By Catherine Tackley
On January sixteen, 1938 Benny Goodman introduced his swing orchestra to America's honored domestic of eu classical tune, Carnegie corridor. The ensuing live performance - extensively certainly one of the main major occasions in American song historical past - helped to usher jazz and swing track into the yankee cultural mainstream. This attractiveness has been perpetuated through Columbia Records' 1950 unlock of the live performance on LP.
Now, in Benny Goodman's recognized 1938 Carnegie corridor Jazz Concert, jazz student and musician Catherine Tackley offers the 1st extensive, scholarly examine of this seminal live performance and recording.
Combining rigorous documentary and archival learn with shut research of the recording, Tackley strips again the amassed layers of interpretation and aspiring to verify the functionality in its unique context, and discover what the fabric has come to symbolize in its recorded shape. Taking an entire view of the live performance, she examines the wealthy cultural environment during which it came about, and analyzes the compositions, preparations and performances themselves, ahead of discussing the instant reception, and lasting legacy and influence of this storied occasion and album.
As the definitive examine of 1 of an important recordings of the twentieth-century, Benny Goodman's well-known 1938 Carnegie corridor Jazz Concert is a must-read for all severe jazz enthusiasts, musicians and students.
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Extra info for Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert (Oxford Studies in Recorded Jazz)
A P P R O P R I A T I O N With Henderson’s own band inconsistent and working only intermittently, there was a need for Goodman to find an alternative model for his performance style. After Let’s Dance had been on the air for a couple of weeks, Willard Alexander arranged for Goodman’s band to play for a few nights “informally and without publicity” at the Savoy Ballroom (Goodman and Kolodin 1939: 158). The Savoy had made its name as a place to dance from opening night in 1926, and the presentation of two bands was the basis for the famous band battles (Charters and Kunstadt 1962: 192–193).
Hammond was instrumental in immediately arranging a recording session and maintaining the concept for the group: “John wanted just the same sound: no bass player—just Goodman and me and a drummer” (Wilson et al. 2001: 40). Hammond was already a great admirer of Wilson, whom he had identified as a key player in his aims for racial integration as “he had the bearing, demeanor, and attitude to life which would enable him to survive in a white society” (Hammond and Townsend 1977: 116). Initially the Trio (with Gene Krupa at the drums) was convened as a one-off studio group, recording their first sides in July 1935, thus adhering to established precedents for integration while breaking new ground musically.
Could also do a wonderful job on melodic tunes” (Goodman and Kolodin 1939: 161). THE ORCHESTRA c o n t e xt 31 Goodman realized that it was Henderson’s approach to the mainstream popular music rather than his “big arrangements” (such as “King Porter Stomp” and “Down South Camp Meeting”) that “really set the style of the band,” as this consistently and decisively distinguished Goodman from his competitors playing similar material. The Henderson numbers performed at Carnegie Hall are all arrangements of older popular songs.