Benny Goodman heads one of the most popular music groups in America

下面为大家整理一篇优秀的essay代写范文 -- Benny Goodman heads one of the most popular music groups in America，文章讲述1930年代中期，本尼·古德曼（Benny Goodman）领导了美国最受欢迎的音乐团体之一。评论家布鲁斯·埃德（Bruce Eder）将他1938年1月16日在纽约卡内基音乐厅举行的音乐会描述为“历史上最重要的爵士音乐或流行音乐音乐会：爵士乐与'可敬'音乐世界的'参加'派对

Benny Goodman heads one of the most popular music groups in America

Benjamin David "Benny" Goodman (May 30, 1909 – June 13, 1986) was an American jazz and swing musician, clarinetist and bandleader, known as the "King of Swing".

In the mid-1930s, Benny Goodman led one of the most popular musical groups in America. His January 16, 1938 concert at Carnegie Hall in New York City is described by critic Bruce Eder as "the single most important jazz or popular music concert in history: jazz's 'coming out' party to the world of 'respectable' music

In my opinion this one song is the most well done by Benjamin David Goodman.

This one song was a turning point and a Huge deal.

"Sing, Sing, Sing"

"Sing, Sing, Sing" is probably the most famous tune associated with Goodman, if not the entire Swing Era.

However, it was originally a tune written by Louis Prima, and did feature vocals as the title suggests. Thus when it was imported into the band, it was originally intended as a feature for singer Helen Ward. However, the talented instrumentalists in the band kept changing it in performances, adding new passages and quotes from other songs like Chu Berry's "Christopher Columbus" to the point where it bore little resemblance to the original. But the most recognizable part of the song is Gene Krupa's drumming, which exists as a motif throughout the song. Ward recalls that one night Krupa refused to stop drumming when he got to the end of the third chorus and Goodman picked up his clarinet and soloed right along with him. The tune continued to morph in this fashion until it reached a length of eight minutes and filled both sides of a 78.

"Sing, Sing, Sing" bristles with energy and reckless abandon, all powered by Krupa. There isn't much organization or development of themes at all, but it was capable of whipping crowds into a frenzy every time it was played. The record begins with the tom-tom drumming of Krupa that forms the bedrock of the piece. The band enters and plays the familiar head with the reeds and horn tossing the melody back and forth. Goodman comes in for a brief solo with the horns punctuating his swinging phrases, which then gives way to a restatement of the drum theme. For the rest of the first side the band trades riffs with each other, the trumpets slowly building to a crescendo with the reeds darting and gliding. Krupa interjects at the end of each passage with a few measures of drum fills adding new accents to the

basic pattern. On the last of these, Krupa takes his longest solo (Goodman seems to start his solo on accident before Krupa restates the theme, but he also does it at the Carnegie Hall Concert) before the full band comes in to bring the piece to the end of the first section. The second half of the piece (and Side Two of the 78) begins with a solo from Vido Musso backed by Jess Stacy and Krupa while the rest of the band quietly fans the flames from the back. Musso's wide vibrato and rhythmic kicks are followed by a brief Goodman solo under which the band builds to a growling crescendo. Another solo for Krupa, then a solo by Harry James backed solely by the rhythm section, who ever so gracefully builds to a bristling climax joined by the rest of the section, who then drop out while James deftly finishes off with a few high notes. To finish the piece, Goodman solos again, backed only by Krupa. Goodman's solo features some intelligent reworking of the melody and an almost sinister tone, yet not lacking in sophistication. Goodman and Krupa fade out as the solo develops. A cowbell signals the return of the full band, and Krupa's fiery press roll leads to the climax.

"Sing, Sing, Sing" illustrates the tension that always exists between being an artist and being an entertainer but there was one moment where the tune achieved a brief moment of sublime elegance.

On a different note, this song was of and aged and wise performer but lets look on the contrast for one of his earlier works which intrigued me due to its back story.

Room 1411

"Room 1411" is a 1928 instrumental composed by Glenn Miller and Benny Goodman and released as a Brunswick 78 by Bennie Goodman's Boys. The song was Glenn Miller's first known composition and was an early collaboration between Glenn Miller and Benny Goodman, who would become the most successful bandleaders of the Big Band Era during the 1930s and 1940s.

"Room 1411," also known as "Goin To Town," "Pieza 1411" in Spanish on the label, was composed with Benny Goodman in 1928 when Glenn Miller was part of "Bennie Goodman's Boys". The instrumental was recorded on June 23, 1928 in Chicago, Illinois and was released as a 78, 4013, on Brunswick, paired with "Jungle Blues”. The instrumental, Matrix # E27639=C, was described as a "shimmy one-step" on the original Brunswick 78 label as released in 1928.

"Bennie Goodman's Boys" was made up of an all-star ensemble that featured Glenn Miller on trombone, Ben Pollack on drums, Dick "Icky" Morgan on guitar, Bud Freeman on tenor saxophone, Fud Livingston on clarinet and tenor saxophone, Jimmy Mc Partland on cornet, Vic Breidis (also appears as Briedis) on piano, Harry Goodman on bass and tuba, and Benny Goodman on clarinet, saxophone, and cornet. The band continued to record in 1928 and 1929. Tommy Dorsey on trombone and Wingy Manone on trumpet were also members of the group on other sessions.

Glenn Miller and Benny Goodman lived in the same suite at the time in the apartments in The Whitby in New York whose number was 1411. The title of the composition derives from the apartment number. In Hear Me Talkin' To Ya: The Story Of Jazz As Told By The Men Who Made It (1955) by Nat Shapiro and Nat Hentoff, Jimmy McPartland recalled how the title originated: "[A]fter a couple of weeks we moved into the Whitby Apartments, where Gil Rodin, Dick Morgan, Benny Goodman, and Glenn Miller had a suite. We all moved into that, practically the whole band. ... The number of that apartment was 1411. And that is how that title came up, Room 1411, by Benny Goodman's Boys.’’

Benny Goodman played baritone saxophone "on the more straight-ahead Chicago-style 'Room 1411'". "Room 1411 (Goin' to Town)" is Glenn Miller's first known composition. Two versions or takes of the instrumental were released. The recording was reissued in 1950 as part of the Brunswick Collectors' Series as Brunswick 80029A .The recording was released on the 1951 Brunswick LP, BL-58015, Chicago Jazz Classics by Benny Goodman & His Boys. The recording also appears on the albums The Young Benny Goodman: 1928-1931 released in 2005 by Timeless Records, A Jazz Holiday, double LP, Decca, 1973, A Jazz Holiday: 1926-31 by Benny Goodmnan released in 1998 by ASV Living Era, Benny Goodman: 1928-1931, Classics, 1993, and Benny Goodman: Selected Favorites, Volume 17, Charly, 2006.

The jazz group Chicago Rhythm with Butch Thompson recorded the song in 1983 on their album One in a Million, Vol. 2, on Stomp Off Records, SOS 1059. The instrumental was performed by the Ballyhoo Foxtrot Orchestra at the 2011 Glenn Miller Festival in Des Moines, Iowa and in 2012 by the Original Swingtime Big Band in concert in Vienna, Austria.

That was some handy information on two of Goodman’s work, one at an early young stage of his life and the other at a much more developed and wise grown up Goodman.

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