[Dixielandjazz] Teddy Wilson- Jess Stacy & Benny Goodman

[Harry Callaghan]

Thanx, Vinny:

However, as I recall from a few instances reported in George T.Simon's "The
BIg Bands", some in the musical profession went beyond "spendthrift"
and seemed to be of the opinion that Benny was a cheap bastard.

I know that throughout most of my own adult life, I have pretty much been
the former, but since retiring in 2006 and having to function solely upon
the mere pittance that the Social Security Adminstration provides, I am now
defiinitely the latter.

HC


On 8/11/10, Vinny <vinnyn at verizon.net> wrote:
>
> Benny married John Hammonds sister and by doing so married into the
> Vanderbilt family. Yet even with that tie Benny was all his life a
> notorious
> spendthrift.
>
> -----Original Message-----
> From: dixielandjazz-bounces at ml.islandnet.com
> [mailto:dixielandjazz-bounces at ml.islandnet.com] On Behalf Of Harry
> Callaghan
> Sent: Wednesday, August 11, 2010 4:57 PM
> To: Vinny
> Cc: dixielandjazz at ml.islandnet.com
> Subject: Re: [Dixielandjazz] Teddy Wilson- Jess Stacy & Benny Goodman
>
> 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
> were and say why not            -
>                        -George Bernard Shaw
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-- 
Some men see things as they are and say why....I dream things that never
were and say why not            -
                        -George Bernard Shaw