When Benny Goodman entered a New York recording studio on July 13, 1935, only pianist Teddy Wilson and drummer Gene Krupa went in with him. Small-group jazz, or chamber jazz, was born, the course of jazz history altered forever.
True, smaller ensembles had been tried before--Louis Armstrong's Hot Five and Jimmie Noone's Apex Club band, to name two, prospered in the 1920s playing traditional New Orleans-style fare. But until Goodman's foray, the small band had been limited to blues, Dixieland, and the group improvisations of the New Orleans style. Goodman expanded on the small-group concept, applying it to the steady 4/4 rhythm and the repertoire (mostly standards) of swing. Instead of dance music, this small-group swing showcased the individual talents of the musicians involved. Ironically, a mere 10 years later, small-group jazz would become the norm, almost to the point of extinction of big bands. Immediately following that July 13 session, Goodman's big band would embark on a hugely successful tour, crowning him as the King of Swing. Still, musicians, critics, and many fans were truly riveted by the output of this pioneering small band.
With Krupa propelling the music forward and the elegant Wilson holding down the middle ground, Goodman's ebullient clarinet was free to soar on chestnuts such as "After You've Gone," the trio's debut. Cuts such as "China Boy" and "Nobody's Sweetheart" find the trio blazing along at high speeds, Krupa pounding furiously, Wilson updating his beloved stride piano, and Goodman offering stunning runs bursting with joy. The trio shows sensitivity while backing Helen Ward's vocals on the ballads "All My Life" and "Too Good to Be True."
Somehow, in August of 1936, Goodman improved on an already wondrous formula by adding vibist Lionel Hampton. Hampton's vibe prowess inspired Goodman to great heights, deepening and expanding the band's explosive sound. "Tiger Rag" beautifully displays the band's magical interplay, a mutual musical understanding that's difficult to define and impossible to replicate. Goodman's amazing clarinet work boasts equal parts humor, invention, precision, and fire. "Ida, Sweet as Apple Cider" begins at a relaxed pace before kicking into high gear for Hampton's solo. Krupa steers the ship from behind the kit, accenting and prodding his cohorts. On "Tea for Two," Goodman states the melody plainly, allowing Hampton to cleverly fill in the gaps. Wilson's solo shows acute harmonic invention. The appropriately named "Running Wild," a fitting conclusion, races behind Krupa's lively drumming.
If you like Benny Goodman, check out:
Jimmie Noone New Orleans
Benny Goodman Stompin'
Benny Goodman Sextet Featuring Charlie Christian
Charlie Christian The Genius of the Electric Guitar
psst...you might wanna check out our swing links for more features on swing artists.
-- Marc Greilsamer
