Klarinet Archive - Posting 000032.txt from 2002/11

From: "WILLIAM SEMPLE" <wsemple@-----.com>
Subj: Re: [kl] Benny Goodman's sense of humor
Date: Fri, 1 Nov 2002 13:59:02 -0500

Goodman was more than good for a reason. I think his classical technique
greatly aided his approach to jazz, the sound he achieved that carried above
his band, and in the discipline of his performance. My understanding was
that he was an absolutely perfectionist.

Some of his improvisational work is simply stunning: for example, a totally
elegant approach to Sweet Sue one can find on one of his Trio recordings,
that when transcribed, looks like someone thought about it for years.

We owe a great deal to Goodman because indeed he was a true student of the
instrument. He also popularized it, and I imagine his classical work brought
many who would never have paid attention to Mozart or Copeland into the
world of classical music.

----- Original Message -----
From: "The Ciompi Family" <deal5@-----.net>
Subject: Re: [kl] Benny Goodman's sense of humor

> I used to take lessons from Leon Russianoff in the early '70's. By
chance
> my lesson used to follow - Benny Goodman's. He never stopped taking
lessons or
> trying to learn more. As far as his classical playing was concerned , I
think
> he always felt he needed to study.
> We owe him alot due to his singular, magical jazz style and his
important
> commissions such as the Copeland Concerto and the Bartok "Contrasts".
>
> Arturo
>
> WILLIAM SEMPLE wrote:
>
> > The hoops with which some of the readers go through to get their
instrument
> > sounding just right reminds me of a true story.
> >
> > My father was a close friend of Benny Goodman. They went fishing
together,
> > and at times even played duets.
> > They met at Meadowbrook in Detroit. My father spent his life listening
to
> > and transcribing Goodman; all of Dad's efforts in tidy little books
> > disappeared in my house fire.
> >
> > I was living in Virginia in the 1970's and was actually practicing when
the
> > phone rang. My father said, "Bill, I have someone who wants to talk to
you."
> >
> > "Hi Bill, this is Benny Goodman."
> >
> > Well, I am not shy for words, but I stammered, "Well, hi, Mr. Goodman."
> >
> > "Call me Benny," he said. "What are you doing?"
> >
> > "I am working on some Rose Etudes, Benny(!)"
> >
> > "Rose Etudes? They're too difficult for me."
> >
> > I laughed. I then asked "Why are you at my father's?"
> >
> > "I'm playing at Meadowbrook, then we are going fishing. I am also going
to
> > give your Dad a lesson after the concert."
> >
> > "Won't that be a bit late?"
> >
> > "It will last only ten minutes."
> >
> > "Ten minutes," I asked.
> >
> > "Yes, your father is a quick study."
> >
> > "Mr. Goodman, er, Benny, before you go, I have two questions to ask
you!"
> >
> > "Okay, shoot!"
> >
> > "How do you select a reed?"
> >
> > "I get lots of boxes of reeds. I just pick the one or two out of a box
that
> > play and throw the rest of them away."
> >
> > "Do you work them in?"
> >
> > "Nope, just play 'em."
> >
> > By this time, I was incredulous. So I asked my last.
> >
> > "Every time you play "Lady Be Good," do you think you play it a bit
better
> > than the time before?
> >
> > Benny said, "Bill, my problem these days is just standing up."
> >
> > ---------------------------------------------------------------------
>
>
> ---------------------------------------------------------------------
>

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