Diving into the world of Benny Goodman is like stepping back into a time where the clarinet was king, and swing music ruled the airwaves. Known affectionately as the "King of Swing," Benny Goodman's influence on the jazz and swing music scenes is unparalleled. With an illustrious career that brought swing to the forefront of American music, Goodman's repertoire is a treasure trove of classics that have stood the test of time. From the energetic beats of "Sing, Sing, Sing (With a Swing)" to the melodic rhythms of "Moonglow," Goodman's music has a way of capturing the essence of an era where jazz was more than just music; it was a movement.
Sing, Sing, Sing (With a Swing)
Originally penned by Louis Prima in 1936, "Sing, Sing, Sing (With a Swing)" quickly ascended to become a hallmark of the swing era under Benny Goodman's masterful rendition. This iconic track not only showcased the vibrant energy of Goodman's orchestra but also featured groundbreaking drum solos by Gene Krupa, which left an indelible mark on the audience and the music industry alike.
Sing, Sing, Sing (With a Swing) History
Louis Prima's creation was transformed when Benny Goodman took it into his repertoire in 1937, extending the performance length to over eight minutes to accommodate the expressive solos and intricate arrangements. This version was notably recorded during a time when Goodman was at the zenith of his popularity, having just captivated audiences at his groundbreaking Carnegie Hall concert. The performance was a spectacle of spontaneity with Goodman and his band members, including notable names like Harry James and Jess Stacy, delivering solos that ventured well beyond the original composition.
Sing, Sing, Sing (With a Swing) Impact
"Sing, Sing, Sing" is more than just a song; it's an embodiment of the swing era's exuberance and a testament to Goodman's innovative spirit. The track's extended playtime on a 12-inch 78-rpm record was revolutionary, allowing for an unprecedented expression in a commercial music format. This song not only highlighted the talents of its performers but also shifted the public's expectations of what jazz music could be, blending structured orchestration with impulsive jazz solos.
Sing, Sing, Sing (With a Swing) Legacy
Decades later, the influence of "Sing, Sing, Sing (With a Swing)" persists, cementing its place as a cultural and musical milestone. It has been featured in numerous films, television shows, and commercials, continually reintroducing itself to new generations of listeners. The song's legacy is also preserved in the annals of jazz history through countless reinterpretations and the storied narratives of those who were there to witness its creation. This track stands as a monument to Benny Goodman's artistic vision and the enduring appeal of swing music.
Goodman's rendition of "Sing, Sing, Sing" remains a vibrant celebration of jazz, its rhythm compelling listeners to swing to the beat decades after its first note was played.
Don't Be That Way
Don't Be That Way Composition
"Don't Be That Way" was masterfully crafted by Edgar Sampson in 1933 while he was part of Rex Stewart's band. Although Rex Stewart didn't record the song, it found its first fame with Chick Webb's band after Sampson joined them. Recorded for the Decca label on November 19, 1934, Sampson not only arranged the piece but also played the alto sax, adding a personal touch to the vibrant tune. The song, later adorned with lyrics by Mitchell Parish, starts with the poignant line, "Don't cry, oh honey please don't be that way," setting a reflective mood that contrasts with the upbeat rhythms.
Don't Be That Way Performance
The historical significance of "Don't Be That Way" was cemented at the legendary Carnegie Hall concert by Benny Goodman's Orchestra on January 16, 1938. Opening the concert, this performance was a tribute to Chick Webb and Edgar Sampson, showcasing the song’s dynamic and uplifting spirit. A month later, Goodman recorded the song for RCA Victor, and it soared to number one on the charts later that year. This version is noted for its lively arrangements and became a defining moment in the swing era.
Don't Be That Way Influence
Edgar Sampson's arrangement of "Don't Be That Way" played a pivotal role in defining the sound of the swing era. His favorite version, as he once noted, was Chick Webb's for its musicality, though he favored Goodman's version for its financial success. The song's influence extended beyond its initial release, inspiring artists like Oscar Peterson, who recorded notable versions in the 1950s, demonstrating the song's adaptability and enduring appeal in jazz music.
This track continues to resonate, illustrating Benny Goodman’s ability to transform compositions with his unique style, making "Don't Be That Way" a beloved classic in the world of swing music.
Moonglow
Moonglow Origins
"Moonglow," a jazz staple, was first introduced in 1933, primarily as an instrumental piece by Joe Venuti and his Orchestra. The melody, deeply rooted in the jazz tradition, was soon paired with lyrics by Eddie DeLange, adding a lyrical dimension to its enchanting tune. This song not only reflects the musical trends of the early 1930s but also intertwines with other compositions, such as Duke Ellington's "When It's Sleepy Time Down South" and "Lazy Rhapsody," showcasing a rich tapestry of musical evolution during this era.
Moonglow Goodman's Version
Benny Goodman, the King of Swing, delivered one of the most memorable renditions of "Moonglow" in 1934. His interpretation included a unique arrangement that featured a series of solos, starting with a captivating trombone performance by Jack Teagarden, followed by Goodman's own clarinet mastery, and a piano solo by Teddy Wilson. This version stood out not only for its musical excellence but also for its structural innovation, following an AABA arrangement that highlighted the piece's thematic chorus and the virtuosic abilities of the musicians.
Moonglow Popularity
"Moonglow" achieved significant acclaim, particularly through Goodman's version, which became a major hit, topping the charts for several weeks. The song's adaptability and appeal were further evidenced by its inclusion in various other performances and recordings, including a notable appearance in the 1955 film Picnic, where it was featured with new lyrics by Steve Allen. Goodman's recording, with its vibrant energy and rhythmic intricacies, not only captured the essence of the swing era but also left a lasting impact on the jazz genre, continuing to resonate with audiences over the decades.
And the Angels Sing
And the Angels Sing Creation
Originally an instrumental by trumpeter Ziggy Elman, known as "Fralich in Swing," this piece included a distinctive klezmer-style solo. When Elman joined Benny Goodman's band in the late 1930s, lyricist Johnny Mercer added words, transforming it into "And The Angels Sing." This adaptation quickly became a signature song for both vocalist Martha Tilton and Elman himself, showcasing a unique blend of swing and klezmer influences.
And the Angels Sing Vocals
Martha Tilton's involvement with "And The Angels Sing" marked a pivotal moment in her career and in the history of vocal jazz. Her pure tone and vivacious personality allowed the virtues of the song to shine, making it one of the swing era's defining vocal successes. Tilton's performance at the 1938 Carnegie Hall concert, although marred by controversy regarding the song's inclusion, solidified her status as a significant figure in American musical culture.
And the Angels Sing Success
The song's success was monumental, becoming Goodman's largest selling record on the Victor label. Interestingly, Benny Goodman did not play on the recording, highlighting the song's strong reliance on vocal and trumpet performances. Despite debates about its live performance at Carnegie Hall, "And The Angels Sing" remains a beloved classic, illustrating the collaborative spirit and innovative approach that characterized the swing era.
King Porter Stomp
King Porter Stomp Background
"King Porter Stomp," a jazz standard by Jelly Roll Morton, first recorded in 1923, is considered pivotal in the development of jazz. Originally composed around 1905, Morton created this piece during his time in the vibrant musical atmosphere of Storyville, New Orleans. The song encapsulates a blend of African, Mediterranean, Caribbean, and American influences, showcasing elements of blues, ragtime, classical, parlor, and marching band music. Morton's view of the piano as an orchestral instrument rather than a solo tool allowed the composition to be adapted and performed by numerous bands, becoming a defining piece of the swing era.
King Porter Stomp Arrangement
Fletcher Henderson's 1928 arrangement of "King Porter Stomp" brought the composition to significant prominence. This arrangement was later used by Benny Goodman, marking a new era in jazz during the 1930s. Goodman's performance of the song at the Palomar Ballroom in Los Angeles in 1935 was particularly noteworthy, as it reportedly caused the venue to "explode" with excitement, underscoring the song's powerful impact on audiences and its role in popularizing the swing movement.
King Porter Stomp Significance
"King Porter Stomp" is not just a song but a historical artifact, illustrating the evolution of jazz music from its roots to its mainstream acceptance. It was performed by both black and white bands, including notable names like Cab Calloway, Count Basie, Glenn Miller, and Tommy Dorsey, showcasing its universal appeal. The song's enduring popularity is a testament to its influence, as it has been adapted into various jazz styles over the decades, including a notable post-bebop version by Gil Evans with Cannonball Adderley in 1958. This track remains a cornerstone in the repertoire of jazz musicians worldwide, continually inspiring new interpretations and affirming its place in the annals of music history.
Every Good Song Comes to an End…
You can’t help but be inspired by Benny Goodman's illustrious career; and it's clear that his contributions went beyond mere performances; they were instrumental in shaping the soundtrack of an epoch. The significance of his work lies not only in the joy and vibrancy his music brought to listeners worldwide but also in his role as a pioneer who opened new avenues for jazz and swing music.
What's more, the lasting appeal of his songs invites further exploration and appreciation from both new and seasoned listeners alike, ensuring that the King of Swing's crown remains as luminous as ever.
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The final note may have sounded, but the symphony of Benny Goodman's legacy continues to resonate. His music, a timeless masterpiece, invites you to explore the depths of his genius. Let the King of Swing's music be your guide on a journey through the golden age of jazz. Get your Benny in NOW!