Background: A big band is a type of musical ensemble that usually consists of ten or more musicians with four sections: saxophones, trumpets, trombones, and a rhythm section. Big bands originated during the early 1910s and dominated jazz in the early 1940s when swing was most popular. The term "big band" is also used to describe a genre of music. One problem with this usage is that it overlooks the variety of music played by these bands.
Context: Before 1914, social dance in America was dominated by steps such as the waltz and polka. As jazz migrated from its New Orleans origin to Chicago and New York City, energetic, suggestive dances traveled with it. During the next decades, ballrooms filled with people doing the jitterbug and Lindy Hop. The dance duo Vernon and Irene Castle popularized the foxtrot while accompanied by the orchestra of James Reese Europe.  One of the first bands to accompany the new rhythms was led by a drummer, Art Hickman, in San Francisco in 1916. Hickman's arranger, Ferde Grofe, wrote arrangements in which he divided the jazz orchestra into sections that combined in various ways. This intermingling of sections became a defining characteristic of big bands. In 1919, Paul Whiteman hired Grofe to use similar techniques for his band. Whiteman was educated in classical music, and he called his new band's music symphonic jazz. The methods of dance bands marked a step away from New Orleans jazz. With the exception of Jelly Roll Morton, who continued playing in the New Orleans style, bandleaders paid attention to the demand for dance music and created their own big bands. They incorporated elements of Broadway, Tin Pan Alley, ragtime, and vaudeville.  Duke Ellington led his band at the Cotton Club in Harlem. Fletcher Henderson's career started when he was persuaded to audition for a job at Club Alabam in New York City, which eventually turned into a job as bandleader at the Roseland Ballroom. At these venues, which themselves gained notoriety, bandleaders and arrangers played a greater role than they had before. Hickman relied on Ferde Grofe, Whiteman on Bill Challis. Henderson and arranger Don Redman followed the template of King Oliver, but as the 1920s progressed they moved away from the New Orleans format and transformed jazz. They were assisted by a band full of talent: Coleman Hawkins on tenor saxophone, Louis Armstrong on cornet, and multi-instrumentalist Benny Carter, whose career lasted into the 1990s.
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Before 1914, social dance in America was dominated by steps such as the waltz and polka.