Fletcher Henderson's Christopher Columbus

Whilst recently listening to more recent recordings of Sun Ra's Arkestra performing classics from the Swing Era, we were reminded of Fletcher Henderson's excellent version of the tune. Henderson's band is cookin' while the Benny Goodman recording is a little lifeless. Of course, Sun Ra playing these pieces for several minutes and turning it into a fun romp is the best.

Cannonball's Rose Room

It's always interesting to hear how bop and post-bop jazz artists interpreted some of the gems from the era of early jazz or swing. Since we've been fond of Benny Goodman's recording of "Rose Room" featuring Charlie Christian for so long, we sought more modern interpretations of the standard. Adderley does not disappoint.

Sing, Sing, Sing

A classic from the legendary Benny Goodman. While Krupa's "primitivist" percussive work here is more interesting for representing an era in jazz's most popular phase, one cannot deny the brilliance of the arrangements and orchestration of Goodman's band.

The Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz

The Uncrowned King of Swing: Fletcher Henderson and Big Band Jazz is not a biography that I was searching for. Nonetheless, Magee's text is a detailed analysis of Henderson's music across the entirety of his career, stretching from the 1920s "society orchestra" phase to swing. While I have long been a fan of Henderson, this text explains how Henderson the musician and arranger established the template for swing and jazz at its height as popular music (the Kingdom of Swing, a cultural symbol of the New Deal). It would seem that Henderson, and particularly skilled arrangers such as Don Redman, were able to breathe life into stock arrangements, incorporate the soloistic virtuosity of instrumentalists like Louis Armstrong and Coleman Hawkins, and transform jazz through arrangements of Tin Pan Alley and popular tunes for Benny Goodman.

While Henderson himself is often in the background or his involvement with arranging prior to the 1930s is shrouded in some degree of mystery, it is clear that his orchestra coalesced different influences in jazz and popular music of the era to lay the foundation of became known as swing. Louis Armstrong, Don Redman, Benny Carter, Horace Henderson, Leora Henderson were clearly pivotal in the direction of the orchestra, and the number of musicians who were schooled in Henderson proved to be important in the future of the music. Without Don Redman and Fletcher, working collaboratively with excellent musicians, to parody, reinvent, signify, and expand the repertoire of popular song, blues, and jazz with an impeccable swing, the annals of the music's history would look quite different. 

While more details of Henderson's personal life could have shed light on some of his decisions, Magee considers sociological suggestions made by Gunther Schuller and others on the role of class, as well as cultural and ideological factors, in the development of the Henderson "sound." As a product of a "black middle class upbringing", with a respected father in Cuthbert, Georgia as his father, Henderson was a graduate of Atlanta University. College-educated, and reared in the respectability of his background, Henderson learned jazz and blues in New York, where he moved in 1920. His class background, as someone whose formal training in music was classical and church-based, he represents what Gunther Schuller referred to as a shift in jazz as African American musicians with more formal musical training entered the field. Henderson's musical career, analyzed by Magee, is a wonderful example of this trend on a micro-scale as his band's versatility and "symphonic jazz approach" to the blues balanced "hot" and "sweet." Unfortunately, with only the recordings, extant charts, and some personal testimonies, we still lack a full picture of how Henderson electrified live audiences and dancers in legendary clubs and ballrooms of New York...

Stompin' At The Savoy

I was listening to live recordings of Benny Goodman's group from 1938 and came across their take on "Stompin' at the Savoy." Goodman is great, but Max Roach's lyrical drum solo on the 1954 recording with Clifford Brown is unforgettable. Roach is undeniably one of my favorite jazz percussionists, and moments like this illustrate how bop and post-bop freed the drummer from the restraints they had to deal with during the swing phase of the 1930s and early 1940s. Roach's lyrical side as a soloist is a treat on Saxophone Colossus and Monk's Brilliant Corners, too. Perhaps Roach's M'Boom phase is next on my list for jazz to devour. More drummers could use Roach's sense of melodicism.