Although technology — whatever that means — keeps telling us we are “all connected,” and it is easier than ever to click a “like,” to instant-message someone, I think many of us feel, in the midst of the crowd, more isolated than ever before.
But community is always possible. I offer this tender example from — oh, only eighty years ago.
The song is WHERE OR WHEN, by Richard Rodgers and Lorenz Hart, from the musical BABES IN ARMS, which premiered in New York April 14, 1937. I don’t know when Benny Goodman, Teddy Wilson, and Gene Krupa first heard the song or had the sheet music (possibly well in advance of the show’s premiere, because who wouldn’t want to know, sing, play a new score by Rodgers and Hart?) — but they performed it at the Madhattan Room of the Hotel Pennsylvania, on October 23, 1937. (An aside: the first jazz group to record the song was Frank Newton’s small band.)
Here is that Goodman Trio performance:
Now, this is not a generic time-travel post. As delightful as it would be to hear the music of 1937, I’d also be reading about Herr Hitler in the newspapers; people would die from tuberculosis and polio . . . so I don’t want to leap backwards in time.
But the sound of the “college audience,” to quote my friend David J. Weiner, who wrote the notes to the CD issue of this track, singing along in unified pleasure and knowledge . . . it’s a sweet yet heartbreaking reminder of a time when such things were possible. Perhaps the fragmentation of the collective audience is an inevitable result of astonishing strides forward in communication, but I’d trade Facebook for a world where people acted in unison, so sweetly.
Here are the lyrics to the chorus, for those motivated to sing along. I know I was.
It seems we stood and talked like this before. We looked at each other in the same way then. But I can’t remember where or when… The clothes you’re wearing are the clothes you wore The smile you are smiling you were smiling then, But I can’t remember where or when… Some things that happen for the first time Seem to be happening again. And though it seems like we have met before, And laughed before, and loved before, But who knows where or when…”
What could we do to make such sweet unity the norm in the Here and Now? And I mean more than people knowing the lyrics and being willing to share their sweet impulse.
This post is for Hilary Gardner, who knows and sings. Both.
In the past year, there’s been much well-deserved attention paid to the life and music of Benjamin David Goodman, clarinetist supreme, cultural icon, King of Swing, trail-blazer and phenomenal improviser — because he was born a hundred years ago. In 2008, there was another reason to celebrate while invoking his name — the seventieth anniversary of his Carnegie Hall concert.
I don’t wish to take an iota away from the significance of that event, nor do I wish to dull our reverence both for it and the recordings of that evening. It may be heretical that I find the records uneven — but, then again, attempting to capture any live jazz is risky, and that Carnegie came off so spectacularly is a tribute to everyone’s creative energies. (As an aside, I don’t have much enthusiasm for the recent concert recreations where a first-rate jazz band plays the concert, from first note to last, “live.” The original event is irreproducible, another tribute to its essence.) Perhaps my reaction is the result of having listened to the original recordings too many times in my youth, although the jam session on HONEYSUCKLE ROSE is still thrilling.
Here, to celebrate the event, is a snippet from a Goodman documentary: I include it not because of the leaden commentary, but for the silent newsreel footage taken in the hall that night.
A celebration of January 16, 1938 that I can applaud whole-heartedly is Jon Hancock’s wonderful book: BENNY GOODMAN – THE FAMOUS 1938 CARNEGIE HALL CONCERT (Prancing Fish Publishing, 2009).
Before I explain this book’s virtues, I must reveal my own reactions to much of what is published on the subject of jazz in general and Goodman in specific. Having read the best prose and criticism, I dislike sloppy research, poor attribution and inept paraphrase, polemical ideological statements passed off as evidence. I applaud Whitney Balliett and Martin Williams, Dan Morgenstern and Richard M. Sudhalter even when I disagree with them, because of their insight and their evidence-gathering. But many “jazz writers” have only the opinions and attitudes of others to offer: leftovers presented as fresh.
Goodman, too, is a special case. I have savored Bill Crow’s brilliantly lacerating memoir of the 1962 trip to Russia; Ross Firestone’s affectionate, forgiving biography of Benny, SWING, SWING, SWING told me things I hadn’t known and was therefore valuable. Ultimately, Goodman the musician is a more absorbing study than Benny the neurotic.
Hancock’s book is exciting because it does offer new information about this most singular event. Even better, he has made a point of not taking familiar statements as gospel without tracing them back to their original sources. The result is a fascinating mosaic. I knew, for instance, that Harry James said, “I feel like a whore in church,” joking about his being in the august hall, but I knew nothing of the newspaper reports before the concert: predictions that Big Joe Turner might sing and W.C. Handy might appear, that Mary Lou Williams was writing a “Jazz concerto,” and, even better, that Lionel Hampton was composing a “Swing Symphony” for the occasion.
And there’s just as much pleasure in the visual memorabilia. John Totten was the stage manager at Carnegie, and he collected signatures in his autograph book. One page of this book (beautifully reporduced) has the signatures of Benny, Jess Stacy, Hampton, “Ziggie” Elman, Gordon Griffin, and others; another page has the signatures of George Koenig, Martha Tilton, Pee Wee Monte, and “best remembrances” from Joseph Szigeti. That’s priceless.
There’s also a photogrraph from the Ferbuary 1938 Tempo Magazine of a pre-concert rehearsal for the jam session: Freddie Green, Benny, Lester Young, his high-crowned hat pushed back on his head, a grinning Gene Krupa, an intent Harry James. Is it evidence of Benny’s over-preparation that he would have musicians rehearse to jam on HONEYSUCKLE ROSE — or is it just that he wanted the opportunity to play a few choruses with Lester and Freddie?
A beautiful picture of a young (he had just turned 29) Gene Krupa adjusting his tie between sets in the Madhattan Room has him against a background of brass instruments that, curiously, looks like the work of Stuart Davis or someone inspired — at first glance, I thought that the painter (and occasional drummer) George Wettling had been the artist.
Hancock’s book also reproduces the twelve-page concert program; here one finds announcements for upcoming concerts by Rudolf Serkin and Adolf Busch, advertisements for Schrafft’s and the Russian Tea Room, for Maiden Form brassieres and Chesterfield cigarettes, and (something to live for) notice that the Gramophone Shop would have on sale on January 22, 1938, Teddy Wilson’s Brunswick record of MY FIRST IMPRESSION OF YOU and IF DREAMS COME TRUE.
These lovely artifacts, including a ticket from the concert, shouldn’t make us forget that the real glory of the book is Hancock’s meticulous (but never stuffy) eye for detail — that pro-Franco demonstrators picketed Carnegie the night of the concert, chanting “Benny Goodman is a red from Spain,” necause Benny had played a concert for the Spanish Loyalists in December 1937. Ziggy Elman’s rejoinder, “No, he isn’t, he’s a clarinet player from Chicago!” satisfies me, even if it did little to placate the protesters.
The centerpiece of the book is Hancock’s easy, unforced commentary on the music played at the concert — forty pages of analysis and commentary, neither highflown musicology in the Gunther Schuller way or a fan’s yipping enthusiasm — something to read while the compact discs of the concert are playing. Anything about the concert — the microphone setup, the photographs and newsreel footage — as well as the recordings made, the mythic story of their re-discovery, their various issues . . . . up to Benny’s later appearances at Carnegie — all are meticulously covered by Hancock. And there’s a touching reminiscence of BG at home by his daughter Rachel Edelson that is a masterpiece of gentle honesty.
Reviewers have to find flaws, so I will say that a few names are misspelled, as in the pastoral “Glen Miller,” but since none of these musicians were in the Goodman band, I and other enthusiasts forgive Hancock . . . while applauding his tremendous effort, both enthusiastic and careful. Writing this post, I must add, took a long time — not because my mind wasn’t made up within the first fifteen minutes of looking at the book, but because I kept getting distracted from writing to reading and re-reading. Good job!
Jon has a website, www.bg1938.com., where you can find out more about the book — and the more important information about how to get your own copy. And you can add your own opinion about Just Who the Mystery Man is. Someone has to know!
JAZZ LIVES 