Benny Goodman 1936

Although the big bands gave the Swing Era its commercial popularity, much of its most inspired music was produced by intimate small group recordings such as the landmark Trio and Quartet performances Benny Goodman recorded for Victor between 1935 and 1939.

Beautiful collection of "The King of Swing" with almost 5 hours of great early recordings between 1936 and 1945. In mid thirties, the "swing" new jazz style, became very popular mainly due to Goodman's success in Palomar, California (1935) and his legendary performance at the New York Paramount in 1937. The decade 1936-1945 was very creative for the amazing father of the Swing era. As with all releases in the "Hall of Fame" Past Perfect series, you will find included a nice 40p booklet, with extensive information on the artist and his work.

The addition of Harry James to Benny Goodman & His Orchestra in January 1937 gave Benny Goodman one of the greatest trumpet sections ever with James, Ziggy Elman, and Chris Griffin all able to play both solos and lead. Gene Krupa's drumming became increasingly assertive during this period, adding excitement to the band even if Goodman was not sure that he enjoyed the change in the group's sound. Helen Ward's decision to retire at the end of 1936 was unfortunate (she would never regain the fame that she had at that moment) and it would take Goodman much of 1937 before finding the right vocalist. But with that trumpet section, Jess Stacy, Krupa, and the Benny Goodman Trio and quartet, not to mention the leader's clarinet, this was a classic band - the most popular in the music world…

Volume seven in the Classics Benny Goodman chronology presents 22 sides recorded for the Victor label in Hollywood during August 1936 and in New York during October and November of that year. Three big band performances open this compilation; the first two used arrangements written by Fletcher Henderson. Next come four titles excellently rendered by the Benny Goodman trio and quartet with Teddy Wilson, Gene Krupa, and vibraphonist Lionel Hampton, who sings wonderfully on "Exactly Like You" and the "Vibraphone Blues"…

Benny Goodman was the first celebrated bandleader of the Swing Era, dubbed "The King of Swing," his popular emergence marking the beginning of the era. He was an accomplished clarinetist whose distinctive playing gave an identity both to his big band and to the smaller units he led simultaneously. The most popular figure of the first few years of the Swing Era, he continued to perform until his death 50 years later. Goodman was the son of Russian immigrants David Goodman, a tailor, and Dora Rezinsky Goodman. He first began taking clarinet lessons at ten at a synagogue, after which he joined the band at Hull House, a settlement home.

Benny Goodman was the first celebrated bandleader of the Swing Era, dubbed "The King of Swing," his popular emergence marking the beginning of the era. He was an accomplished clarinetist whose distinctive playing gave an identity both to his big band and to the smaller units he led simultaneously. The most popular figure of the first few years of the Swing Era, he continued to perform until his death 50 years later.

As much as I enjoy Big Band jazz (by Goodman, as well as other bandleaders) there is something incredibly special about Benny's small group recordings. Three or four musicians involved as equal particpants in a jazz coversation - and a swingin' conversation at that. Although bop was still a decade away - I think the bop pioneers of the mid-40's and their ensembles owed a debt to the Benny Goodman Quartet for laying out the blueprint for a group of musicians to mutually improvise, communicate with, and inspire each other.
These are wonderful jazz oriented trio & quartet sessions featuing Gene Krupa on drums, Lionol Hampton on vibes, and Teddy Wilson on piano. All improvised and wondeful!