A really cool CD, and one of the better Goodman volumes, despite its 16 songs being drawn from across five years (1941-1946). Most of the material is instrumental (although Peggy Lee and Goodman himself sing on six numbers), and the arrangements are among the best Goodman ever had to work with, certainly in the '40s, by Fletcher Henderson ("Fascinating Rhythm"), Mel Powell ("Darktown Strutters Ball," "Clarinade," "Mission to Moscow," "Why Don't You Do Right?" "Oh, Baby"), Buck Clayton ("Swing Angel," "All the Cats Join In"), and Eddie Sauter ("Not Mine," "Lucky"). Powell's arrangement of "Oh, Baby" (seven minutes-plus of pure swinging excitement, originally issued on two sides of a 78 disc) is a showcase for Goodman's sextet and the full band in its two sections (joined together for the CD), and is a slightly more sophisticated follow-up to his epic swing instrumental of the late '30s, "Sing Sing Sing." Johnny Thompson's arrangement on the title track -- originally cut by Goodman for the Disney cartoon {#Make Mine Music} -- also showcases the contrast between the core sextet and the band. The notes don't really explain the logic of the song selection, except to say that these are really good tracks -- which they are -- spiced with some rarities: the Goodman band's version of Irving Berlin's "You're Easy to Dance With" (sung by Lee) was locked in the vaults until the end of the '70s; "Fly by Night" is a previously unissued recording; and "Lucky," featuring Buddy Rich on drums during the brief period between his quitting Tommy Dorsey and forming his own band, has only previously been out in a limited-edition LP release (Rich gets an even better showcase on the accompanying "Rattle and Roll," a bluesy number co-written by Goodman, Count Basie, and Clayton that sounds a lot like a sequel to "One O'Clock Jump"). One wishes Columbia would put out a complete Goodman box, but in its absence releases like this delight and whet the appetite for more. The sound is unusually crisp for a late-'80s Columbia CD. ~ Bruce Eder, All Music Guide
In 1935, Benny Goodman's band launched the Swing Era by becoming a sensation when they played at Los Angeles' Palomar Ballroom. Goodman, one of the top clarinetists of all time, had first gained notice in the jazz world in 1926 when, as a 16-year-old, he was one of the major soloists with Ben Pollack's orchestra. After having stints with Pollack and Red Nichols, Goodman became a very busy studio musician, riding out the worst years of the Depression playing anonymously in a countless number of studio and radio orchestras. Although it was a lucrative life, he became bored with the music and longed to lead his own jazz big band.
After a period of struggle, in 1935 he hit pay dirt, becoming a household name and gaining the title of "The King of Swing®." For the Victor label during 1935-39, he recorded one famous record after another. However, some of his most interesting material was made for Columbia during 1939-46, including the music that is featured here.
All the Cats Join In features some of the highpoints of Goodman's 1941-42 and 1945 big bands. While the turnover in Goodman's orchestra increased greatly during World War II and some of his sidemen were obscure at the time (including the young tenorman Stan Getz who solos on "Rattle and Roll"), the musicianship remained high. The Eddie Sauterand Mel Powell arrangements always brought out the best in the clarinetist including on "Six Flats Unfurnished," "Why Don't You Do Right" (Peggy Lee's first major hit), "Mission to Moscow," "Clarinade" and an extended "Oh, Baby."
This CD shows that there was much more to the King of Swing's® legacy than "Stompin' At the Savoy" and "Sing, Sing, Sing."
—Scott Yanow
Not Mine; The Darktown Strutters' Ball; You're Easy to Dance With; Six Flats Unfurnished; Why Don't You Do Right?; After You've Gone; Mission to Moscow; Clarinade; Fascinating Rhythm; Lucky (You're Right, I'm Wrong); Rattle and Roll; Swing Angel; All the Cats Join In; Oh, Baby!; Fly-By-Night; Put That Kiss Back Where You Found It.
Benny Goodman, Clarinet/Leader/Vocals; Jimmy Maxwell, Al Davis, Bernie Privin, John Napton, Lawrence Stearns, Tony Faso, Vince Badale, Al Cuozzo, Frank Le Pinto, Johnny Best, Conrad Gozzo, Louis Mucci, Billy Butterfield, Brody Schroff, Manny Klein, Nate Kazebier, Jimmy Blake, Dick Mains, Mickey McMickle, Trumpets; Lou McGarity, Cutty Cutshall, Charlie Castaldo, Trummy Young, Eddie Aulino, Chauncey Welsch, Kai Winding, Dick Le Fave, Hoyt Bohannon, Eddie Benson, Leon Cox, Trombones; Addison Collins, French Horn; Clint Neagley, Sol Kane, Bud Shiffman, Hymie Schertzer, Aaron Sachs, Bill Shine, Gerry Sanfino, John Prager, Larry Molinelli, Alto Saxes; Vido Musso, George Berg, John Walton, Leonard Sims, Stan Koslow, Ray Beller, Stan Getz, Emmet Carl, Peanuts Hucko, Gish Gilbertson, Cliff Strickland, Lester Clark, Tenor Saxes; Chuck Gentry, Art Ralston, Bob Poland, Danny Bank, John Pepper, Al Klink, Baritone Saxes; Mel Powell, Charlie Queener, Joe Bushkin, Pianos; Johnny White, Vibes; Tom Morgan, Dave Barbour, Mike Bryan, Guitars; Sid Weiss, Cliff Hill, Clyde Lombardi, Barney Spieler, Jack Lesberg, String Basses; Buddy Rich, Louis Bellson, Ralph Collier, Alvin Stoller, Hud Davies, Morey Feld, Drums; Peggy Lee, Liza Morrow, Vocals.
Technical Credits |
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| Allen Weinberg | Design |
| Bob Altshuler | Digital Producer |
| Brian Peerless | Liner Notes |
| Bruce Mishkit | Artwork |
| Buck Clayton | Arranger |
| Eddie Sauter | Arranger |
| Fletcher Henderson | Arranger |
| Johnny Thompson | Arranger |
| Michael Brooks | Digital Producer |
| Nathaniel Brewster | Historical Research |
| Richard Maltby | Arranger |
| Tim Geelan | Digital Engineer |