s Big Band, play some 40s small groups or late 20s big band sound. Perhaps some of the wonderful new small groups coming out of New Orleans, like the New Orleans Cotton Mouth Kings.

Detailed Samples:

Jonathan Stout and his Campus Five featuring Hillary Alexander
Small combo, classic era band, female vocal
I would play: Basie, Ellington, Ella, Harry James, Select Benny Goodman tracks

Solomon Douglas Swingtet
Small Combo, modern sound, male vocal
I would play: Small group Goodman (perhaps live in Bangcock or Rainbow Grill), Django, Fletcher Henderson, Willie Lewis, Ella Mae Morse, Helen Day, Ella Fitzgerald

Mora’s Modern Rhythmists
1930s Big Band, Female and Male vocalist (higher register)
I would play: Benny Goodman small combo, Django, Glenn Miller (yes, Miller rocks!), Joe Williams, New Orleans Jazz Vipers

I would love to hear some of your experiences as a band break DJ or even your thoughts on this article. Please comment below!

70. Oscar Aleman

Singer, Dancer, guitarist, entertainer, and superb showman. Aleman, born in Buenos Aires, was singing and dancing from age 6. Mostly recording songs with little to no swing dance interest, however, there is a fabulous 2 CD collection of his works from 1938 – 1957 with 53 tracks of the most swingin guitar this side of Django. Favorite Tracks: Beseme Mucho and Tiger Rag.

69. Pee Wee Russell

There are some artists that I have a hard time classifying their music. Pee Wee Russell is one of those artists. Is it straight swing? Dixieland? Trad? New Orleans Swing? I’m sure there are folks out there who know exactly how you would classify his sound. Personally, I prefer to keep the ambiguity of it. Any way you slice it, I Ain’t Gonna Give Nobody None Of My Jelly Roll and Mama’s In The Groove are both kick ass tracks to dance to.

68. Luis Russell

At ABW one year, I had the pleasure of hanging out with Jonas Peterson from Sweden, and after he let me listen to At The Darktown Strutters Ball…I was hooked! That track swings so damn hard! It has this Fletcher Henderson quality about it that I really love. Not sure if it has to do with the fact that Louis Armstrong had taken over the band at the time of the recording, or some magic juju that Russel gave his band, either way you slice it, it swings!  After you buy the 2 disc set 1929-1934, listen to Feelin’ The Spirit…awesome!

67. Gene Kardos

The Kardos theme song: Business In F. If you haven’t heard of that song yet, get out from under your rock, and watch a balboa competition, or ask your friendly neighborhood DJ to play it. Absolutely fabulous! Swingin! Hip! And Hot! And who doesn’t like a song that you can sing along to? Thanks to Cleveland DJ, Mary Ann Carrothers for this fabulous find.

66. Roy Eldridge

Roy ‘Little Jazz’ Eldgridge was a jazz trumpet player who was anything but little on the horn. Working with such greats as Ella Fitzgerald and Earl Hines, Eldridge typified the spirit of jazz. Nowhere else is this evident than the time he spent working with Gene Krupa. Paired with Anita O’Day and Krupa, Eldridge recorded great dance tracks such as Let Me Off Uptown and Watch The Birdie. Those tracks you know, but check out ‘Fish Market’…wwwhhhhhaaaaaaaaaaaaa

65. Willie ‘The Lion’ Smith

The father of stride piano and a piano player you would never want to get into a cut contest with, cuz, duh, you’d get cut! I have yet to find any footage of The Lion without a cigar and his pork pie hat. Duke Ellington once said of The Lion “[he] was the greatest influence of all the great jazz piano players who have come along. He has a beat that stays in the mind.” Favorite Track: Harlem Joys.

64. Red Norvo

Red Norvo (along with Hampton) helped make the vibes (vibraphone), one of the most swinginist instruments around! If you are a Fitzgerald/Webb fan, be sure to check out his arrangement of A Tisket! A Tasket! And not to miss, his arrangement of Clap Hands Here Comes Charlie (and no, its not at the standard kick your ass tempo)

63. Ella Mae Morse

Originally hired at age 14 by Jimmy Dorsey (Dorsey thought she was 19), Ella Mae Morse has several hits played at dance venues around the county. The Capitol Collector Series has over 10 playable tracks spanning her illustrious carreer including: Milkman Keep Those Bottle Quiet, Cow Cow Boogie, 40 Cups of Coffee, Shoo Shoo Baby and Mr. Five by Five. Unoffically, The House of Blue Lights has to be the earliest recording I have of a singer using the word Homey!

62. Ray Anthony

Not known for his catalog of swingin tracks, as opposed to his “classic dance songs” like The Bunny Hop and The Hokey Pokey. But there are a few gems that this one time Glenn Miller member has recorded, my favorite: The Fox. One of the best compilation CD’s of all time is/was Oscillatin Rhythm. Out of print now, but if you can get your hands on a copy, buy it without hesitation. Because on that CD, you will find the best version of The Fox you have ever heard.

61. Woody Herman

Woody Herman is one of those bands that I wish I could love more than one song. His is a prolific band leader, and was known for being “The Big Band that Plays The Blues.” But despite this moniker, I just can’t get into many Herman tracks. I find myself limited to At The Woodchoppers Ball (a perennial favorite of dancers), Herman at the Sherman, and The Boogie Woogie Bugle Boy (a much improved version over the Andrews Sisters). His placement on this list transcends my personal favor for Herman and acknowledges his popularity and success outside of my personal taste.

Check out the list:

100 – 91

90-81

80-71

70-61

60-51

50-41

80. Stan Kenton

Many have made the mistake of purchasing one of Kenton’s CDs entitled “Balboa Bash”.  Don’t let the title fool you, there is nothing on there that you want to bal to. However, if you are looking for a delightful vocal featuring June Kristy on vocals (and the whole band!), check out “Tampico”.

79. Larry Clinton

Horn player Larry Clinton made most of his money, outside of recordings, from college proms and hotel ballrooms. But don’t let that fool you, Clinton recorded some of great swingin tracks: Zig Zag, Dipsy Doodle, and a rather tame, albeit interesting, version of Sugarfoot Stomp.

78. Ambrose

British dance bands of the 1920s and 1930s formed in dance halls and hotel ballrooms creating a unique style of swing jazz — a unique blend of popular American jazz and a ‘peculiar British sense of rhythm and style’. Ambrose and His Orchestra was one of those bands who I had stumbled on one day at my favorite record shop in Pasadena, CA (Canterbury Records). If you run across Ambrose, check out Cotton Pickers Congregation, Streamline Strut and Hide and Seek.

77. Don Ewell

The amount of amazing artists and music continues to astonish me. It was until a few months ago that I found Don Ewell, jazz pianist, and his upbeat and swingin version of Blues My Naughty Sweetie Gives To Me. Man that song is sweet!

76. Mary Lou Williams

Jazz pianist and composer, Mary Lou Williams wrote hundreds of compositions and arrangements, and event wrote some for the likes of Duke Ellington and Benny Goodman. Williams found work with Andy Kirk, and wrote for his Twelve Clouds of Joy, such great songs as “Walking and Swingin” and Little Joe From Chicago.

75. Louis Prima

Yes, Louis Prima.  Once you get past the Gap commercial of 1998, and Jump Jive and Wail (the bane of every swing dancers’ existence), Prima’s collection of music is fabulous. And let us forget that Prima did write the swing epic, Sing Sing Sing. If you aren’t into the later ‘Vegas Years’, check out Louis Prima’s New Orleans Gang. At The Darktown Strutters Ball and of course the original version of Sing Sing Sing are great samples of his early band (Pre Brian Setzer annoyance).

74. James P Johnson

Arguably one of the most important pioneers of stride piano. Teaching such piano pioneers as Fats Waller and Willie The Lion Smith. My Favorite Track: Walkin’ The Dog.

73. W.C. Handy

One of the most influential American songwriters in history. Handy, a blues player and composer, is credited for creating the contemporary form of the blues. My favorite song written by Handy, St. Louis Blues. I’m not sure there is a version of St. Louis Blues I don’t like.

72. Horace Henderson

Younger brother of bandleader, Fletcher Henderson, Horace was known mostly for his arrangements for such notable artists as Benny Goodman, the Casa Loma Orchestra, and Jimmie Lunceford. Horace is credited with writing Big John’s Special, Christopher Columbus, and Hot and Anxious, which later became In The Mood (also see Tar Paper Stomp); all three songs at the core of any swing dancers collection.

71. Albert Ammons

A boogie woogie piano player from the 30’s, Ammons boogie woogie really swings. Ammons, along with Peter Johnson, are credited with launching the Boogie Woogie craze with their appearance at Carnegie hall in 1938 for the Spirituals to Swing concert.

Check out the list:

100 – 91

90-81

80-71

70-61

60-51

50-41

90. Billy Strayhorn

One of the few openly gay musicians of the time (that I know of), Strayhorn is best known for this composition “Take The A Train,” and “Satin Doll” written for Duke Ellington. As Ellington described him, “Billy Strayhorn was my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine” Quite a compliment coming from one of the most important and prolific artists in jazz history.

89. Bud Freeman

C-Melody Saxophone star, Bud Freeman just kills it on the track The Eel. Not that his other musical accomplishments are not enough to warrant a position here, but The Eel, to me, captures Freeman perfectly; rhythmic, energetic and solidly swingin’ saxophone.

88. Willie Lewis

One of those ‘rare gems’ in the swing dance music world. The unfortunate part for me is that I didn’t discover Willie until the last few years!  What a shame I have only been playing them a short while. Lewis recorded excellent versions of Christopher Columbus and I’ve Found A New Baby; my favorites.

87. Anita O’Day

Our first jazz vocalist on the list, Anita O’Day is most well-known to the dance community for her work with Gene Krupa and Roy Eldridge. Watch The Birdie, Stop! The Red Lights On, two of her more well known tracks. *Bonus points on MTV; I heard Anita was one lascivious woman in her later years; hitting on many a young men at The Derby.

86. J.C. Higginbottham

Higginbotham was considered to be the most energetic of the swing trombone players; wild outbreaks on stage were characteristic. And we thank him for that! I wonder if he ever tried out for a band with Lionel Hampton, who known for hiring showman for his band. Check out this ‘relaxed’ version of Casa Loma Stomp.

85. Jay McShann

Jazz pianist and singer, Jay McShann is always welcome on the dance floor for his blues piano and soulful swingin’ sound. Playing with such greats as Ben Webster, Jimmy Witherspoon and Claude Williams, McShann’s most popular track at dance events has to be Moten Swing; a classic.

84. Alix Combelle

French tenor saxophonist, Alix Combelle is most popularly known in my collection for his kick ass version of Jumpin At The Woodside, featuring Django Reinhardt, and Exactly Like You, featuring Bill Coleman.

83. Claude Hopkins

With residences in 2 of the top ballrooms in Harlem, the Cotton Club and the Savoy, pianist Claude Hopkins led a widely popular band thru the 40s. One of my favorites: Truckin’.

82. Ted Heath

Inspired by Glenn Miller to form his own band, Heath is one of the most prolific British dance band leaders of his time. If you thought Glenn Miller was square…..

81. Henry Red Allen

Who didn’t this guy play with? Fats Waller, Luis Russell, Fletcher Henderson, Don Redman, Mills Blue Rhythm Band, Jelly Roll Morton, and even Benny Goodman and Billy Holiday. A jazz trumpeter who was said to be the first to expand beyond the improvisation of Louis Armstrong, Allen has 2 great tracks I love to play at ABW: Feelin The Spirit, Minnie The Moochers Wedding Day and Barrel House.

Check out the list:

100 – 91

90-81

80-71

70-61

60-51

50-41