By Catherine Tackley
On January sixteen, 1938 Benny Goodman introduced his swing orchestra to America's honored domestic of ecu classical song, Carnegie corridor. The ensuing live performance - greatly one among the main major occasions in American song background - helped to usher jazz and swing tune into the yank cultural mainstream. This attractiveness has been perpetuated by way of Columbia Records' 1950 liberate 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 intensive, scholarly research of this seminal live performance and recording.
Combining rigorous documentary and archival examine with shut research of the recording, Tackley strips again the amassed layers of interpretation and aspiring to check the functionality in its unique context, and discover what the cloth has come to symbolize in its recorded shape. Taking a whole view of the live performance, she examines the wealthy cultural atmosphere within which it happened, and analyzes the compositions, preparations and performances themselves, ahead of discussing the quick reception, and lasting legacy and impression of this storied occasion and album.
As the definitive research of 1 of an important recordings of the twentieth-century, Benny Goodman's recognized 1938 Carnegie corridor Jazz Concert is a must-read for all critical jazz lovers, musicians and students.
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Extra resources for Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert (Oxford Studies in Recorded Jazz)
Louis and a “corn husking bee” in rural Connecticut (Life 1937b: 123; 1937c: 122). In November 1937 the “Life Goes to a Party” story on Goodman’s performances in the Madhattan Room served to confirm ideas that had already been established in the media. Goodman is described not only as a “schoolmaster,” similarly to his role on the Camel Caravan show, but a “high priest of swing” reflecting the devotion of his worshipful audience. ” The photographs are indicative of the balance of styles still required of the band, illustrating orthodox “dancing to sweet music,” but also modern lindyhop dancing, which was supplied by a professional troupe, an addition no doubt inspired by uptown venues such as the Savoy Ballroom.
In December 1937, Sol Hurok was approached and agreed to promote the concert. ” (Kolodin 1950: 9). This title had been bestowed on Goodman in 1936, who at the time “wanted to play that down and keep the expression ‘king of swing’ out of our publicity, because I didn’t know how long this was going to last, and I didn’t want to be tied down to something people might say was old-fashioned just because they got tired of the name, in a year or so. But there was no way of avoiding it, so we had to go along with what the public wanted to call us” (Goodman and Kolodin 1939: 209).
Its orchestrations and polyrhythmic structure have earned the admiration of such musicians as Stravinsky and Stokowski. Said Olin Downes recently: “Real Jazz is an intensely creative thing. ” Benny Goodman is a musician who “feels it”. Foremost among swing musicians, the leading innovator in America today of swing, and himself one of the world’s greatest virtuosi of the clarinet, Benny Goodman and his orchestra will give, under the pioneering auspices of S. Hurok, the first concert of swing music in the history of Carnegie Hall.
Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert (Oxford Studies in Recorded Jazz) by Catherine Tackley