[Dixielandjazz] Teddy Wilson- Jess Stacy & Benny Goodman

[Harry Callaghan]

Steve:

Thank you.  I don't think I could have asked for a more thorough
explanation.

After I posted my query, I thought that by spending some time on Google, or
consulting books I have by John Chilton, Leonard Feather or George T. SImon
I could most likely come up with the answer by myself.

However, I know how much guys like you or "Our Man Down Under" delight in
being able to provide this kind of information to myself, as well as other
subscribers so I knew that was the wisest route to pursue.

Of course, I guess the other reason is that I'm just plain lazy

Did I read somewhere that John Hammond was Benny's brother-in-law?

Again, mucho gracias, mon amigo
Harry


On 8/11/10, Stephen G Barbone <barbonestreet at earthlink.net> wrote:
>
>
> Harry Callaghan <meetmrcallaghan at gmail.com> wrote
>>
>> OK, gang...........now this is a question I've been meaning to ask for
>> some
>> time and I guess now might be right.
>>
>> It is not a test......I am actually anxious to know the answer.
>>
>> Why was it that while Jess Stacy was the regular pianist with the Benny
>> Goodman ORchestra, when it came to smaller combos, from trio up through
>> quintet,(sextet?) the man on the keys was Teddy Wilson?
>>
>> Thanx
>> HC
>>
>
> Dear Harry:
>
> According to John Hammond's biography by Dunstan Prial, Goodman and Wilson
> had been in studio sessions together recording and recorded together therein
> prior to 1935. But never appeared publicly because in those days, that was a
> no-no. Krupa was also on some of the recordings.
>
> In early July 1935 Mildred Bailey and Red Norvo hosted a party at their
> home in Queens County, NYC. Bailey was a great cook and John Hammond along
> with many jazz musicians would attend and jam. Bailey's cousin, Carl
> Bellinger (a test pilot) played whisk broom drums on a suitcase while
> Goodman and Wilson jammed. According to Hammond, everybody stopped what they
> were doing and listened to some wonderful music.
>
> Hammond was blown away and the next day, he set up a recording date for a
> trio consisting of Goodman, Wilson and a drummer to be named. And on July
> 13, 1935, the trio, now with Gene Krupa was born and recorded Body & Soul.
> Hammond then wrote in "Down Beat".
>
> "Victor has just assembled a three piece combination which, although it may
> not break any sales records, provides an excellent example of what swing
> music can be. The pianist is Teddy Wilson, an extraordinarily sensitive
> young Negro with tremendous lift, Benny Goodman, the superb clarinetist, and
> Gene Krupa a surpassingly fine drummer."
>
> I don't think Goodman integrated his big band for public appearances until
> about 1939. However, at Hammond's urging, he recorded with black musicians
> at Hammond sessions from about 1933 or 34, despite his initial reluctance to
> do so
>
> As Goodman recalled; " It was during these months, around the end of 1933
> and during the beginning of 1934 that I first began to make records with
> colored musicians. For this, the responsibility must be given almost
> entirely to John Hammond who really put me back in touch with the kind of
> music they could play."
>
> Before that Goodman told Hammond who suggested recording with
> "colored"musicians,  "If it ever gets out that I recorded with colored guys,
> I won't get another job in this town." His white musician peers, were afraid
> that the colored guys would take their jobs and Goodman was afraid he would
> lose his studio and radio work, etc., etc., etc.
>
> Anyway, the trio and quartet success with Wilson and then Hampton proved an
> irresistible money maker for BG, from about 1935 on. So BG could make small
> band records with them and colored guys, while the big band was lily white.
> Then he started appearing publicly with Hamp and Wilson.
>
> Cheers,
> Steve Barbone
> www.myspace.com/barbonestreetjazzband
>
>
>
>
>
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-- 
Some men see things as they are and say why....I dream things that never
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