“Enough Joyful Swing To Bring Tears To Your Eyes”
That these documents feature Charlie Christian might not be the most important reason for getting them. That they represent a high point in shooting a few hours in the main musical development in the 20th century (jazz) probably is. Finding the sense of performance from the studio is nororiously hard. It’s managed here. The sound quality is superb, and so during these four discs. The music reflects a point from the record of jazz. The participants represent a few of the master rings – Count Basie, Duke Ellington, Fletcher Henderson – and point to the future in Lester Young and Charlie Christian. Morevover a number of the musicians are legends in their instruments – note must be manufactured from Jack Teagarden, Lionel Hampton, Benny Carter, Harry James, Gene Krupa, Dave Tough, Cootie Williams, not to mention Mr Goodman himself. It was a set of circumstances that led to the music. There was youth of foresight, course and generosity on Mr Goodmans part, adore, innovation and experimentation, and a dedication. Very important was the inspiration that amazing musicians provide to each other they lift every other. Nor should it be forgotten how racial barriers broke down as it took real courage to do so. Respect for him from all musicians must be a element in this music before you.It is rewarding to listen to this music once only focussing on Mr Hampton. Again. Again. But take AS LONG AS YOU LIVE as an instance, on CD 2 Track 11. It begins from the chief and also an opening solo by Mr Basie on piano followed by Cootie Williams supplying a sweetly solo on trumpet. There’s a brief interlude by Mr Christian on guitar then a solo. The Royal by Mr Goodman that follows is enough to bring tears to you eyes in mild and its own sweetness. The piece closes with figure. A beautiful performance. This is followed by BENNYS BUGLE which grooves beyond belief – democratically it is Mr Aulds moment to supply the solo. This is a characteristic of this music – no one musician hogs the limelight. It’s never just a feature for the other or one. This is part of Mr Goodman’s genius. On his device, in this movie, he’s got no parallel. Occasionally he gets fiery he heads to the territory other times his clarinet only smiles, of Edmond Hall. These four CDs are my Goodman records, although I have favourites of Mr Goodmans like the trio playing for THE FLETCHER HENDERSON FUND c1953. They’re so full of content, that I can listen at one time to perhaps half an hour. Nor is there a moment on them I’d delete, including false starts, and alternative takes. This really is an instance where rhythm(or swing) is awarded some of its most delightful moments in all music taking its rightful place alongside stability and melody. Of all of my songs, these four CDs take there place one of my favorites like KIND OF BLUE, AT THE BLUE NOTE (Keith Jarrett), THE WILDFLOWER SESSIONS, MONK on RIVERSIDE, THE HEAVYWEIGHT CHAMPION (Coltrane).