Please Help Me Find A Song
Discussion
I'm looking for a version of "sing sing sing" covered by Benny Goodman. I've got the 8.40 version however I'm looking for the one that's just over 12 minutes long with the vibraphone and piano solo in it. I saw it on youtube years ago and haven't seen it there since or on spotify or anywhere else for that matter. Anyone have any ideas of where I could find it.
TIA
George
TIA
George
Not that hard, surely?
http://www.amazon.co.uk/Carnegie-Hall-January-16th...
Has Jess Stacy's piano solo on it...
ETA some blogger's blurb...
http://www.amazon.co.uk/Carnegie-Hall-January-16th...
Has Jess Stacy's piano solo on it...
ETA some blogger's blurb...
blogger said:
On a cold and wet Sunday night in January 1938 the Benny Goodman Orchestra - and a few illustrious guests such as Count Basie, Lester Young, and Buck Clayton - played Carnegie Hall in New York, the first jazz orchestra ever to do so. They changed forever the way jazz was perceived and one man, the pianist Jess Stacy, changed forever the way jazz piano was perceived.
On that night Jess Stacy had -until the twelve minute long version of Sing Sing Sing (With a Swing) came along toward the end of the concert - seemed happy to play his normal role of laying down chords and belting out the odd uninspired honky-tonk solo. No one - and I suspect not even the pianist himself - was prepared for the extraordinary solo that Stacy came up with on the old Louis Prima war horse (cleverly stitched together, by arranger Jimmy Mundy, with Redman's Christopher Columbus) that has now gone down in jazz history.
Sing Sing Sing starts with drummer Gene Krupa putting down a tom tom pattern that ushers in the brass and sax sections blowing wild counter riffs kicked along by some beautifully executed double and triple time rim-shots from Krupa, until the orchestra is forced to rest seemingly out of sheer exhaustion that signals in a matter-of-fact solo from tenor player Babe Russin, whose lips must have been giving out by this stage, followed by a short solo from Harry James on trumpet - whose lips never seemed to give out -and then a solo from the boss, Benny Goodman, which is a master class in playing scales, ending on a barely audible High C. At this point Krupa (who has been doing the drummers version of running on the spot) obviously looks at Stacy to his right, and with a "Yes, Jess" opens the door for the pianist's solo, which Krupa probably thought was going to be another barrel-house work out. Not this time it wasn't.
Actually it starts that way and Krupa is obviously waiting for Stacy's nod to get the piece out of the way so they can head down town to drink away what's left of Sunday. But no, this time Stacy is inspired and soon throws out the honky-tonk replacing it with some dreamy Debussy-like phrases that Krupa - taken by surprise but no doubt with a smile on his handsome face -simply backs up with the quietest 4/4 engine you've ever heard, like a child's heart beat (elasticated slightly by Harry Goodman's bass), and just sits back and listens; as does the audience in something close to awe. From Debussy Stacy takes us on a piano journey which, via a bluesy Chopin, pushes us into the jazz future with some gorgeous forward echoes of Errol Garner, Thelonious Monk, and just about every other jazz pianist of the past sixty years. It's an extraordinary piece of on-the-hoof composing that can, if you listen carefully, take your breath away. It's as if Stacy is saying goodbye to the music world as the solo fades away and, God bless him, Krupa just keeps beating time to allow the audience to take in what they've heard and show their appreciation, which comes over in wave after wave of applause. And only when the applause begins to die does Krupa throw all caution to the wind, winding up the proceedings with a drum solo that sends the musical equivalent of smoking artillery shells through the roof of Carnegie Hall and out along 7th Avenue. A jazz legend has been created.
On that night Jess Stacy had -until the twelve minute long version of Sing Sing Sing (With a Swing) came along toward the end of the concert - seemed happy to play his normal role of laying down chords and belting out the odd uninspired honky-tonk solo. No one - and I suspect not even the pianist himself - was prepared for the extraordinary solo that Stacy came up with on the old Louis Prima war horse (cleverly stitched together, by arranger Jimmy Mundy, with Redman's Christopher Columbus) that has now gone down in jazz history.
Sing Sing Sing starts with drummer Gene Krupa putting down a tom tom pattern that ushers in the brass and sax sections blowing wild counter riffs kicked along by some beautifully executed double and triple time rim-shots from Krupa, until the orchestra is forced to rest seemingly out of sheer exhaustion that signals in a matter-of-fact solo from tenor player Babe Russin, whose lips must have been giving out by this stage, followed by a short solo from Harry James on trumpet - whose lips never seemed to give out -and then a solo from the boss, Benny Goodman, which is a master class in playing scales, ending on a barely audible High C. At this point Krupa (who has been doing the drummers version of running on the spot) obviously looks at Stacy to his right, and with a "Yes, Jess" opens the door for the pianist's solo, which Krupa probably thought was going to be another barrel-house work out. Not this time it wasn't.
Actually it starts that way and Krupa is obviously waiting for Stacy's nod to get the piece out of the way so they can head down town to drink away what's left of Sunday. But no, this time Stacy is inspired and soon throws out the honky-tonk replacing it with some dreamy Debussy-like phrases that Krupa - taken by surprise but no doubt with a smile on his handsome face -simply backs up with the quietest 4/4 engine you've ever heard, like a child's heart beat (elasticated slightly by Harry Goodman's bass), and just sits back and listens; as does the audience in something close to awe. From Debussy Stacy takes us on a piano journey which, via a bluesy Chopin, pushes us into the jazz future with some gorgeous forward echoes of Errol Garner, Thelonious Monk, and just about every other jazz pianist of the past sixty years. It's an extraordinary piece of on-the-hoof composing that can, if you listen carefully, take your breath away. It's as if Stacy is saying goodbye to the music world as the solo fades away and, God bless him, Krupa just keeps beating time to allow the audience to take in what they've heard and show their appreciation, which comes over in wave after wave of applause. And only when the applause begins to die does Krupa throw all caution to the wind, winding up the proceedings with a drum solo that sends the musical equivalent of smoking artillery shells through the roof of Carnegie Hall and out along 7th Avenue. A jazz legend has been created.
Edited by bigandclever on Saturday 2nd April 19:39
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