Stephane Grappelli: Le Son De E'legeance

Stephane Grappelli, the unsurpassed master of the jazz violin, entertained audiences almost to the very day he died in 1997 at the age of 89. There was happiness and optimism in virtually every note of his music, even when those notes brought nostalgia and its touch of sadness to mind. No question he loved what he did and it flowed straight to his listeners. I doubt his songs ever came to an end without a sea of smiles in the audience.

Here is Grappelli in late 1995 performing with Bucky Pizzarelli on guitar, John Burr on bass, and guest guitarist, John Pizzarelli, at the famed Blue Note Jazz Club in New York.

Grappelli was born on January 26, 1908, in Paris, grew up poor and made a marginal living as a self-taught street violinist and silent film accompanist on the piano. In 1934 he met a gypsy guitarist named Django Reinhard - we commemorated his birthday a few days ago - and with him formed the Quintette du Hot Club de France, an ensemble that would make history in the world of jazz and popular music.

Grappelli made his American debut in 1960, long after the Hot Club dissolved, and enjoyed a second career playing to admiring fans around the world for the next 35 years. I find it interesting that Grappelli was almost forgotten in the U.S. until he began touring in the 1970s when he was well into his 60s. One would think that a jazz virtuoso would be well known in the country that birthed the genre. How thankful we should be that he was "rediscovered" here and lived to entertain us for so many years.

Here is one example of that entertainment, a stunning performance of Nuages, a jazz standard composed by Django Reinhardt. The recording features Grappelli with Oscar Peterson on piano, Joe Pass on guitar, and Niels-Henning Orsted Pedersen on bass.

 Simply stunning.

To conclude, here is the Quintette du Hot Club de France in their classic performance of Minor Swing, composed by Reinhardt and Grappell in the mid-1930's:

Yes, it's another jazz standard, the sound of elegance, and still going strong after eighty years.

The Night Jazz Arrived

In 1935 Benny Goodman and his band had a regular late-night gig on Saturdays on NBC's radio program, Let's Dance. Broadcast from New York, most of the local teens and twenty-somethings who enjoyed his music were fast asleep. On the other hand, it was perfect timing for young audiences on the West Coast. A labor strike brought the program to an unexpected end and put Goodman and his band out of work. Together they decided on a coast to coast tour. In the interior states, the tour was a disaster because people didn't care for "upbeat" jazz arranged for orchestra. The band was looking forward to the Palomar Ballroom in Los Angeles as the last stop and an end to the pain. When they arrived thousands of young fans who had heard them on the radio were waiting to hear them in person. What was to be a welcome end to a disastrous tour turned into the beginning of the Swing era.

In the shadow of Bebop, Benny Goodman, 1946

Eighteen months later, the now famous Goodman Orchestra was invited to present a jazz review on January 16, 1938 in New York in Carnegie Hall, a venue historically reserved for "high brow" music. Several members of the Duke Ellington and Count Basie orchestras and others joined on stage to perform a concert ranging from traditional to unconventional. No jazz bandleader had ever performed there. The concert was a sensation, reaffirming Goodman as the "King of Swing," and jazz as serious American music. In the eyes of many music critics and historians, this concert remains the single most important event in popular music history in the United States. Superlatives aside, the concert was a study in swing music history and jazz improvisation.

Publicity style photo of Benny Goodman, ca. 1960

After several curtain calls at the end of the concert, Goodman announced to the screaming fans that an encore would follow. Sing, Sing, Sing was the last song in that set. It already was a popular piece for the band, but this performance lifted it to holy status in the swing jazz genre. Featured players: Gene Kruppa on drums, Babe Russin on saxophone, Harry James on trumpet, Goodman on clarinet, and Jess Stacy in a masterpiece of improvisation on piano.

After January 16, 1938, jazz soon became mainstream American music. Recordings of the concert have remained in print as best sellers since 1950 when Goodman found long-forgotten acetate tape masters given to him the night of the concert. In 1998 aluminum studio masters were discovered and released as a set of compact discs that became one of the best selling live jazz recordings ever.

Sources


Photos and Illustrations:
1946, Library of Congress, William Gottlieb Collection
ca. 1970, public domain, publicity style candid photo of Benny Goodman

Text:
bennygoodman.com
Benny Goodman entry, wikipedia.org

Fletcher Henderson: Georgia's Jazz And Swing Pioneer

Fletcher Henderson (1897-1952) played an important role in bringing improvisational jazz elements into big band/dance band compositions. Both Duke Ellington and Benny Goodman credited his talent as an arranger for much of their success. It is interesting that his role in the development of American popular music was not well understood until academic studies of the history of jazz appeared late in the last century.

He was born on December 18 into a well-educated and musical family in the southwest Georgia town of Cuthbert. Henderson earned a degree in chemistry and mathematics but as a black man he had a difficult time finding work in those fields and soon turned to music to make a living. That musical career took him from accompanying Ethel Waters, Ma Rainey, Bessie Smith and other blues singers, through the creation of an orchestra that included Don Redman and Louis Armstrong, to work as a composer-accompanist for Benny Goodman at a formative time for the swing era.

Here are some examples of Henderson's approach to music. First is Henderson and his orchestra playing his arrangement of Down South Camp Meeting. Our second music sample is Sometimes I'm Happy, music by Vincent Youmans and lyrics by Irving Ceasar, as arranged by Henderson for Benny Goodman in 1935.

From blues, to jazz, to swing, Henderson was a pioneer in music for almost forty years. His formula for swing music still shapes what we hear and enjoy today.



Sources

Photo:
Compact disc cover, Imports release, ASIN: B01596RGW, October 16, 2015

Text:
wikipedia.com, Fletcher Henderson
newgeorgiaencyclopedia.com, Fletcher Henderson
pbs.org, Jazz: A Film by Ken Burns, Fletcher Henderson biography

Benny Goodman: The King Swings

In 1935 Benny Goodman and his band had a regular late-night gig on Saturdays on NBC's radio program, Let's Dance. Broadcast from New York, most of the local teens and twenty-somethings who enjoyed his music were fast asleep. On the other hand, it was perfect timing for young audiences on the West Coast. A labor strike brought the program to a sudden and unexpected end and put Goodman and his band out of work. Together they decided on a coast to coast tour. In the interior states, the tour was a disaster because people didn't care for "upbeat" jazz arranged for orchestra. The band was looking forward to the Palomar Ballroom in Los Angeles as the last stop and an end to the pain. When they arrived, thousands of young fans who had heard them on the radio were waiting to hear them in person. What was to be a welcome end to a disastrous tour turned into the beginning of the swing era.

In the shadow of Bebop: Benny Goodman, 1946

Eighteen months later , the now famous Goodman Orchestra was invited to present a jazz review on January 16, 1938 in Carnegie Hall, a venue historically reserved for "high brow" music. Several members of the Duke Ellington and Count Basie orchestras and others joined on stage to perform a concert ranging from traditional to unconventional. No jazz bandleader had ever performed there. The concert was a sensation, reaffirming Goodman as the "King of Swing," and jazz as serious American music. In the eyes of many music critics and historians, this concert remains the single most important event in popular music history in the United States. Superlatives aside, the concert was a study in swing music history and jazz improvisation.

After several curtain calls at the end of the concert, Goodman announced to the screaming fans that an encore would follow. Sing, Sing, Sing was the last song in that set. It already was a popular piece for the band but this performance lifted it to holy status in the swing jazz genre. Featured players: Gene Kruppa on drums, Babe Russin on saxophone, Harry James on trumpet, Goodman on clarinet, and Jess Stacy in a masterpiece of improvisation on piano.

Today we celebrate the birthday of the clarinetist and bandleader, Benny Goodman (1909 - 1986). You can read more about him at his Wikipedia entry here. Mention "Palomar Ballroom" and "Carnegie Hall" in the same breath and any popular music historian will follow with "Benny Goodman." His performances at the two venues took place more than 80 years ago. Today we remember both concerts as course changing landmarks in the history of swing and jazz.

Publicity style photo of Benny Goodman around 1960

Sources

Photos and Illustrations:
1946 photo, Library of Congress, William Gottlieb Collection
1960 photo,public domain, publicity style candid photo of Benny Goodman

Text:
bennygoodman.com
Benny Goodman entry, wikipedia.org

The Night When Jazz Became Mainstream American Music

 

In 1935 Benny Goodman and his band had a regular late-night gig on Saturdays on NBC's radio program, Let's Dance. Broadcast from New York, most of the local teens and twenty-somethings who enjoyed his music were fast asleep. On the other hand, it was perfect timing for young audiences on the West Coast. A labor strike brought the program to an unexpected end and put Goodman and his band out of work. Together they decided on a coast to coast tour. In the interior states, the tour was a disaster because people didn't care for "upbeat" jazz arranged for orchestra. The band was looking forward to the Palomar Ballroom in Los Angeles as the last stop and an end to the pain. When they arrived thousands of young fans who had heard them on the radio were waiting to hear them in person. What was to be a welcome end to a disastrous tour turned into the beginning of the Swing era.

In the shadow of Bebop, Benny Goodman, 1946

Eighteen months later, the now famous Goodman Orchestra was invited to present a jazz review on January 16, 1938 in New York in Carnegie Hall, a venue historically reserved for "high brow" music. Several members of the Duke Ellington and Count Basie orchestras and others joined on stage to perform a concert ranging from traditional to unconventional. No jazz bandleader had ever performed there. The concert was a sensation, reaffirming Goodman as the "King of Swing," and jazz as serious American music. In the eyes of many music critics and historians, this concert remains the single most important event in popular music history in the United States. Superlatives aside, the concert was a study in swing music history and jazz improvisation.

Publicity style photo of Benny Goodman, ca. 1960

After several curtain calls at the end of the concert, Goodman announced to the screaming fans that an encore would follow. Sing, Sing, Sing was the last song in that set. It already was a popular piece for the band, but this performance lifted it to holy status in the swing jazz genre. Featured players: Gene Kruppa on drums, Babe Russin on saxophone, Harry James on trumpet, Goodman on clarinet, and Jess Stacy in a masterpiece of improvisation on piano.

After January 16, 1938, jazz soon became mainstream American music. Recordings of the concert have remained in print as best sellers since 1950 when Goodman found long-forgotten acetate tape masters given to him the night of the concert. In 1998 aluminum studio masters were discovered and released as a set of compact discs that became one of the best selling live jazz recordings ever.






Sources


Photos and Illustrations:
1946, Library of Congress, William Gottlieb Collection
ca. 1970, public domain, publicity style candid photo of Benny Goodman

Text:
bennygoodman.com
Benny Goodman entry, wikipedia.org

Georgia's Fletcher Henderson: Performer, Band Leader, Arranger, And Master Of Swing

Fletcher Henderson (1897-1952) played an important role in bringing improvisational jazz elements into big band/dance band compositions. Both Duke Ellington and Benny Goodman credited his talent as an arranger for much of their success. It is interesting that his role in the development of American popular music was not well understood until academic studies of the history of jazz appeared late in the last century.

He was born on December 18 into a well-educated and musical family in the southwest Georgia town of Cuthbert. Henderson earned a degree in chemistry and mathematics but as a black man he had a difficult time finding work in those fields and soon turned to music to make a living. That musical career took him from accompanying Ethel Waters, Ma Rainey, Bessie Smith and other blues singers, through the creation of an orchestra that included Don Redman and Louis Armstrong, to work as a composer-accompanist for Benny Goodman at a formative time for the swing era. 

Here are some examples of Henderson's approach to music. First is Henderson and his orchestra playing his arrangement of Down South Camp Meeting. Our second music sample is Sometimes I'm Happy, music by Vincent Youmans and lyrics by Irving Ceasar, as arranged by Henderson for Benny Goodman in 1935.

From blues, to jazz, to swing, Henderson was a pioneer in music for almost forty years. His formula for swing music still shapes what we hear and enjoy today.

Sources

Photo:
Compact disc cover, Imports release, ASIN: B01596RGW, October 16, 2015

Text:
wikipedia.com, Fletcher Henderson
newgeorgiaencyclopedia.com, Fletcher Henderson
pbs.org, Jazz: A Film by Ken Burns, Fletcher Henderson biography

Benny Goodman: The Music Master Of Swing

In 1935 Benny Goodman and his band had a regular late-night gig on Saturdays on NBC's radio program, Let's Dance. Broadcast from New York, most of the local teens and twenty-somethings who enjoyed his music were fast asleep. On the other hand, it was perfect timing for young audiences on the West Coast. A labor strike brought the program to a sudden and unexpected end and put Goodman and his band out of work. Together they decided on a coast to coast tour. In the interior states, the tour was a disaster because people didn't care for "upbeat" jazz arranged for orchestra. The band was looking forward to the Palomar Ballroom in Los Angeles as the last stop and an end to the pain. When they arrived, thousands of young fans who had heard them on the radio were waiting to hear them in person. What was to be a welcome end to a disastrous tour turned into the beginning of the Swing era.

In the shadow of Bebop: Benny Goodman, 1946

Eighteen months later , the now famous Goodman Orchestra was invited to present a jazz review on January 16, 1938 in Carnegie Hall, a venue historically reserved for "high brow" music. Several members of the Duke Ellington and Count Basie orchestras and others joined on stage to perform a concert ranging from traditional to unconventional. No jazz bandleader had ever performed there. The concert was a sensation, reaffirming Goodman as the "King of Swing," and jazz as serious American music. In the eyes of many music critics and historians, this concert remains the single most important event in popular music history in the United States. Superlatives aside, the concert was a study in swing music history and jazz improvisation.

After several curtain calls at the end of the concert, Goodman announced to the screaming fans that an encore would follow. Sing, Sing, Sing was the last song in that set. It already was a popular piece for the band, but this performance lifted it to holy status in the swing jazz genre. Featured players: Gene Kruppa on drums, Babe Russin on saxophone, Harry James on trumpet, Goodman on clarinet, and Jess Stacy in a masterpiece of improvisation on piano.

Today we celebrate the birthday of the clarinetist and bandleader, Benny Goodman (1909 - 1986). You can read about him at his Wikipedia entry here. Mention "Palomar Ballroom" and "Carnegie Hall" in the same breath and any popular music historian will follow with "Benny Goodman." His performances at the two venues took place more than 80 years ago. Today we remember both concerts as course changing landmarks in the history of swing and jazz.

Publicity style photo of Benny Goodman, ca. 1960

Sources

Photos and Illustrations:
1946 photo, Library of Congress, William Gottlieb Collection

1960 photo,public domain, publicity style candid photo of Benny Goodman

 

Text:
bennygoodman.com
Benny Goodman entry, wikipedia.org

Carnegie Hall And A Giant Leap For Jazz And Swing

In 1935 Benny Goodman and his band had a regular late-night gig on Saturdays on NBC's radio program, Let's Dance. Broadcast from New York, most of the local teens and twenty-somethings who enjoyed his music were fast asleep. On the other hand, it was perfect timing for young audiences on the West Coast. A labor strike brought the program to an unexpected end and put Goodman and his band out of work. Together they decided on a coast to coast tour. In the interior states, the tour was a disaster because people didn't care for "upbeat" jazz arranged for orchestra. The band was looking forward to the Palomar Ballroom in Los Angeles as the last stop and an end to the pain. When they arrived thousands of young fans who had heard them on the radio were waiting to hear them in person. What was to be a welcome end to a disastrous tour turned into the beginning of the Swing era.

In the shadow of Bebop, Benny Goodman, 1946

Eighteen months later, the now famous Goodman Orchestra was invited to present a jazz review on January 16, 1938 in Carnegie Hall, a venue historically reserved for "high brow" music. Several members of the Duke Ellington and Count Basie orchestras and others joined on stage to perform a concert ranging from traditional to unconventional. No jazz bandleader had ever performed there. The concert was a sensation, reaffirming Goodman as the "King of Swing," and jazz as serious American music. In the eyes of many music critics and historians, this concert remains the single most important event in popular music history in the United States. Superlatives aside, the concert was a study in swing music history and jazz improvisation.

Publicity style phot of Benny Goodman, ca. 1960

After several curtain calls at the end of the concert, Goodman announced to the screaming fans that an encore would follow. Sing, Sing, Sing was the last song in that set. It already was a popular piece for the band, but this performance lifted it to holy status in the swing jazz genre. Featured players: Gene Kruppa on drums, Babe Russin on saxophone, Harry James on trumpet, Goodman on clarinet, and Jess Stacy in a masterpiece of improvisation on piano.

After January 16, 1938, jazz soon became mainstream American music. Recordings of the concert have remained in print as best sellers since 1950 when Goodman found long-forgotten acetate tape masters given to him the night of the concert. In 1998 aluminum studio masters were discovered and released as a set of compact discs that became one of the best selling live jazz recordings ever.

Sources


Photos and Illustrations:
1946, Library of Congress, William Gottlieb Collection
ca. 1970, public domain, publicity style candid photo of Benny Goodman

Text:
bennygoodman.com
Benny Goodman entry, wikipedia.org

Remembering The King Of Swing, Benny Goodman

 

In 1935 Benny Goodman and his band had a regular late-night gig on Saturdays on NBC's radio program, Let's Dance. Broadcast from New York, most of the local teens and twenty-somethings who enjoyed his music were fast asleep. On the other hand, it was perfect timing for young audiences on the West Coast. A labor strike brought the program to a sudden and unexpected end and put Goodman and his band out of work. Together they decided on a coast to coast tour. In the interior states, the tour was a disaster because people didn't care for "upbeat" jazz arranged for orchestra. The band was looking forward to the Palomar Ballroom in Los Angeles as the last stop and an end to the pain. When they arrived, thousands of young fans who had heard them on the radio were waiting to hear them in person. What was to be a welcome end to a disastrous tour turned into the beginning of the Swing era.

In the shadow of Bebop: Benny Goodman, 1946

Eighteen months later , the now famous Goodman Orchestra was invited to present a jazz review on January 16, 1938 in Carnegie Hall, a venue historically reserved for "high brow" music. Several members of the Duke Ellington and Count Basie orchestras and others joined on stage to perform a concert ranging from traditional to unconventional. No jazz bandleader had ever performed there. The concert was a sensation, reaffirming Goodman as the "King of Swing," and jazz as serious American music. In the eyes of many music critics and historians, this concert remains the single most important event in popular music history in the United States. Superlatives aside, the concert was a study in swing music history and jazz improvisation.

After several curtain calls at the end of the concert, Goodman announced to the screaming fans that an encore would follow. Sing, Sing, Sing was the last song in that set. It already was a popular piece for the band, but this performance lifted it to holy status in the swing jazz genre. Featured players: Gene Kruppa on drums, Babe Russin on saxophone, Harry James on trumpet, Goodman on clarinet, and Jess Stacy in a masterpiece of improvisation on piano.

Today we celebrate the birthday of the clarinetist and bandleader, Benny Goodman (1909 - 1986). You can read about him at his Wikipedia entry here. Mention "Palomar Ballroom" and "Carnegie Hall" in the same breath and any popular music historian will follow with "Benny Goodman." His performances at the two venues took place more than 80 years ago. Today we remember both concerts as course changing landmarks in the history of swing and jazz.





Sources

Photos and Illustrations:
Photo: Library of Congress, William Gottlieb Collection

Text:
bennygoodman.com
Benny Goodman entry, wikipedia.org

January 16, 1938: The Day When Jazz Gained Overnight Respect

On this night,  Benny Goodman and his band, along with select members of the Count Basie and Duke Ellington bands, performed a concert at Carnegie Hall. No jazz bandleader had ever performed there. The concert was a sensation, reaffirming Goodman as the "King of Swing," and jazz as serious American music. Over eighty years later in the eyes of many music critics and historians, this concert remains the single most important event in popular music history in the United States. 

Benny Goodman in New York City, 1946

Superlatives aside, the concert was a study in swing music history and jazz improvisation. After several curtain calls at the end of the concert, Goodman announced to the screaming fans that an encore would follow. Sing, Sing, Sing was the last song in that set. It already was a popular piece for the band, but this performance lifted it to holy status in the swing jazz genre. Featured players: Gene Kruppa on drums, Babe Russin on saxaphone, Harry James on trumpet, Goodman on clarinet, and Jess Stacy in a masterpiece of improvisation on piano.

Recordings of the concert have remained in print as best sellers since 1950 when tape masters were found in Goodman's home and in 1998 with the discovery of the original aluminum masters. What more can be said?

Sources

Photos and Illustrations:

Library of Congress

A Birthday For Benny Goodman, The King Of Swing

Today we celebrate the birthday of the clarinetist and bandleader, Benny Goodman (1909 - 1986). You can read about him here in a biography prepared for the film, Jazz: A Film By Ken Burns and posted on the PBS website. 

In 1935 Benny Goodman and his band had a regular late-night gig on Saturdays on NBC's radio program, Let's Dance. Broadcast from New York, most of the local teens and twenty-somethings who enjoyed his music were fast asleep. On the other hand, it was perfect timing for young audiences on the West Coast. A labor strike brought the program to a sudden and unexpected end and put Goodman and his band out of work. Together they decided on a on a coast to coast tour. In the interior states, the tour was a disaster because people didn't care for "upbeat" jazz arranged for orchestra. The band was looking forward to the Palomar Ballroom in Los Angeles as the last stop and an end to the pain. When they arrived, thousands of young fans who had heard them on the radio were waiting to hear them in person. What was to be a welcome end to a disastrous tour turned into the beginning of the Swing era.

Publicity style candid photo of Goodman ca. 1970

Eighteen months later , the now famous Goodman Orchestra was invited to present a jazz review on January 16, 1938 in Carnegie Hall, a venue historically reserved for "high brow" music. Several members of the Duke Ellington and Count Basie orchestras and others joined on stage to perform a concert ranging from traditional to unconventional. No jazz bandleader had ever performed there. The concert was a sensation, reaffirming Goodman as the "King of Swing," and jazz as serious American music. In the eyes of many music critics and historians, this concert remains the single most important event in popular music history in the United States. Superlatives aside, the concert was a study in swing music history and jazz improvisation.

After several curtain calls at the end of the concert, Goodman announced to the screaming fans that an encore would follow. Sing, Sing, Sing was the last song in that set. It already was a popular piece for the ban but this performance lifted it to holy status in the swing jazz genre. Featured players: Gene Kruppa on drums, Babe Russin on saxophone, Harry James on trumpet, Goodman on clarinet, and Jess Stacy in a masterpiece of improvisation on piano.

After January 16, 1938, jazz became mainstream American music.  Recordings of the concert have remained in print as best sellers since 1950 when masters were found in Goodman's home. The King of Swing would go on performing jazz, classical, and popular music for almost forty years, literally to the day he died in 1986. Check out the "King of Swing's" official site for more information.

Sources

Text:
Benny Goodman entry, Wikipedia.org
bennygoodman.com

Benny Goodman: Swing Time

In 1935 Benny Goodman and his band had a regular late-night gig on Saturdays on NBC's radio program, Let's Dance. Broadcast from New York, most of the local teens and twenty-somethings who enjoyed his music were fast asleep. On the other hand, it was perfect timing for young audiences on the West Coast. A labor strike brought the program to a sudden and unexpected end and put Goodman and his band out of work. Together they decided on a on a coast to coast tour. In the interior states, the tour was a disaster because people didn't care for "upbeat" jazz arranged for orchestra. The band was looking forward to the Palomar Ballroom in Los Angeles as the last stop and an end to the pain. When they arrived, thousands of young fans who had heard them on the radio were waiting to hear them in person. What was to be a welcome end to a disastrous tour turned into the beginning of the Swing era.

In the shadow of Bebop: Benny Goodman, 1946

Eighteen months later , the now famous Goodman Orchestra was invited to present a jazz review on January 16, 1938 in Carnegie Hall, a venue historically reserved for "high brow" music. Several members of the Duke Ellington and Count Basie orchestras and others joined on stage to perform a concert ranging from traditional to unconventional. No jazz bandleader had ever performed there. The concert was a sensation, reaffirming Goodman as the "King of Swing," and jazz as serious American music. In the eyes of many music critics and historians, this concert remains the single most important event in popular music history in the United States. Superlatives aside, the concert was a study in swing music history and jazz improvisation.

After several curtain calls at the end of the concert, Goodman announced to the screaming fans that an encore would follow. Sing, Sing, Sing was the last song in that set. It already was a popular piece for the band, but this performance lifted it to holy status in the swing jazz genre. Featured players: Gene Kruppa on drums, Babe Russin on saxophone, Harry James on trumpet, Goodman on clarinet, and Jess Stacy in a masterpiece of improvisation on piano.

Today we celebrate the birthday of the clarinetist and bandleader, Benny Goodman (1909 - 1986). You can read about him here in a biography prepared for the Jazz: A Film By Ken Burns PBS website. Mention "Palomar Ballroom" and "Carnegie Hall" in the same breath and any popular music historian will follow with "Benny Goodman." Both performances are landmarks in the history of swing and jazz.

Sources

Photos and Illustrations:

Photo: Library of Congress, William Gottlieb Collection

Text:
bennygoodman.com
Benny Goodman entry, wikipedia.org

Django Reinhardt: Hot Swinging Gypsy Jazz

Andres Segovia, Wes Montgomery, B.B. King, and Jimi Hendix. All masters at the guitar. And then there is Django Reinhardt. He was a poor Belgian gypsy who as a young man played the guitar. When a trailer fire left him with a severely injured hand, he developed a new fingering style to compensate. It was a unique sound. In the early '30s he met the violinist, Stephane Grappelli, an equally free spirit in the early days of jazz. They would go on to form the "Quintette du Hot Club de France" and make music - and music history for the next twenty years. 

Reinhardt died in 1953 at the age of 43, but his impact has lived on for decades. Even today, almost every celebrity guitarist in the world of popular music, jazz, blues and rock and roll would acknowledge Reinhardt as an influence in their music. Here is an entertaining musical link to an NPR Jazz Live blog expanding on Reinhardt's legacy. We commemorate his birthday today (in 1910) with this documentary excerpt:

We'll be writing more about Reinhardt's friend and co-founder of the Quintette du Hot Club de France, Stephane Grappelli, in a few days.

Sources

Photos and Illustrations:

William P. Gottlieb Collection, Library of Congress

Fletcher Henderson: From Blues To Jazz To Swing

Fletcher Henderson (1897-1952) played an important role in bringing improvisational jazz elements into big band/dance band compositions. Both Duke Ellington and Benny Goodman credited his talent as an arranger for much of their success. It is interesting that his role in the development of American popular music was not well understood until academic studies of the history of jazz appeared late in the last century.

He was born on December 18 into a well-educated and musical family in the southwest Georgia town of Cuthbert. Henderson earned a degree in chemistry and mathematics but as a black man he had a difficult time finding work in those fields and soon turned to music to make a living. That musical career took him from accompanying Ethel Waters, Ma Rainey, Bessie Smith and other blues singers, through the creation of an orchestra that included Don Redman and Louis Armstrong, to work as a composer-accompanist for Benny Goodman at a formative time for the swing era. From blues, to jazz, to swing, Henderson was a pioneer in music for almost forty years. His formula for swing music still shapes what we hear and enjoy today. 

Here are some examples of Henderson's approach to music. First is Henderson and his orchestra playing his arrangement of Down South Camp Meeting. Our second music sample is  Sometimes I'm Happy, music by Vincent Youmans and lyrics by Irving Ceasar, as arranged by Henderson for Benny Goodman in 1935.

Sources

Photo:
Compact disc cover, Imports release, ASIN: B01596RGW, October 16, 2015

Text:
wikipedia.com, Fletcher Henderson
newgeorgiaencyclopedia.com, Fletcher Henderson
pbs.org, Jazz: A Film by Ken Burns, Fletcher Henderson biography

Benny Goodman: "Creativity Grows Out Of Two Things: Curiosity And Imagination."

On a cold night in January 1938, Benny Goodman and his band, along with select members of the Count Basie and Duke Ellington bands, performed a concert at Carnegie Hall. No jazz bandleader had ever performed there. The concert was a sensation, reaffirming Goodman as the "King of Swing," and jazz as serious American music. In the eyes of many music critics and historians, this concert remains the single most important event in popular music history in the United States. Superlatives aside, the concert was a study in swing music history and jazz improvisation. 

Publicity style candid photo of Goodman ca. 1970

So who was Benny Goodman. He grew up poor in Chicago, but received quality musical instruction there. Before long, he was playing "professionally" with many bands. The Chicago music scene also gave him an affinity for New Orleans style jazz. At 20, he left for New York and world fame brought about not only by practice and persistence but also by a most unusual turn of events.

In 1935, his orchestra performed regularly in New York on an NBC Radio program entitled, "Let's Dance." It was broadcast live across the country after midnight, Eastern Time. Young people in the East were fast asleep when his orchestra hit the airways, but it was perfect timing for the West Coast. A strike ended the broadcasts after a few months and the band decided on a coast to coast tour. In the interior states, the tour was a disaster because people didn't care for "upbeat" jazz arranged for orchestra. The band was looking forward to the Palomar Ballroom in Los Angeles as the last stop and an end to the pain. When they arrived, thousands of young fans who had heard them on the radio were waiting to hear them in person. What was to be a welcome end to a disastrous tour turned into the beginning of the Swing Era.

Eighteen months later Goodman and his band found themselves on stage at that Carnegie Hall concert. After several curtain calls at the end of the concert, Goodman announced to the screaming fans that an encore would follow. Sing, Sing, Sing was the last song in that set. It already was a popular piece for the band, but this performance lifted it to holy status in the swing jazz genre. Featured players included Gene Kruppa on drums, Babe Russin on saxophone, Harry James on trumpet, Goodman on clarinet, and Jess Stacy in a masterpiece of improvisation on piano. Here is thirteen minutes and six seconds of invention that transformed swing jazz into mainstream American music.

Today marks the birthday of Benny Goodman (1909-1986). Eighty years after his landmark appearance in Carnegie Hall the world still enjoys the music and legacy of the "King of Swing.  In fact,  recordings of that famous concert have remained in print as best sellers since 1950 when masters were found in Goodman's home. There isn't much more to be said. Go listen to the music!



Sources

Photos and Illustrations:
public domain publicity portrait

Text:
title quote, quoteikon.com
bennygoodman.com
Benny Goodman entry, wikipedia.org

Benny Goodman: The King Of Swing

Today we recognize the birthday on May 30, 1909, of clarinetist and bandleader, Benny Goodman.

A candid photo of the King of Swing taken about 1970

In 1935, Goodman's orchestra performed regularly on an NBC Radio program entitled, "Let's Dance." It was broadcast live across the country. Young people in the East were fast asleep when his orchestra hit the airways, but it was perfect timing for the West Coast. A strike ended the broadcasts after a few months and the band decided on a coast to coast tour. In the interior states, the tour was a disaster because people didn't care for "upbeat" jazz arranged for orchestra. The band was looking forward to the Palomar Ballroom in Los Angeles as the last stop and an end to the pain. When they arrived, thousands of young fans who had heard them on the radio were waiting to hear them in person. What was to be a welcome end to a disastrous tour turned into the beginning of the Swing Era.

Eighteen months later on January 16, 1938, the now famous Goodman Orchestra presented a jazz review in Carnegie Hall. Music historians generally regard this legendary performance as the most important concert in the history of jazz and popular music. After the performance jazz was quickly accepted as mainstream American music.

The concert closed with Sing, Sing Sing featuring Gene Krupa on drums, Harry James, Ziggy Elman and Chris Griffin on trumpet and Jess Stacy's celebrated response to Goodman's nod for an unexpected piano solo. I think this performance alone would have changed the world of music. 

Sources

Photos and Illustrations:

public domain photo, author unknown, ebay.com

Text:

Benny Goodman entry, wikipedia.org

bennygoodman.com

Fletcher Henderson: The Quiet Pioneer Of Swing

Long-time readers know I enjoy birthday posts about Georgians who have made memorable contributions to the American experience. Today is no exception as we honor the contribution of Fletcher Henderson (1897-1952) to the sounds of jazz, blues, and swing, three genres still very much alive more than fifty years after the beginning of the rock revolution. 

He was born in Cuthbert into a well-educated and musical family and earned degrees in mathematics and chemistry in Atlanta and New York. As a black man he had difficulty finding work in those fields and soon turned to music to make a living. That musical career took him from accompanying Ethel Waters, Ma Rainey, Bessie Smith and other blues singers, through the creation of an orchestra that included Don Redman and Louis Armstrong, to work as a composer-accompanist for Benny Goodman at a formative time for the swing era.

Henderson played an important role in bringing improvisational jazz elements into big band/dance band compositions. Both Duke Ellington and Benny Goodman credited his talent as an arranger for much of their success. It is interesting that his role in the development of American popular music was not well understood until academic studies of the history of jazz appeared late in the last century.

What was the Henderson sound? Here are two examples: a 1927 recording of the Henderson orchestra and a brief "arranging workshop" featuring Goodman and Henderson followed by the Goodman orchestra performing Henderson's famous arrangement of Blue Skies:

Sources

Photo:

Compact disc cover, Imports release, ASIN: B01596RGW, October 16, 2015 

Text:

wikipedia.com, Fletcher Henderson

newgeorgiaencyclopedia.com, Fletcher Henderson

pbs.org, Jazz: A Film by Ken Burns, Fletcher Henderson biography

The King Of Swing: Benny Goodman Has A Birthday

In the shadow of bebop: Benny Goodman, 1946

Today we celebrate the birthday of the clarinetist and bandleader, Benny Goodman (1909 - 1986). You can read about him here in a biography prepared for the Jazz: A Film By Ken Burns PBS website. Mention "Palomar Ballroom" and "Carnegie Hall" in the same breath and any popular music historian will follow with "Benny Goodman." Both performances are landmarks in the history of swing and jazz.

In 1935, his orchestra performed regularly on an NBC Radio program entitled, "Let's Dance." It was broadcast live across the country. Young people in the East were fast asleep when his orchestra hit the airways, but it was perfect timing for the West Coast. A strike ended the broadcasts after a few months and the band decided on a coast to coast tour. In the interior states, the tour was a disaster because people didn't care for "upbeat" jazz arranged for orchestra. The band was looking forward to the Palomar Ballroom in Los Angeles as the last stop and an end to the pain. When they arrived, thousands of young fans who had heard them on the radio were waiting to hear them in person. What was to be a welcome end to a disaster turned into the beginning of the Swing Era.

Eighteen months later , the now famous Goodman Orchestra was invited to present a jazz review on January 16, 1938 in Carnegie Hall, a venue historically reserved for "high brow" music. Several members of the Duke Ellington and Count Basie orchestras and others joined on stage to perform a concert ranging from traditional to unconventional. No jazz bandleader had ever performed there. The concert was a sensation, reaffirming Goodman as the "King of Swing," and jazz as serious American music. In the eyes of many music critics and historians, this concert remains the single most important event in popular music history in the United States. Superlatives aside, the concert was a study in swing music history and jazz improvisation. 

After several curtain calls at the end of the concert, Goodman announced to the screaming fans that an encore would follow. Sing, Sing, Sing was the last song in that set. It already was a popular piece for the band, but this performance lifted it to holy status in the swing jazz genre. Featured players: Gene Kruppa on drums, Babe Russin on saxophone, Harry James on trumpet, Goodman on clarinet, and Jess Stacy in a masterpiece of improvisation on piano.

Music historians generally regard this legendary performance as the most important in the history of jazz. After January 16, 1938, jazz became mainstream American music. 
Recordings of the concert have remained in print as best sellers since 1950 when masters were found in Goodman's home. What more can be said?

Sources:

Photo: Library of Congress, William Gottlieb Collection

Fletcher Henderson: The Man Behind The Sound Of Swing

Fletcher Henderson (1897-1952) played an important role in bringing improvisational jazz elements into big band/dance band compositions. Both Duke Ellington and Benny Goodman credited his talent as an arranger for much of their success. It is interesting that his role in the development of American popular music was not well understood until academic studies of the history of jazz appeared late in the last century.

He was born on December 18 into a well-educated and musical family in the southwest Georgia town of Cuthbert. Henderson earned a degree in chemistry and mathematics but as a black man he had a difficult time finding work in those fields and soon turned to music to make a living. That musical career took him from accompanying Ethel Waters, Ma Rainey, Bessie Smith and other blues singers, through the creation of an orchestra that included Don Redman and Louis Armstrong, to work as a composer-accompanist for Benny Goodman at a formative time for the swing era. From blues, to jazz, to swing, Henderson was a pioneer in music for almost forty years. His formula for swing music still shapes what we hear and enjoy today. 

Here are some examples of Henderson's approach to music. First is Henderson and his orchestra playing his arrangement of Down South Camp Meeting. Our second music sample is Sandman, written by Ralph Reed and Bonnie Lake, as arranged by Henderson for Benny Goodman in 1937. 

Benny Goodman: More Clarinet!

Benny Goodman in 1970

Last Saturday, we commemorated the birthday of Artie Shaw. Today marks the birthday of another world-class jazz clarinetist, the "King of Swing," Benny Goodman (1909-1986). He grew up poor in Chicago, but received quality musical instruction. Before long, he was playing "professionally" with many bands. The Chicago music scene also gave him an affinity for New Orleans style jazz. At 20, he left for New York and world fame.

Mention "Palomar Ballroom" and "Carnegie Hall" in the same breath and any popular music historian will follow with "Benny Goodman." Both performances are landmarks in the history of swing and jazz.

In 1935, his orchestra performed regularly on an NBC Radio program entitled, "Let's Dance." It was broadcast live across the country. Young people in the East were fast asleep when his orchestra hit the airways, but it was perfect timing for the West Coast. A strike ended the broadcasts after a few months and the band decided on a coast to coast tour. In the interior states, the tour was a disaster because people didn't care for "upbeat" jazz arranged for orchestra. The band was looking forward to the Palomar Ballroom in Los Angeles as the last stop and an end to the pain. When they arrived, thousands of young fans who had heard them on the radio were waiting to hear them in person. What was to be a welcome end turned into the beginning of the Swing Era.

Eighteen months later, the now famous Goodman Orchestra was invited to present a jazz review in Carnegie Hall, a venue historically reserved for "high brow" music. Several members of the Duke Ellington and Count Basie orchestras and others joined on stage to perform a concert ranging from traditional to unconventional. Music historians generally regard this legendary performance as the most important in the history of jazz. After January 16, 1938, jazz became mainstream American music.

Still tapping your foot?

What you heard in the video was a small portion of Sing, Sing Sing - Gene Krupa on drums, Harry James, Ziggy Elman and Chris Griffin on trumpet - coming at the end of the concert. What's missing is Jess Stacy's celebrated response to Goodman's nod for an unexpected piano solo. Here is all twelve minutes of a performance that would change the world of music.

Goodman would go on performing jazz, classical, and popular music for another fifty years, literally to the day he died in 1986. Check out the "King of Swing's" official site for more information.

Sources: Wikipedia and the Official Website of the King of Swing, Benny Goodman.

This is an updated version of a 2009 OTR post.