acceptance of swing as art
re-creations of concert, 174, 176, 183, 187
tension between attaining status and maintaining authenticity, 15–17
acoustics at Carnegie Hall, 11, 37, 99, 100
advertising
concert promotion. See promotion of concert
photograph of billboard outside Carnegie Hall, 2
radio, advertisers’ recognizing potential of, 6, 7
African American musicians, 19–24, 26, 31, 181, 183
Goodman as predominant white employer of black musicians, 19
history of performances in New York, 3–5, 12
later performances at Carnegie Hall, 174
social equality, concert as metaphor for, 155
swing as specifically black, 17, 18
See also racial issues
age, youthfulness of fans and listeners, 5–9, 11, 178, 183
Allen, Red, 107
“American folk-music,” swing as, 17
analysis of Carnegie Hall performance, 39–144
full orchestra, 41–107
trio and quartet, 124–144
“Avalon,” 128–130
“Bei Mir Bis Du Shôn,” 88–93
“Big John Special,” 105–108
“Blue Room,” 78–83
“Blue Skies,” 71–74
“Body and Soul,” 124–128
“China Boy,” 136–139
“Dizzy Spells,” 141–143
“Don’t Be That Way,” 41–49
“Honeysuckle Rose,” 117–124
“If Dreams Come True,” 100–105
“I Got Rhythm,” 133–136
“I’m Comin’ Virginia,” 110, 112
“Jam Session,” 117–124
“Life Goes to a Party,” 61–71
“The Man I Love,” 131–133
“One O’Clock Jump,” 57–61
“Shine,” 113–115
“Sing, Sing, Sing,” 93–100
“Sometimes I’m Happy,” 49–57
“Stompin’ at the Savoy,” 130, 139–141
“Swingtime in the Rockies,” 83–88
“Twenty Years of Jazz,” 108–116
“When (If) Dreams Come True,” 100–105
“When My Baby Smiles at Me,” 111, 112
Andrews Sisters, 34, 36, 88, 111
anniversary concerts, 184–185
appropriated numbers in program, 33–35
Armstrong, Louie, 56, 97, 178, 180, 183
and historical context of Carnegie Hall concert, 10, 12, 25, 27, 30
performance of “Shine,” 113–116
art, jazz as, 30
See also legitimization of swing as art
audience expectations and reactions, 6–12, 150, 152, 161–174
dichotomy of authenticity to jazz practice and public demand, 150
general public vs. specialized jazz audience, aiming at, 157
ickies. See ickies
influence on later concerts, 175
nationalist sociopolitical conscience based on swing as “American folk-music,” 17
success of concert, forcing audience to listen as requirement for, 108
authenticity of Goodman’s jazz, 111, 117
aftermath of Carnegie Hall concert, 157, 160, 169, 171, 177, 178, 181, 182
historical context, 15–17, 21, 22
public demand, dichotomy of authenticity, 150
tension between attaining status and maintaining authenticity, 15–17
See also legitimization of swing as art
“Avalon”
analysis of performance, 128–130
discography, 213
ballads, swinging of old ballads as blasphemy, 76
band battles at Savoy
Basie-Webb battle (Battle of Swing), 60, 147
“Battle of Jazz” (May, 1937), 33, 83
in “Jam Session” performance, 118
See also Count Basie band
battles of bands. See band battles at Savoy
bebop (cool jazz), 5, 144, 156, 160, 169
Beiderbecke, “Bix,” 20, 29, 30, 110–112, 136
“Bei Mir Bis Du Shôn”
analysis of performance, 88–93
discography, 209
“Benny” part, defined, 43 The Benny Goodman Story (1955), 179–184, 187
“Big John Special”
analysis of performance, 105–108
billboard outside Carnegie Hall, 2
Billy Rose’s Music Hall, 6, 150
black musicians. See African American musicians
blasphemy, swinging of old ballads as, 76
“Blue Reverie”
analysis of performance, 116, 117
discography, 212
rehearsal photograph, 116
“Blue Room”
analysis of performance, 78–83
discography, 209
“Blue Skies”
analysis of performance, 71–74
discography, 208
“Body and Soul”
analysis of performance, 124–128
Boston Symphony Hall, 175–176
broadcasts. See radio broadcasting
analysis of performance, 102, 104, 109, 118
photograph, 116
defined, 8
See also ickies
bulgar, klezmer dance form, 91
Camel Caravan broadcasts, 42, 72, 80, 105, 136, 140, 141
aftermath of Carnegie Hall concert, 148–150, 154, 176, 191
historical context of Carnegie Hall concert, 12, 14, 16, 23, 31
canonical jazz performance, 96
See also authenticity of Goodman’s jazz
Capitol Records, 155–156
Carnegie Hall equipment, use of, 37
Carnegie Hall history, nontraditional music in, 3–12
Carney, Harry, 26, 30, 186, 194
analysis of performance, 116–124
Carter, Benny, 10
chamber-jazz concept vs. orchestral concept, 21
“China Boy”
analysis of performance, 136–139
classical music
audience, classical musicians in, 165
Goodman’s focus on, 156
Clayton, “Buck,” 26, 160, 181, 182, 194
in “Jam Session” performance, 118–124
photo, 146
co-composer credit, bandleaders popularizing particular pieces, 41
aftermath of Carnegie Hall concert, 155–160, 178, 184–186, 190
commercial motives and restraints, freedom from, 10
concert promotion. See promotion of concert
Congress Hotel performances, 10, 12, 21, 23, 72, 93, 168
“cool” music
vs. “hot” music, 7, 9, 10, 18, 25, 31
swing music as either sweet or hot, 52
Count Basie band, 26, 34, 57, 61, 121, 170, 183
Battle of Swing (Basie-Webb battle), 60, 147
See also Basie, Count
“Crisp,” “Ziggy,” and “Harry,” 70
critical reaction to concert, 147–155, 166, 171
dancing vs. listening to jazz, 5–12
blurred distinction, 8
departure of band members after 1938 concert, 153, 155
DeSylva, Buddy, 128
discography, 206–214
Dixieland style of jazz, 11, 51, 112, 157, 160, 184
See also Original Dixieland Jazz Band
“Dizzy Spells”
analysis of performance, 141–143
discography, 214
“Don’t Be That Way,” 151–153, 179–180
analysis of performance, 41–49
discography, 206
“double musical life” of Goodman, 150
DownBeat magazine, 9, 26, 112, 156, 159, 175, 177, 186–188
reporting on reception of concert, 163, 165–167, 171, 173
Duke Ellington band, 155, 167, 170, 176, 177
50th-anniversary concert, 184
in “Jam Session” performance, 26, 118–124
possibility of Ellington concert at Carnegie Hall, 30
tom-tom music, 93
See also Ellington, Duke
Earle Theater in Philadelphia, 153
editing of recorded music, 95, 159–161, 186, 189, 191
Ellington, Duke, 10, 27, 28, 30, 105, 110, 176
See also Duke Ellington band
Elman, Ziggy, 11, 19, 34, 155, 163, 179, 194
analysis of performance, 70, 73, 84, 88–91
“E lucevan le stelle”, 128
etiquette
at Carnegie Hall, 165
at jam sessions, 120
eyeglasses, staring over top of (Goodman “ray”), 36
The Famous 1938 Carnegie Hall Jazz Concert (1950), 157–161, 168, 170, 171, 173, 175, 178
The Famous 1938 Carnegie Hall Jazz Concert (1999), 186–191
filmography, 214
Fitzgerald, Ella, 89, 105, 147
flyer
See also promotion of concert
full band
analysis of performance, 41–107
members of orchestra, 194
program, 31–33
gender-based hierarchy in bands, 149
general public vs. specialized jazz audience, 157
See also audience expectations and reactions
Gershwin, George, 5, 25, 44, 131–134, 143, 155, 175
Gilbert, Gama, 16–18
The Girl Friend, 78 The Glenn Miller Story, 179
Goodman, Alice Hammond, 179–182, 185
Goodman quartet (Goodman, Hampton, Krupa, Wilson).
See trio and quartet
Goodman “ray” (staring over top of eyeglasses), 36
Goodman trio (Goodman, Krupa, Wilson). See trio and quartet
Griffin, Gordon “Chris,” 35, 36, 42, 70, 73, 75, 82, 94, 155, 179, 194
guest jam session soloists, 118, 119, 194
Hackett, Bobby, 105, 111, 170, 194
Hammond, John, 19–21, 174, 175, 179
Hampton, Lionel, 34, 81, 133, 140, 141, 155
in Goodman quartet (Goodman, Hampton, Krupa, Wilson). See trio and quartet
handbill. See flyer
Handy, W. C., 4, 5, 15, 27, 174
“Harry,” “Ziggy” and “Crisp,” 70
Hart, Lorenz, 78
Henderson, Fletcher, 21, 26, 31–33, 35, 36, 155
“Blue Room,” 78
“Blue Skies,” 71
defining relationship between Goodman and Henderson, 7
effect on style of band, 144
“Sometimes I’m Happy,” 49
Henderson, Horace, 32, 34, 55, 56, 105–107
Heywood, Donald, 110
A History of Jazz in America, 170, 172
Hit the Deck, 49–51
Hodges, Johnny, 26, 30, 116, 117, 186, 194
in “Jam Session” performance, 118–124
photograph, 116
Hollywood Hotel, 13, 24, 94, 95, 128, 136, 181
analysis of performance, 117–124
discography, 212
See also “Jam Session” at 1938 concert
Hotel Pennsylvania. See Madhattan Room of Pennsylvania Hotel
“hot” music, 7, 9, 10, 18, 25, 31
vs. bebop, 5, 42, 144, 156, 160, 169
swing music as either sweet or hot, 52
hypertextuality vs. intertextuality, 27, 28
at Boston Symphony Hall concert, 176
defined, 8
“If Dreams Come True”
analysis of performance, 100–105
discography, 210
“I Got Rhythm”
analysis of performance, 133–136
discography, 213
“I’m Comin’ Virginia”
analysis of performance, 110, 112
discography, 211
improvisation, 4, 8, 15, 16, 18, 32, 150
analysis of improvisation in 1938 concert. See performance at concert, analysis of
pressure felt by soloists in successive performances, 144
See also jam sessions
integration. See racial integration
intertextuality vs. hypertextuality, 27, 28
James, Harry, 62, 70, 96, 97, 106, 107, 115, 179, 194
in “Jam Session” performance, 118
nickname, 83
photo, 146
rebelliousness of, 108
jam sessions
audience expectations and reactions, 25, 26
etiquette, 120
popularity of, 118
as precedents for 1938 concert, 10, 11, 20
See also improvisation
“Jam Session” at 1938 concert, 154, 155, 194
analysis of performance, 117–124
discography, 212
program, 25–27
reviews of, 167
The Jazz Singer, 71
“Jewel Song” from Faust, 149
Jewish identity, 34, 89–92, 155, 180, 181
“jitterbugs”
defined, 8
See also ickies
jukeboxes, 9
Kolodin, Irving, 22, 24, 25, 27, 28, 30, 42, 66, 101, 108, 158, 159, 165, 167, 176, 188
Krupa, Gene, 36, 94, 124, 138, 151–153, 161, 168, 172, 194
breakdown of Goodman-Krupa partnership, 48
“Don’t Be That Way,” analysis of performance, 44–49
in “Jam Session” performance, 118
photo, 146
rebelliousness, 108
See also trio and quartet
later concerts at Carnegie Hall, 174–175
lease of recordings by National Broadcasting Company to subscribing stations, 52
legitimization of swing as art
re-creations of concert, 174, 176, 183, 187
tension between attaining status and maintaining authenticity, 15–17
audience, 6–9
effect on successful development of Goodman’s orchestra, 31, 33, 35, 37
“Life Goes to a Party”
analysis of performance, 61–71
discography, 208
Lillie, Beatrice, 14
Linton, Charles, 105
Lippman, Joe, 112
listening vs. dancing to jazz, 5–12
blurred distinction, 8
analysis of performance, 75–78
discography, 208
Los Angeles Palomar Ballroom, 7, 8, 12, 23, 36, 94, 181
Madhattan Room of Pennsylvania Hotel
after Carnegie Hall concert, 148
comparison of performances, 59, 60, 72, 73, 89, 106, 108
within historical context of Carnegie Hall concert, 11, 13, 23, 31, 37
“The Man I Love”
analysis of performance, 131–133
discography, 213
Melody Maker magazine, 10, 27, 29, 151, 163, 165
members of orchestra, list of, 194
Metronome magazine
aftermath of Carnegie Hall concert, 147, 156, 161, 163, 166, 167, 171, 173, 179
analysis of performance, 44, 78, 116, 130
mistakes, staring over top of eyeglasses (Goodman “ray”), 36
Mondello, Toots, 112
movies, filmography, 214
movie theater performances, 11, 12, 23, 98, 148
Mozart, response to Carnegie Hall concert, 149, 150
multimedia dissemination
characteristic of swing, 6
radio. See radio broadcasting
records. See records and record industry
Mundy, Jimmy, 7, 34, 75–78, 83–94, 96, 99, 100
Music School Settlement for Colored People, 4
nationalist sociopolitical identity of swing, 17
“Nose,” nickname for Harry James, 83
ODJB. See Original Dixieland Jazz Band
“okay,” defined, 9
“One O’Clock Jump”
analysis of performance, 57–61
discography, 207
orchestra. See full band
Original Dixieland Jazz Band, 5, 24, 27–30
guests on Boston Symphony Hall broadcast, 176
and “Twenty Years of Jazz,” 108–111
Page, Walter, 26, 81, 121, 194
in “Jam Session” performance, 118–124
Palomar Ballroom in Los Angeles, 7, 8, 12, 23, 36, 94, 181
pamphlet. See flyer
Pennsylvania Hotel. See Madhattan Room of Pennsylvania Hotel
performance at Carnegie Hall, analysis of, 39–144
full orchestra, 41–107
trio and quartet, 124–144
“Avalon,” 128–130
“Bei Mir Bis Du Shôn,” 88–93
“Big John Special,” 105–108
“Blue Room,” 78–83
“Blue Skies,” 71–74
“Body and Soul,” 124–128
“China Boy,” 136–139
“Dizzy Spells,” 141–143
“Don’t Be That Way,” 41–49
“Honeysuckle Rose,” 117–124
“If Dreams Come True,” 100–105
“I Got Rhythm,” 133–136
“I’m Comin’ Virginia,” 110, 112
“Jam Session,” 117–124
“Life Goes to a Party,” 61–71
“The Man I Love,” 131–133
“One O’Clock Jump,” 57–61
“Shine,” 113–115
“Sing, Sing, Sing,” 93–100
“Sometimes I’m Happy,” 49–57
“Stompin’ at the Savoy,” 130, 139–141
“Swingtime in the Rockies,” 83–88
“Twenty Years of Jazz,” 108–116
“When (If) Dreams Come True,” 100–105
“When My Baby Smiles at Me,” 111, 112
personnel
members of orchestra, list of, 194
photographs
Benny Goodman and orchestra at Carnegie Hall, 39
showing audience seated on stage, 40
The Benny Goodman Story, (1955), 145, 146
billboard outside Carnegie Hall, 2
“Blue Reverie” rehearsal, 116
photojournalism, 30, 31, 61, 63, 88
precedents for 1938 concert, 3–12
Prima, Louis, 93
appropriation, 33–35
chamber-jazz concept vs. orchestral concept, 21
“Jam Session,” 25–27
orchestra, 31–33
rehearsal, 35–37
trio and quartet, 19–25
“Twenty Years of Jazz,” 19, 27–31
promotion of concert, 12–18, 183
flyer, language in, 15
photograph of billboard outside Carnegie Hall, 2
pseudonyms
“Nose,” nickname for Harry James, 83
record labels, pseudonyms for recording on, 51, 117
Puck, Eva, 80
quartet (Goodman, Hampton, Krupa, Wilson). See trio and quartet
racial issues, 19–24, 26, 31, 109, 110, 167, 168, 183
deteriorating race relations between 1895 and 1910, 114
most visible symbol of racial integration in music business, Goodman as, 19
Original Dixieland Jazz Band, privilege as white group. See Original Dixieland Jazz Band
in performance places, 4, 10, 18
presentation of history of music and principles of racial equality and integration, 174
social equality, concert as metaphor for, 155
See also African American musicians
radio broadcasting, 12
advertisers’ recognition of potential, 6, 7
lease of recordings by National Broadcasting Company to subscribing stations, 52
Let’s Dance show. See Let’s Dance
reading lines of radio script and beating off tempos, 83
time restraints, 58
“ray,” staring over top of eyeglasses, 36
Razaf, Andy, 117
reception of concert, 161–174
records and record industry, 9, 10, 155–160, 177, 178
decision to record concert using equipment installed in Carnegie Hall, 37, 38
discography, 206–214
editing of recorded music, 95, 159–161, 186, 189, 191
limits of recorded discs, 58
pseudonyms for recording on different record labels, 51, 117
relationship with swing, 6
re-creations of 1938 concert in live performances, recordings, and film, 174–191
rehearsals, 35–37, 55, 66, 72, 82, 144
The Benny Goodman Story, 179, 180
photograph, 116
repercussions to 1938 concert, 147–155
Reuss, Allan, 37, 81, 110, 153, 172, 179, 194
utopian desires for musicians to play free from commercial motives or restraints, 10
Robertson, Dick, 111
Rollini, Arthur, 36, 37, 150, 151, 194
analysis of performance, 52, 55, 73, 74, 81
Rose, Vincent, 128
Russin, Babe, 37, 151, 153, 179, 194
analysis of performance, 48, 51, 76, 86
“safe” performances, 144
Sampson, Edgar, 41–45, 101, 139
Savory, Bill, 159, 160, 172, 177, 178
Savoy Ballroom, 8, 26, 31, 33, 37
and “Stompin’ at the Savoy,” 139
See also band battles at Savoy
Schaap, Phil, 186–191
segregation in performance places, 4, 10
See also racial issues
“Sensation Rag,” 29, 108, 109, 112, 162, 179–181
Shertzer, Herman “Hymie,” 37, 153, 179, 194
“Shine”
analysis of performance, 113–115
discography, 212
title shortened and lyric revised, 113
“Sing, Sing, Sing,” 153, 154, 163, 173
analysis of performance, 93–100
“Sometimes I’m Happy”
analysis of performance, 49–57
discography, 207
“St. Louis Blues,” 27–29
analysis of performance, 59, 60, 98, 100, 107, 117
photograph, 116
staring over top of eyeglasses (Goodman “ray”), 36
status of swing as art. See legitimization of swing as art
“Stompin’ at the Savoy”
analysis of performance, 130, 139–141
discography, 214
sweet music
swing music as, 52
See also “cool” music
swing
in Carnegie Hall history, 3–12
publicity, use of term “swing,” 12
as sweet or hot, 52
“Swingtime in the Rockies”
analysis of performance, 83–88
discography, 209
Symphony Hall in Boston, 175–176
“Taps,” 129
“That’s Why They Call Me Shine,” 113, 114
title shortened and lyric revised, 113
See also “Shine”
“The Man I Love”
analysis of performance, 131, 132
discography, 213
Tilton, Martha, 149, 163, 167, 194
analysis of performance, 75–78, 88
photograph, 145
tom-tom beat, 93
trio and quartet
analysis of performance, 124–144
program, 19–25
re-creations of Carnegie Hall performance, 178
“Twenty Years of Jazz”
analysis of performance, 108–116
discography, 211
re-creations of Carnegie Hall concert, 176–177
Ulanov, Barry, 170–172
The Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz, 53
Walker, George, 113
Battle of Swing, 147
“When (If) Dreams Come True”
analysis of performance, 100–105
discography, 210
“When My Baby Smiles at Me”
analysis of performance, 111, 112
discography, 211
White, Sam, 80
Whiteman, Paul, 5, 13–15, 18, 174
Williams, Bert, 113
Williams, “Cootie,” 26, 30, 116, 117, 175, 186, 194
photograph, 116
Williams, Mary Lou, 175
Wilson, Teddy, 19–25, 105, 126, 131
in Goodman trio and quartet. See trio and quartet
Yiddish song, “Bei Mir Bis Du Shôn”
analysis of performance, 88–93
discography, 209
Young, Lester, 26, 81, 169, 186, 194
in “Jam Session” performance, 118–124
youthfulness of fans and listeners, 5–9, 11, 178, 183
“Ziggy,” “Harry,” and “Crisp,” 70