One thing leads to another. After posting yesterday on the Benny Goodman TV interview from 1981, I wound up listening to four takes of Goodman's Lucky from the end of 1945. The song, by Edgar Sampson and Goodman, was arranged by Sampson, who had worked with Chick Webb and wrote Stompin' at the Savoy and Don't Be That Way, among other songs before leaving to freelance as an arranger.
Lucky is fascinating for several reasons. Not only is it a hip swinger but Goodman agonized over its recording to get the punch just right. What's more, in his attempts, he used two different bands on two different sessions—Sept. 24, 1945 and Dec. 19. There were six different tries on the first session and five on the second before Goodman approved the fourth complete take as the master.
The Sept. 24 sessions featured Bernie Privin, Vince Badale, Tony Faso, Frank LoPinto (tp); Tommy Reo, Sy Shaeffer, Eddie Aulino (tb); Benny Goodman (cl); Bill Shine, Gerald Sanfino (as); Bud Freeman, Al Epstein (ts); Danny Bank (bar); Charlie Queener (p); Mike Bryan (g); Clyde Lombardi (b) and Morey Feld (d). [Photo above of Bud Freeman]
The Dec. 19 date featured an extraordinary band of killer players at every position: John Best, Billy Butterfield, Conrad Gozzo, Bernie Privin (tp); Kai Winding, Chauncey Welsch, Dick le Fave (tb); Benny Goodman (cl); Bill Shine, Gerald Sanfino (as); Stan Getz, Peanuts Hucko (ts); Danny Bank (bar); Mel Powell (p); Mike Bryan (g); Barney Spieler (b) and Buddy Rich (d). [Photo above of Stan Getz and Benny Goodman]
The big differences, of course, rest in the second session's trumpet section, the comparative saxophone solos by Freeman and Getz, and the inclusion of Peanuts Hucko, Mel Powell (above) and Buddy Rich on the second date.
To be fair to the band, the arrangement wasn't easy and bears some resemblance to Stompin' at the Savoy in a minor key with a splash of Just Friends. The finished product needed a thin, tight kick in the horn section, and Freeman's solos on the earlier session were somewhat dated. As these recordings show, Goodman knew what he wanted and got it. [Photo above of Edgar Sampson]
To illustrate all of this, I'm going to feature the four Lucky tracks from the indispensable Classic Columbia and Okeh Benny Goodman Orchestra Sessions (1939-1958) box from Mosaic. It's a must-own set for anyone who wants to experience Goodman and understand what made him special.
Here's the first complete take of Lucky from the Sept. 24 session, with Bud Freeman handling the tenor sax solo...
Here's the second complete take of Lucky, from the same session.
Here's the third complete take of Lucky, from the Dec. 19 session, with Getz handling the tenor sax solo with a Coleman Hawkins feel...
And here's the fourth complete take of Lucky, which became the master...
JazzWax tracks: You'll find the Classic Columbia and Okeh Benny Goodman Orchestra Sessions (1939-1958) on Mosaic here.
from JazzWax http://ift.tt/1MRJs3n
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