Artist: Benny Goodman

Benny Goodman was an American clarinetist and bandleader known as the "King of Swing".

From 1936 until the mid-1940s, Goodman led one of the most popular swing big bands in the United States. His concert at Carnegie Hall in New York City on January 16, 1938, is described by critic Bruce Eder as "the single most important jazz or popular music concert in history: jazz's 'coming out' party to the world of 'respectable' music."

Goodman's bands started the careers of many jazz musicians. During an era of racial segregation, he led one of the first integrated jazz groups, his trio and quartet. He performed nearly to the end of his life while exploring an interest in classical music.

His early influences were New Orleans jazz clarinetists who worked in Chicago, such as Jimmie Noone, Johnny Dodds, and Leon Roppolo. He learned quickly, becoming a strong player at an early age, and was soon playing in bands. He made his professional debut in 1921 at the Central Park Theater on the West Side of Chicago. He entered Harrison Technical High School in Chicago in 1922. At fourteen he became a member of the musicians' union and worked in a band featuring Bix Beiderbecke. Two years later he joined the Ben Pollack Orchestra and made his first recordings in 1926.

Goodman moved to New York City and became a session musician for radio, Broadway musicals, and in studios. In addition to clarinet, he sometimes played alto saxophone and baritone saxophone. His first recording pressed to disc (Victor 20394) occurred on December 9, 1926, in Chicago. The session resulted in the song "When I First Met Mary", which also included Glenn Miller, Harry Goodman, and Ben Pollack. In a Victor recording session on March 21, 1928, he played alongside Miller, Tommy Dorsey, and Joe Venuti in the All-Star Orchestra directed by Nathaniel Shilkret. He played with the bands of Red Nichols, Ben Selvin, Ted Lewis, and Isham Jones and recorded for Brunswick under the name Benny Goodman's Boys, a band that featured Glenn Miller. In 1928, Goodman and Miller wrote "Room 1411", which was released as a Brunswick 78.

NBC hired Goodman for the radio program Let's Dance. John Hammond asked Fletcher Henderson if he wanted to write arrangements for Goodman, and Henderson agreed. During the Depression, Henderson disbanded his orchestra because he was in debt. Goodman hired Henderson's band members to teach his musicians how to play the music.

On August 21, 1935, at the Palomar Ballroom in Los Angeles, Goodman and his band began a three-week engagement. On top of the Let's Dance airplay, Al Jarvis had been playing Goodman's records on KFWB radio. Goodman started the evening with stock arrangements, but after an indifferent response, he began the second set with arrangements by Fletcher Henderson and Spud Murphy. According to Willard Alexander, the band's booking agent, Krupa said, "If we're gonna die, Benny, let's die playing our own thing."The crowd broke into cheers and applause. News reports spread word of the exciting music and enthusiastic dancing. The Palomar engagement was such a marked success that it is often described as the beginning of the swing era.According to Donald Clarke, "It is clear in retrospect that the Swing Era had been waiting to happen, but it was Goodman and his band that touched it off."

In late 1937, Goodman's publicist Wynn Nathanson suggested that Goodman and his band play Carnegie Hall in New York City. The sold-out concert was held on the evening of January 16, 1938. It is regarded as one of the most significant in jazz history. After years of work by musicians from all over the country, jazz had finally been accepted by mainstream audiences.

Pianist and arranger Mary Lou Williams suggested to Hammond that he see guitarist Charlie Christian. Hammond had seen Christian perform in Oklahoma City in 1939 and recommended him to Goodman, but Goodman was uninterested in electric guitar and was put off by Christian's taste in gaudy clothing. During a break at a concert in Beverly Hills, Hammond inserted Christian into the band. Goodman started playing "Rose Room" on the assumption that Christian didn't know it, but his performance impressed everyone. Christian was a member of the Benny Goodman Sextet from 1939 to 1941, and during these two years he turned the electric guitar into a popular jazz instrument.

By the 1940s, some jazz musicians were borrowing from classical music, while others, such as Charlie Parker, were broadening the rhythmic, harmonic, and melodic vocabulary of swing to create bebop (or bop). The bebop recordings Goodman made for Capitol were praised by critics. For his bebop band he hired Buddy Greco, Zoot Sims, and Wardell Gray. He consulted his friend Mary Lou Williams for advice on how to approach the music of Dizzy Gillespie and Charlie Parker. Pianist Mel Powell was also an adviser in 1945. Goodman enjoyed bebop. When he heard Thelonious Monk, he said, "I like it, I like that very much. I like the piece and I like the way he played it ... I think he's got a sense of humor and he's got some good things there."