By Catherine Tackley
On January sixteen, 1938 Benny Goodman introduced his swing orchestra to America's honored domestic of eu classical song, Carnegie corridor. The ensuing live performance - greatly one in every of the main major occasions in American tune heritage - helped to usher jazz and swing track into the yankee cultural mainstream. This acceptance has been perpetuated via Columbia documents' 1950 unencumber of the live performance on LP. Now, in Benny Goodman's recognized 1938 Carnegie corridor Jazz live performance, jazz pupil and musician Catherine Tackley offers the 1st intensive, scholarly research of this seminal live performance and recording.
Combining rigorous documentary and archival study with shut research of the recording, Tackley strips again the gathered layers of interpretation and aspiring to investigate 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 during which it came about, and analyzes the compositions, preparations and performances themselves, sooner than discussing the rapid reception, and lasting legacy and effect of this storied occasion and album. because the definitive learn of 1 of crucial recordings of the twentieth-century, Benny Goodman's well-known 1938 Carnegie corridor Jazz live performance is a must-read for all severe jazz enthusiasts, musicians and scholars.
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Extra resources for Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert (Oxford Studies in Recorded Jazz)
It used to be additionally transparent to Ewing (and others) that the functionality is a parody; the topic of the functionality is Goodman’s transitority transformation into Lewis. during this manner, Goodman references and satirizes his personal prior organization with Lewis, which highlights one more degree of his improvement as an artist as verified via the opposite numbers within the application. 112 b e n n y g o od ma n’s recognized 1938 carnegie ha ll ja z z c onc ert “That’s Why They name Me Shine,” by way of Ford Dabney and Cecil Mack, used to be released in 1910 whilst performances through Aida Overton Walker in a black musical theater construction referred to as His Honor: the Barber introduced it to wider recognition, however it can have been provided as early as 1907 via the double act of Bert Williams and George Walker (Aida’s husband). The music can have been encouraged through an individual known as “Shine,” a pal of George Walker’s who additionally good points in James Weldon Johnson’s 1912 Autobiography of an Ex-Colored guy (Brooks 2004: 397). The name of the tune was once shortened and the lyric revised in collaboration with Lew Brown in 1923. Following republication, “Shine” was once recorded by way of many jazz musicians, together with Louis Armstrong in 1931, who additionally played it within the brief movie Rhapsody in Black and Blue the subsequent 12 months. even if Armstrong mugs via “Shine” and “You Rascal You” within the movie, wearing a leopard dermis, Giddins argues that he transcends the racist trappings by way of his indifference to each sling and arrow. The director/writer is making an attempt to inform the viewers something. Armstrong is telling it whatever fullyyt different—he’s doing it not just with the beauty of his song, yet along with his actual muscularity, his carriage, his boding sexuality, the glance in his eye (Giddins 2001: 9). One argument is that even if Armstrong’s vocal functionality turns out to include the stereotype of the lyrics, transcendence happens “when he places his trumpet to his lips, [and] he turns into a special guy” (Gabbard 1996: 211). Edwards, although, argues that “all those components . . . coexist within the functionality” and that “there is not any transcendence right here” (Edwards 2002: 647). Armstrong prefaces his vocal functionality of the well-known refrain of “Shine” on list and movie with the word “Oh Chocolate Drop that’s me,” a connection with the verse that describes the continued racial prejudice suffered by means of the protagonist. It was once more and more universal perform to fail to remember tune verses in jazz performances of renowned songs, and so the which means of the refrain of “Shine” (“Just simply because my hair is curly/Just simply because my tooth are pearly”) turned an obvious social gathering of stereotype instead of a defiant assertion of racial delight. notwithstanding, whilst Armstrong’s allusion to the verse of “Shine” is considered, his functionality of the refrain may be learn as ironic, intentionally and knowingly enjoying as much as the stereotype within the vocal, in simple terms to demolish perceptions together with his trumpet solo, which turns into the last word retort. This double id pe rformance 113 reflects the cultured of early-20th-century black musical theater, from which “Shine” originated.