SWING FANS Diamond 48, Black Body - Teak Blade

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Swing dancing originated in the late 1920s as the " Lindy Hop", and would later incorporate other styles including The Suzie Q, Truckin', Peckin' Jive, The Big Apple, and The Shag in various combinations of moves.

After his confiscated private record collection was handed over to his parents, this jazz fan had the records sent to him in the camp. Music that was strictly prohibited as ‘racially impure’ by the Third Reich was played before a public so international in composition, that under any other circumstances it would not have come together. On the one hand, it was an essential component of illegal and/or tolerated camp culture; on the other, it was a means of propaganda and distraction for the henchmen of the Nazi regime.

Developments in dance orchestra and jazz music during the 1920s both contributed to the development of the 1930s swing style. Coleman Hawkins arrived back from an extended stay in Europe to New York in 1939, recorded his famous version of " Body and Soul", and fronted his own big band. Meanwhile, string bass players such as Walter Page were developing their technique to the point where they could hold down the bottom end of a full-sized dance orchestra. Only through such varying motivations could the scorned jazz 'survive' in, of all places, the Nazi camps. The boys were sent to the male camp Moringen, while the girls were sent to the female camp Uckermark, which was situated near Ravensbrück.

In his autobiography he actually mentions that he was given this nickname by the chairman at Rosslyn Park, which was the rugby union team he was playing for in 1987. The growth of radio broadcasting and the recording industry in the 1920s allowed some of the more popular dance bands to gain national exposure.

Rock music hitmakers like Fats Domino and Elvis Presley included swing-era standards in their repertoire, making crooning ballads " Are You Lonesome Tonight" and " My Blue Heaven" into rock and roll-era hits. Incidentally, though the term Swingjugend (Swing Youth) also derives from Nazi parlance and is similarly discriminatory in intent, it became the standard term. In 1927 Armstrong worked with pianist Earl Hines, who had a similar impact on his instrument as Armstrong had on trumpet. The manpower requirements for big swing bands placed a burden on the scarce resources available for touring and were impacted by the military draft. Duke Ellington credited the Henderson band with being an early influence when he was developing the sound for his own band.

Arising in the mid-1930s and originating in the United States, the newest style of jazz, swing, brought forth a renewed interest in jazz across the world, even in Nazi Germany. Coleman Hawkins is sitting on the floor to the extreme left with Louis Armstrong above him to the right. Another modern development consists of fusing swing (original, or remixes of classics) with hip hop and house techniques. His approaches to rhythm and phrasing were also free and daring, exploring ideas that would define swing playing. In their own field of responsibility, individual SS members hardly bothered themselves about the music guidelines of the regime.Multi-genre mandolinist Jethro Burns is widely known for playing Swing, Jazz, and many other forms of the genre on the mandolin.