By Catherine Tackley
On January sixteen, 1938 Benny Goodman introduced his swing orchestra to America's honored domestic of ecu classical tune, Carnegie corridor. The ensuing live performance - generally one of the main major occasions in American song historical past - helped to usher jazz and swing track into the yankee cultural mainstream. This acceptance 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 pupil and musician Catherine Tackley offers the 1st intensive, scholarly research of this seminal live performance and recording.
Combining rigorous documentary and archival learn with shut research of the recording, Tackley strips again the gathered layers of interpretation and intending to investigate 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 within which it came about, and analyzes the compositions, preparations and performances themselves, sooner than discussing the rapid reception, and lasting legacy and influence of this storied occasion and album.
As the definitive examine of 1 of crucial recordings of the twentieth-century, Benny Goodman's recognized 1938 Carnegie corridor Jazz Concert is a must-read for all severe jazz lovers, musicians and students.
Read or Download Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert (Oxford Studies in Recorded Jazz) PDF
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Extra resources for Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert (Oxford Studies in Recorded Jazz)
Having been cast as “Professor Goodman” educating students at his “Swing School” on the Camel Caravan show, Goodman is further established here as an authentic (“feels it”) and “foremost” protagonist of swing. By demonstrating the permanence of swing, the concert also addressed Goodman’s longevity, a concern that was manifest in his previously cited doubts about the King of Swing billing but that would also be of interest to his management. To create maximum publicity, the concert would have to attract coverage from the newspaper music critics, who were not jazz specialists, so the more unusual qualities of swing are tempered by references to aspects more readily associated with art music (“orchestrations,” “polyrhythmic structures,” “virtuosi,” and “compositions”) as well as the direct comparison with Bach.
The plans for a “theatrical” presentation are not mentioned in the promotional flyer that notified Goodman’s concert to the public, despite its effusive language: From Louisiana’s swampland a trumpet blared and a clarinet screamed to trapdrum syncopation. Critics thought it vulgar, cacophonic, and scowlingly called it jazz. The infant idiom begged at the door of musical America. Refused admittance to the homes of pundits, it swirled clamorously into the life of the common man. Still yearning for acceptance by the tutored, it became “sweet” and “symphonic” in turn, a traitor to its origins.
Advising young musicians to develop their own style, Goodman recommends encouraging “anyone in the band who can write things, even if they sound pretty corny and imitative in the beginning,” as “a band that has a few things of its own, that expresses the style of the players themselves, always will attract more attention than a band that just plays what everybody else does” (Goodman and Kolodin 1939: 260). At Carnegie Hall, this is demonstrated by two original compositions: “Life Goes to a Party,” by his trumpeter, Harry James; and “Dizzy Spells,” by Lionel Hampton.