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What makes a "good" DJ? In some
ways, it shouldn't be that important. Most
people just want to go to a dance, have a good
time, and dance to good music. And that's okay;
when I go to a dance, that's what I want to do!
It's not surprising that few people
appreciate the knowledge and expertise required
to be a good DJ. In fact, I've found that most
swing dancers, from beginner to more
experienced, and even those that "occasionally"
DJ dances, have little or no idea on what it
takes to be a "good" DJ: i.e. how to
incorporate variety, flow, and contrast into a
dance event, how to keep dancers of all ability
levels happy, etc, etc, .....
For those interested in the methods to my
madness on this subject (or for the hardy soul
thinking about taking on DJ duties), the
following information is for you.
Note: (1) This
info is not intended to criticize any particular
swing dancer, swing DJ or swing dance
organization, but help bring more awareness to
what should be the cornerstone of swing
dancing: the music!
(2) This info is also obviously
intended for those dancers/DJs in the Swing
Dance Community. I've found that most "party",
"regular" or so-called "professional" DJs have
an appalling lack of knowledge about even the
most basic elements of good swing music.
Just because you've got Jump, Jive & Wail and
Zoot Suit Riot (along with the Electric Slide),
that doesn't mean you got good swing music.
Sorry.
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I've traveled to lots of
different swing dance scenes throughout the
United States (and know other swing dancers that
also travel a lot). I'm just not a big fan
of scenes that play a lot of "non" swing music.
I have my reasons for that. If you're
interested in those reasons, click
here.
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Sounds simple. Seems
obvious. Most people would agree that a
DJ's primary purpose is to play music that will
make people want to get up and dance. But I
can't count the number of swing dances I've been
to where the DJ was playing only one or maybe
two type genres of swing music, most of it at
the same tempo. There was no energy among the
dancers or in the crowd in general. The people
that were dancing were mostly going through the
motions; or those not dancing were waiting for
the next "same ole song". The DJ seemed to be
in his/her own little world. To the obliviously
content DJ, everybody must be happy and having a
good time, because the DJ was enjoying playing
"his/her" music. If the DJ is happy, shouldn't
everybody else be the same? Ugh.
You ain't there to "educate" people.
I don't think it's the job of the DJ to
"educate" the audience about swing music. I've
been to dances where the DJ played one
predominant type of swing music, because the DJ
had just "discovered" a particular era or genre
of swing music and wanted to "educate" the
audience on their "discovery". Having to endure
an entire set of 1950's Be Bop jazz because the
DJ just "discovered" that particular music and
wants you to know how "good" it is can be a real
downer!
There is certainly nothing wrong with a
DJ adding "new" songs to a playlist. In fact,
good DJs are lifelong learners, always
adding new songs to their collections. Indeed,
there are lots of great songs "out there", with
some real gems undoubtedly waiting to be
discovered. For a DJ, it's a really good
feeling to find a new song you were previously
unaware of that turns out to be great for
dancing. But generally speaking, a variety
of tried and true songs from a variety of
genres should be the main component of a
playlist. (That word
variety will keep popping up!)
And one should keep in mind there are normally
good reasons why songs were not popular when
they were originally released and are now
obscure.
Non-dancers in the crowd. It
should not be forgotten there are often some
non-dancers (or brand new beginning dancers) in
the crowd at swing dance events. A good variety
of swing music played at
events allows non-dancers to have a good time
and perhaps spark their interest in swing music
and swing dancing. (Good swing music also helps
"hook" the beginning dancer.) A lot of people
will start taking swing dance lessons because of
the high energy swing music they hear at swing dance
events.
So how does a DJ figure out the swing music to
play that will make people want to get up and
dance?
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Knowledge about swing music
genres. A DJ needs to have a certain amount
of knowledge of the many different types and
genres of swing music, and of course, have the
actual music on hand to play (although no DJ
could possibly have every swing song ever
recorded!). A DJ must have a feel for swing
music genres and specific songs in order to
provide a good variety of tempo, flow and
contrast in the music selection. A DJ has to
understand the differences and nuances of the
many varieties of good swing music: 1920's and
30's "pre-swing" swing music; classic 1930's and
40's Big Band; 1940's and early 50's Big Band;
Jump Blues, early Rhythm & Blues, etc, etc...
Music for both Lindy Hop and Balboa.
A good DJ will have a feel for and play music
for both Lindy Hop and Balboa dancers. Granted,
if a DJ is not a proficient Balboa dancer, that
DJ may not understand what is considered good
Balboa songs. Too many times I've asked a DJ to
play a good Balboa song and what you get is
something really fast, but not necessarily good
for Balboa. If you're not proficient in Balboa,
talk to a good Balboa dancer that also DJs and
get some advice from them on good Balboa music.
Beats Per Minute (BPM). A good DJ
will know the beats per minute of
the songs they play in order to ensure they have
a balance of tempos in the music selection.
(There is lots of free software on the web that
calculates BPM.) Let's not get too technical:
we all know that tempo is the speed of music.
Beats per minute is the unit used to measure the
tempo or speed of music, i.e. how fast the song
is played. Ever to been to a dance where the DJ
seem to play a bunch of fast songs all right in
a row, followed by a bunch of slow songs, all
right in a row. Maybe you said to yourself,
"Why couldn't the DJ mix it up a little?"
I've known some DJ's to say "I don't need
to know the actual BPM, I can get a feel or
estimate for that from my knowledge of the
song." In my experience, that doesn't work real
well.
On occasion, I've asked DJs (and
experienced swing dancers) to estimate the BPM
of some very well known songs often played at
swing dances. Their answers were almost always
wrong, sometimes by as much as 25-100%! The
estimations were normally on the low side, i.e.
a song that was actually 175 BPM was estimated
to be 140 BPM, etc.
The bottom line is that as a DJ, if you
don't know the BPM of the songs you're playing,
you can't do your job properly.
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No, it's not a military
operation, but a DJ needs to do a little
planning and preparation before the dance.
Plan. What will be the general
audience for the dance? What type of venue?
What will be the ability level of most of the
dancers? Regardless of the audience, a DJ
should always keep the music upbeat and
energetic. As noted above, as Balboa becomes
even more and more popular in the swing dance
community, really good, hard swinging songs with
faster tempos songs should be played for the
Balboa dancers in the crowd. In other words,
know your audience; and keep in mind that the
vast majority of people prefer variety. As they
say, variety is the spice of life.
Prepare-the Music. I prepare a
Playlist with specific songs already selected
before each dance I DJ. For every dance
I've DJed, I've always varied from that model to
some degree. For example, I might choose not to
play a certain song at that point in the dance,
or I might want a song that's faster, or slower,
or a different genre, etc. But having a model
gives me a good starting point and ensures that
variety is built into the Playlist. So rather
than try to "wing it" at the dance, I think it's
best for a DJ to prepare a Playlist beforehand
and then make adjustments as necessary.
I have developed several Playlist models. These
models are a type of template that provide me a
guideline to ensure that when I'm selecting
songs for the Playlist, I select a variety of
both tempos and swing music genres, and that
there is a certain flow and contrast to the
overall song selections. (If you're interested
in seeing one of my Playlist models, contact
me.)
Keep variety, flow and
contrast in mind! Perhaps the
toughest job for a DJ is to ensure that,
along with variety of tempos and genres,
there is also the proper amount of flow and
contrast in the Playlist. A DJ should not
want the entire Playlist, or even large portions
of the Playlist, to sound similar. If a lot of
the songs in a Playlist tend to flow, i.e. the
BPM is raised or lowered too gradual, songs are
played together that have a common sound, theme
or genre, then the DJ ends up creating one big
long, "flowing" song. Dancers end up thinking,
"Didn't I just dance to a song like that?"
Therefore, flow must be balanced with contrast.
Contrast is that feeling you get when you hear a
song that's different from the last song and you
say, "Wow, I've got to dance to that one!" By
playing a variety of genres and keeping flow and
contrast balanced, you can keep the dancers
inspired and dancing song after song. They end
up leaving the dance happy, with a gentle
feeling of fatigue, but ready and eager to come
back for the next dance!
A note on specific song selections. In
general, I try to keep the songs I play under
4 minutes. Dancing is a social activity.
If the songs are too long, that means the
dancers will not be able to dance with as many
people throughout the event. In addition, the
longer songs tend to be of a slower tempo and
tend to have lots of instrumental solos, which
can lead to the dancing becoming introverted and
overcooked. And that can sap the energy right
out of a dance event.
Depth in the playlist/your music
collection. Keep in mind that it is
possible to have a certain amount of variety,
flow and contrast in your playlist, but your
music selections could still lack depth.
Depth in a music collection is just what it
implies. For example, if the "variety" of the
selections for your Big Band songs is from Glenn
Miller, Les Brown and Tommy Dorsey, then you
don't have depth (and you're probably not very
knowledgeable about big band music). It is
almost impossible to obtain depth in your music
collection if your primary source of music is
"free" or shareware downloads from the
internet. If you want to be a good swing dance
DJ with depth in your music, then you're going
to have to spend some bucks and purchase good
music. The vast majority
of really good swing dance music cannot be
obtained for free on the internet (for a variety
of reasons).
Prepare-the Sound System. Make
sure you know how to operate the sound system,
whether it's the facility's sound system or a
system you set up. I've been to some Swing
Dances where the DJ shows up about 10 minutes
before the dance is supposed to start, and then
spends the next half hour trying to figure out
how the sound system works. That is un-good.
Execute-Punctuality is
important. Start playing the music when the
dance is scheduled to start. If there's a
pre-dance lesson that goes over it's allotted
time, there's not much you can do (unless you
were the instructor!).
Execute-Taking requests. I
generally try to play requests if I have the
song and, most importantly, the song will fit
into the overall flow of the playlist.
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DJing for a competition.
If you're DJing for a competition, the best rule
to follow is to keep it simple and don't get
creative. Pick songs that really swing hard,
but follow standard swing music phrasing.
Remember, the competition is about the dancers
dancing with each other to great swing music;
and not about trying to figure out what kind of
music the DJ is playing.
Share your expertise and information.
Some people may be interested in particular
songs you play, the name of the artist, etc.
I'm always willing to share information with
those interested in the music.
Compliments and Complaints. Be
gracious when people compliment you on the music
selection. Of course, a good DJ knows the real
credit goes to the original artist of the song.
Likewise, if someone has a complaint about the
music and they offer constructive criticism,
give it due consideration.
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Of course, a DJ is just like any
other person, with certain preferences and areas
of emphasis in their music collection. The
information below is provided so you may get an
idea about what factors I consider when
developing a Playlist for a swing dance.
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I have
three basic guidelines I use when
developing and choosing songs for a Playlist |
(1) Variety and
balance is key. That means variety in both
musical tempos and musical genres/styles and
balance in flow and contrast of the songs.
Unless one is DJing a special
type swing dance (i.e. a Balboa event), the
predominance of a narrow music tempo or of one
music genre over another creates problems.
For example, some dancers like to
dance to "slower", "groovier" or "bluesey" type
music. Since the music is so slow, it's much
easier for these dancers to display their dance
moves (and maybe even show off a little).
However, if too much "groove" or "slow blues"
type music is played, the dance soon lacks
energy and the dancing can quickly become
introverted and overcooked and, quite frankly,
the dance event becomes boring. That kind of
quiet, subdued "groovy" feeling can be a real
turn-off to many dancers, especially new and
less experienced dances.
On the other hand, playing too much
"fast" music also quickly becomes monotonous,
and leaves dancers feeling drained and tired,
especially for dancers that are not proficient
in Balboa (or fast Lindy Hop technique).
As previously noted (but it's worth
repeating), a good variety of
music played at a swing
dance event allows non-dancers to have a good
time and perhaps spark their interest in swing
music and swing dancing. A lot of people will
start taking swing dance lessons because of the
high energy music they hear at swing dance
events.
Indeed, when it comes to the
music for swing dance events, it's all about
variety and balance!
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(2) Does the song "swing"? I
admit the definition of what is "swing" may
certainly differ among people. For me,
Swing is best described as the
particular way a piece of music is played that
gives it a certain vitality and energy. Note
that I don't necessarily equate "energy"
with tempo. "Slow" songs can be energetic just
as "fast" songs can be dull and boring.
Speaking of tempo,
some people think that the tempo of the music is
what basically defines whether it is good for
dancing or not, i.e. that song is "too slow" or
"too fast", etc. I tend to disagree. I believe
it is the underlying rhythmic feeling of Swing
Music -- that rhythmic pulse, that
differentiates swing music from music that just
happens to be in 4/4 time. In fact, there is a
lot of music played in 4/4 time that people
"swing dance" to, but that doesn't make it swing
music. (Go to a West Coast Swing, Ballroom, or
a Bop Club event.)
Good swing music does
not make you think, ponder, or scratch your head
as you attempt to figure out how to interpret
and dance to what you hear. With good swing
music, you just want to get up and dance!
(3) Will the song make people
want to get up and dance? As noted above, the
energy from good swing music often comes from an
underlying rhythmic pulse and feeling that makes
you want to get up and dance. For some
of the truly great swing songs, it's almost
impossible not to get up and dance!
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Dislikes. I really don't
have any dislikes. I have an open mind when it
comes to music for swing dancing. I'm willing
to try any type swing song(s) as long as it
generally meets the three basic guidelines noted
above.
I do have a couple of preferences that
may make me "dislike" a song. As noted above, I
normally won't play a song if it's over 4
minutes in length.
I also generally like songs that have a
full and energetic feeling about them. I'm not
a big fan of songs that are "jazzy" and
"smooth", but don't really swing (such as Trio
type jazz songs: songs with only a Bass, Piano
and Drums for instrumentation, etc).
Once again, I'm not saying I won't play a
song that's over 4 minutes in length or one
that's really jazzy; it just has to be a really
good song.
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My "likes" revolve around
genres of swing music that I personally think
should be genres of the majority of swing music
played at swing dance venues. These genres of
swing music also have a rich history in the
development of swing dancing and swing music.
I like Big Band music.
Most people have heard of the Big
Band sound, a music style primarily from the
1930's and 1940's. Unfortunately, many people
(even some swing dancers) associate the Big Band
sound with the "champagne, mayonnaise and white
bread" music of Lawrence Welk, the New Year's
Eve broadcasts of Guy Lombardo, or the
commercially successful but stiff and bland
music of Glenn Miller.
Simply put, Classic Big Band music is the
music that was played as swing dancing, in the
forms of the Lindy Hop and Balboa, and the
classic era of swinging, big band jazz developed
simultaneously in the U.S. in the 1930's and
40's.
Generally speaking, I think
Classic Big Band music should be well represented at swing dance
venues. It sometimes seems one hears the same
few Big Band songs played at various swing dance
venues.
I believe there are a couple of reasons
for this.
First, good, high quality
recordings of Big Band music are not as well
known and marketed as heavily as "mainstream"
swing music. Of course, there
are numerous Big Band recordings on the market;
however a great many of these recordings have an
inferior sound quality due to the recording
technology (mono) of the 1930's and 40's. These
CDs are often released by lesser known record
labels that buy up rights to various versions of
older big band songs. These record labels then
release poor quality big band CDs or
"collections" with no digital re-mastering and
normally no liner notes.
So, how does one find good
quality big band music? There are two basic
options: Digital re-mastered versions of the
original 1930's and 40's recordings and 1950's
and 60's Hi-Fi re-recordings.
Digital
re-mastered versions. Although it takes
more searching and trail and error, there are
some good songs out there from the 1930's and
40's that have been digitally re-mastered and
have excellent sound. I don't like to play a
"scratchy" sound recording unless it's a great
song and I can't find it in a better re-mastered
version. The major music labels normally have
the best re-mastered versions, although there
are exceptions to that. Once again, stay away
from the low-priced budget collections of big
band music. They are almost always a waste of
money.
Big Band
re-recordings. With the advent of
stereophonic Hi-Fi technology in the 1950's and
60's, many Big Bands re-recorded their standard
numbers, primarily with Capital Records. These
recordings were big hits when released as LPs in
the 1950's, 60's and 70's. Beginning in the mid
1990's, many CD versions of these Big Band hits
in Hi-Fi have been re-released. Like any CD,
some go out of print, although they can often be
purchased used. These CD recordings provide
some good Big Band music for dancing (and
listening!). (See the Big Band section
of the Music page of the Club's web site for
some specific CD recommendations.)
A second reason I believe more Big
Band songs are not played at swing dance venues
relates to music tempo. Many people are only
familiar with a few of the well known Big Band
classics that are on the fast side, such as
"Sing, Sing, Sing" or "Jumpin' at the
Woodside". While Big Band music is generally on
the faster side, there are a lot of Big Band
songs at a variety of tempos, both instrumentals
and songs with vocals, that are really great for
swing dancing.
Overall, I think Big Band music is the
best genre of swing music that allows one to
"transport" themselves back in time to the
1930's and 40's and get an appreciation for what
it "may have been like" when dancing in that
era.
One last note. There are some very
good contemporary Big Bands playing great swing
music, such as the
Kentucky Jazz Repertory
Orchestra, the Bill Elliott Swing Orchestra and
Mora's Modern Rhythmists.
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I'm not sure why more Jump Blues music is not
played at swing dance events; it's the most
often neglected genre at swing dances. Jump
Blues music is just a whole lot of fun to dance
to! It was the bridge between the big band
swing and jazz sound of the 1930's and 40's and
the later rhythm and blues (R&B), primarily in a
small band context. Usually featuring a
vocalist in front of a large, horn-driven
orchestra or medium sized combo with multiple
horns, the style is earmarked by a driving
rhythm, intensely shouted vocals, and honking
tenor saxophone solos, all of those very
elements a precursor to rock & roll. The lyrics
are almost always celebratory in nature, full of
braggadocio and swagger.
Lots of CDs by Jump Blues artists such as
Louis Jordan, Big Joe Turner, Wynonie Harris,
etc are readily available (man, if you don't
like to dance to music by Louis Jordan, Big Joe
Turner, etc.: Jack, You Dead!). And Jump Blues
is a genre that has lots of songs in a variety
of tempos. (See the Jump Blues section
of the Music page of the Club's web site for
some specific CD recommendations.)
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There is a lot of music from the
late 1940's and early 50's that is great for
swing dancing. Just a brief mention of a few
genres.
Early
Rhythm & Blues. Before it eventually
metamorphosed into soul, early Rhythm & Blues
music had a variety of artists that play some
great music for swing dancing, such as Ray
Charles and Ruth Brown. Early Rock &
Roll drew from a variety of sources, to
include Jump Blues, Rhythm & Blues, country,
gospel, traditional pop, and folk. All of these
influences combined in a simple, blues-based
song structure that was catchy and danceable:
Bill Haley & the Comets and Chuck Berry
immediately come to mind. (Whenever I play
Chuck Berry's "Johnny B. Goode" or Bill Haley's
"See You Later, Alligator" at a swing dance,
everyone gets up and dances!). 1950's Rock &
Roll music
includes such artists as Little Richard,
Jerry Lee Lewis, and early Elvis Presley
(yes, some early Elvis music does swing!).
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History.
One last note on "history". As one may infer, I
believe it's impossible to separate swing music
from swing dancing, from both a historical
perspective and from the contemporary
perspective of how swing dancing continually
evolves. I further believe that an
understanding of the historical development of
swing dancing and swing music has an inherent
artistic and educational value that allows the
dancer to better understand the rich culture of
swing dancing and swing music and understand the
context for their particular swing dancing
style.
The bottom line is that one
should certainly develop their own style when
swing dancing; and of course, there are a
variety of musical tastes when it comes to swing
dancing. Make swing "your" dance, but remember
it's rich history and keep that history in
remembrance and perspective.
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