By Catherine Tackley
On January sixteen, 1938 Benny Goodman introduced his swing orchestra to America's honored domestic of ecu classical song, Carnegie corridor. The ensuing live performance - largely one in all the main major occasions in American tune historical past - helped to usher jazz and swing tune into the yank cultural mainstream. This acceptance has been perpetuated through Columbia Records' 1950 liberate of the live performance on LP.
Now, in Benny Goodman's recognized 1938 Carnegie corridor Jazz Concert, jazz pupil and musician Catherine Tackley presents the 1st extensive, 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 amassed layers of interpretation and aspiring to determine the functionality in its unique context, and discover what the fabric has come to symbolize in its recorded shape. Taking a whole view of the live performance, she examines the wealthy cultural surroundings during which it came about, and analyzes the compositions, preparations and performances themselves, sooner than discussing the quick reception, and lasting legacy and impression of this storied occasion and album.
As the definitive examine of 1 of an important recordings of the twentieth-century, Benny Goodman's well-known 1938 Carnegie corridor Jazz Concert is a must-read for all severe jazz fanatics, musicians and students.
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Additional info for Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert (Oxford Studies in Recorded Jazz)
11 confirms his registration at the University, May 20, 1620. 4 Cf. p. 23f above. The author would like to thank J. G. van Gelder for bringing this point to his attention. 5 OrIers does not give the name of the man whose privilege it was to introduce Rembrandt to the fundamentals of art. 6 Cf. p. 27, note 1, above. [ 36J biography of Gerard Dou, 1 who we have already noted was described as a pupil of the Konstrijcken ende wijtvermaerden Rembrandt by OrIers. Dou did not leave Leiden. Does this account for the fact that OrIers was able to make a thumbnail, but accurate, characterization of Dou's work, 2 and that he made no attempt to describe Rembrandt's pictures?
47), became Gaston de Foy. Peter Aubry, a publisherof Strassburg, borrowed from Ciartres' copies of Van Vliet's copies of Rembrandt for his series of famous men and Balthazar Moncornet, a prolific publisher in Paris, made aseries of 643 famous men around the middle of the century and by an inscription transmutted Rembrandt heads into, among others, Merlin, Cyrus, Plato or even Thomas More, whose portrait was known. The possibilities of these metamorphoses were infinite: Moncornet used Rembrandt's Bearded Old Man, (B.
W. Enschede, "Een gelijktijdige Waardeering van Rembrandt's Etsen in het Buitenland (1659)," Oud Holland, XXXI (1913), 132-4 and J. H. Scholte, "Een gelijktijdige Waardeering van Rembrandt's Etsen in het Buitenland (1641) ," Oud-Holland, XXXIII (1915),91-96. , 109. The painting is monogrammed A. v. L. which doubtless refers to the donor Adriaen von der Linde. It shouldbe pointed out that most scholars maintain that one or more of Rembrandt's etchers helped hirn with this plate. Lievens, Van Vliet and Bol have been suggested.
Benny Goodman's Famous 1938 Carnegie Hall Jazz Concert (Oxford Studies in Recorded Jazz) by Catherine Tackley