ed ambiguity in labeling because, for example, record store clerks often catalog big band music as though it were a single style. Large ensembles have performed almost every kind of jazz: swing, bebop, cool, hard bop, free jazz, and jazz-rock fusion. Not all big bands are swing bands, and so big band style should not be used routinely to designate the jazz of all large ensembles ("Swing").The swing players, generally speaking, were more schooled than their predecessors. Playing exactly in tune was often a more important issue than the feeling of the part because of their size and the nature of the sectionalization. Everyone in the ensemble had to start and stop each note together ("Swing").Progressive swing, also known as progressive jazz, was an extension of the jazz orchestras following the decline of the big band era. The style is closely associated to the output of Stan Kenton beginning in the late 1940s; however, the term applied to a number of bands and small groups who played a darker, more modern sound ("Swing").Dixieland is an umbrella to indicate musical styles of the earliest New Orleans and Chicago jazz musicians. Beginning during the late 1930s, Dixieland refers to collectively improvised small band music. Simultaneous counterlines are supplied by trumpet, clarinet, and trombone, and are accompanied by piano, guitar, banjo, tuba, bass, guitar, and drums. Early New Orleans Dixieland in 1900 to 1917 was typical of the African American singing tradition. It differed from later Chicago Dixieland and the even later revival Dixieland. The first groups of New Orleans Dixieland used a front line of cornet, clarinet, and trombone. The rhythm section was made up of banjo, tuba, and drums. The origin of these instruments was in the marching bands ("Dixieland").Chicago style Dixieland emerged in the 1920s. This style is a merger of the New Orleans style Dixieland mixed with ragtime. Chicago style Dixieland exemplifies th...
