SWING FANS Diamond 48, Black Body - Teak Blade

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Multi-genre mandolinist Jethro Burns is widely known for playing Swing, Jazz, and many other forms of the genre on the mandolin. He has produced many albums that feature Jazz rhythms and swing chord progressions. He is often considered "The Father of Jazz Mandolin". eVertical DVC: Designed for elevated ambient temperatures operating up to 120°C. Ideal for kitchen extract with the motor out of airstream. High Temperature. Walda, D., 1980. Trompettist in Auschwitz: Herinneringen van Lex van Weren, Amsterdam: De Boekerij.

This popularity and even a performance in a propaganda film about the camp could not, however, protect the Ghetto-Swingers from deportation to Auschwitz-Birkenau. Those who had survived the selection formed the core for the newly-founded camp band. Guitarist Coco Schumann talked about this in an interview:Considine, J. D. "The missing link in the evolution of JUMP BLUES". Baltimoresun.com . Retrieved 23 February 2021. Hasenbein, H., 1995. Unerwünscht – toleriert – instrumentalisiert. Jazz und Swing im Nationalsozialismus. In eitschrift für Sozialgeschichte des 20. und 21. Jahrhunderts 10. 38-52. In 2001 Robbie Williams's album Swing When You're Winning consisted mainly of popular swing covers. The album sold more than 7 million copies worldwide. In November 2013, Robbie Williams released Swings Both Ways. Blowin' Hot and Cool: Jazz and Its Critics, by John Remo Gennari, PhD (born 1960), University of Chicago Press (2006), pg. 58; OCLC 701053921 Schumann, C., 1997. Der Ghetto-Swinger: Eine Jazzlegende Erzählt 2nd ed., Munich: Deutscher Taschenbuch Verlag.

Harker, Brian C., 1997, Early Musical Development of Louis Armstrong, 1921–1928, unpublished PhD Dissertation, Columbia University, 390 p. plus Appendix

When he played, everything became quiet. He magically produced the sound of an entire band. […] Everywhere where Pechmann went, he reassured these frightened people. In 1935 the Benny Goodman Orchestra had won a spot on the radio show Let's Dance and started showcasing an updated repertoire featuring Fletcher Henderson arrangements. Goodman's slot was on after midnight in the East, and few people heard it. It was on earlier on the West Coast and developed the audience that later led to Goodman's Palomar Ballroom triumph. At the Palomar engagement starting on 21 August 1935, audiences of young white dancers favored Goodman's rhythm and daring arrangements. The sudden success of the Goodman orchestra transformed the landscape of popular music in America. Goodman's success with "hot" swing brought forth imitators and enthusiasts of the new style throughout the world of dance bands, which launched the "swing era" that lasted until 1946. [22] Barber-Kersovan, A. & Uhlmann, G. eds., 2002. Getanzte Freiheit. Swingkultur zwischen NS-Diktatur und Gegenwart., Hamburg / München: Dalling und Galitz. Nye, Russell B., 1976, Music in the Twenties: The Jean Goldkette Orchestra, Prospects, An Annual of American Cultural Studies 1:179–203, October 1976, DOI: 10.1017/S0361233300004361

A roof fan is either an axial fan or centrifugal blower contained within a roof mounted unit that can cover a variety of applications depending upon the design of the unit. Roof fans also come in either vertical or horizontal discharge configuration. In November 1939, a group of students from Czechoslovakia founded a vocal octet called the Sing Sing Boys in Sachsenhausen. One part of their programme consisted of well-known musical dance numbers of film melodies in a swing arrangement. Beyond that, they used compositions in the jazz idiom from their musical leader Karel Štancl as well as satirical songs from the Liberated Theatre in Prague, which had been closed in 1938 due to its antifascist leanings. These songs contained the heavily jazz-influenced melodies of Jaroslav Jezek, and their performance was prohibited by the German occupiers. Josef Sárka described the concerts of the Sing Sing Boys in a letter:Main article: Swing era Benny Goodman, one of the first swing bandleaders to achieve widespread fame Swing אנחנו מאמינים במוצרים שלנו ומעוניינים לקדם ידע מקצועי בתחום מאווררי התקרה, כדי שתוכלו לבצע רכישה מושכלת שתואמת לצרכים הפרקטיים והעיצוביים שלכם. לכן, אנחנו מעניקים שירותי ייעוץ מקצועי בחנויות הרשת, בטלפון ודרך מספר פלטפורמות באתר וכמובן שנשמח לספק לכם גם שירותי משלוח והתקנה Between the poles of hot and sweet, middlebrow interpretations of swing led to great commercial success for bands such as those led by Artie Shaw, Glenn Miller and Tommy Dorsey. Miller's trademark clarinet-led reed section was decidedly "sweet", but the Miller catalog had no shortage of bouncy, medium-tempo dance tunes and some up-tempo tunes such as Mission to Moscow and the Lionel Hampton composition " Flying Home". "The Sentimental Gentleman of Swing" Tommy Dorsey made a nod to the hot side by hiring jazz trumpeter and Goodman alumnus Bunny Berigan, then hiring Jimmie Lunceford's arranger Sy Oliver to spice up his catalog in 1939. Hejtmar, M., Rhythmus hinter Drähten [Rhythm behind barbed wire], Weimar: archive of the KZ-Gedenkstätte Buchenwald. Traditional New Orleans style jazz was based on a two- beat meter and contrapuntal improvisation led by a trumpet or cornet, typically followed by a clarinet and trombone in a call-response pattern. The rhythm section consisted of a sousaphone and drums, and sometimes a banjo. By the early 1920s guitars and pianos sometimes substituted for the banjo and a string bass sometimes substituted for the sousaphone. Use of the string bass opened possibilities for 4/4 instead of 2/4 time at faster tempos, which increased rhythmic freedom. The Chicago style released the soloist from the constraints of contrapuntal improvisation with other front-line instruments, lending greater freedom in creating melodic lines. Louis Armstrong used the additional freedom of the new format with 4/4 time, accenting the second and fourth beats and anticipating the main beats with lead-in notes in his solos to create a sense of rhythmic pulse that happened between the beats as well as on them, i.e. swing. [10]

If the musicians in Theresienstadt could fashion a pure, artistically ambitious jazz repertoire, then they became mere musical slaves in Auschwitz, where their lives depended upon the momentary disposition of the SS and functionaries. Because the musicians were useful for them, the camp band did offer the possibility of escaping the gas chamber. Later, the remaining musicians were transferred via Berlin and Sachsenhausen into a satellite camp of Dachau. But only a few members of the Ghetto-Swingers survived the Shoah. Conclusion Spring, Howard. "Swing and the Lindy Hop: Dance, Venue, Media, and Tradition". American Music, Vol. 15, No. 2 (Summer, 1997), pp.183–207.In the French prisoner camp in Perpignan in 1942, for example, the Viennese Erich Pechmann, imprisoned because of his Jewish faith, sang blues pieces and, in addition, imitated instruments with his voice. Using only these simple methods, as Fred Wander relates, Pechmann was able to boost the morale of his fellow prisoners: