Customer Reviews

Benny Goodman Collector's Edition

5 star:		(7)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Goodman's performances of all the music on this disc are superb. He (along with violinist Joseph Szigeti) commissioned the Bartok score and, notwithstanding its age (mono/1940) there has never been a better recording than this one. The other performances are first-rate stereo recordings that appeared on a 1966 CBS/Columbia Lp titled "Meeting at the Summit." Morton Gould's music often sounds like watered-down Copland to my ears, but "Derivations" is a really strong piece and quite memorable. The Stravinsky is a true masterpiece that has never sounded better, and the same goes for Bernstein's powerfully imagined, joyous "Prelude, Fugue and Riffs." Having the composers conduct was an inspired idea (in the case of the Bartok, the composer accompanies at the piano); not at all gimmicky. It's amazing how well Goodman still played in the middle '60s. Although he gave solid performances well into the '70s, he was still at or near his peak when these recordings were made and the dead-on intonation and range of color in his playing is simply breathtaking. The other reviewer mostly likes the Copland score. It's nice, but the real show-stopper here is the Bernstein: 7 1/2 minutes of sheer big-band bravado. Not to be missed!

Aaron Copland's Clarinet Concerto is one of the most magical pieces of music ever to come out of North America, and for me, this is *the* recording. Fifty years old, but as is so often the case, the original is the best - Mr Goodman's finest twenty minutes. Great value, too! The other pieces (by Bernstein, Stravinsky and Bartok) I can take or leave, but who knows, they might be your cup of tea.

This Collector's Edition CD should be an essential item for classical music lovers. I also think that it's most important for people to know that Benny Goodman was recognized not only for his brilliant work as a jazz clarinetist,but also for classical works which were written for and dedicated to him by leading composers of the 2oth century such as Bela Bartok and Aaron Copland.
This is an excellent recording that I would highly recommend.

This disk collects Benny Goodman performances with the composers conducting, so it is historic and probably authoritative as to performance, but great to have Copland, Stravinsky, etc. themselves and Goodman in your collection. Nice performances, although sound varies with these vintage sessions.

This CD is a great introduction to 20th Century Classical music. Though it features the artistry of Benny Goodman, don't expect to hear him wail like he did with Lionel Hampton and Gene Krupa playing "Four Once More". No, this CD reflects Goodman's talent as a classical musician. For even though some of these pieces are jazz-inspired, they are all written by classical composers in a classical format. It's a different side of Benny Goodman that is a testimony to the notion that the "King of Swing" could have had just as lucrative a carer as a clarinet virtuoso in the classical style and could have moved on to being a great American composer and/or conductor for symphony orchestras. Probably, there was a lot more money to made, and a better chance of becoming famous, in the world of jazz.

In any case this CD features four 20th century classical works for clarinet, and orchestra and one 20th century chamber work. Each piece also features the composer as conductor, except for the chamber work which features the Bela Bartok on piano. Indeed, it is an all-star summit meeting of some the greatest 20th composers, namely Leonard Bernstein, Igor Stravinsky, Aaron Copland, Morton Gould, and Bela Bartok.

The Bernstein, Stravinsky and Gould pieces are the ones which are jazz-inspired, albeit they are really not jazz any more than the folk-inspired symphonic music of Dvorak is authentic Czech folk music as played by a band of Czech street musicians. As Dvorak did with folk music, Bernstein, Stravinsky and Gould take jazz rhythms and other characteristics of jazz and replicate that feeling within a classical framework.

Bernstein's "Fugue and Riffs", however, sustains a certain aura of jazz authenticy. For even though Bernstein was a classical composer and conductor, his occaisional crossovers into Broadway and his New Yorker status make for something of a modified reworking of Gershwin's "Rhapsody in Blue"; you can feel in "Fugue and Riffs" the sights, sounds and smells of the busy New York City traffic. It's quite nice.

Stravinsky's "Ebony Concerto" is probably the most masterful piece in this whole collection. I am not a huge enthusiast of Stravinsky, but I admire this concerto as it weds beautifully the classical European concerto form with the jazz style. Even though Stravinsky is difficult and cerebral, you know that when you hear his music and witness his perfect craftsmanship, that you are in the presence of greatness.

The music by Morton Gould is the weakest of the jazz-inspired pieces here, as it sounds the most contrived; however, it is still good enough to have some fun with.

The Concerto for Clarinet and String Orchestra by Aaron Copland is an outstanding work that reflects Copland's tender and elegant side (not like his "rootin-tootin" "Rodeo" or "Billy the Kid" Suites). The Clarinet Concerto is rather a more quiet piece of work (Like parts of "Appalacian Spring"). The concerto is subtle and gentle in it's beauty and it is lightly tinged by just a hint of South American influence. It is another masterful work by an 20th Century master.

The final piece is Bartok's Trio for Violin, Piano and Clarinet. It features Goodman, Joseph Szigeti, and the composer on the piano. It has Bartok's characteristic Hungarian flavor cloaked in a mysterious and ultra-modern tapestry. It's also quite nice.

If you are a fan of classical music, but have yet to venture into the seemingly harsh world of twentieth century music, this makes for an excellent sampler. Benny Goodman plays in a full bright, expressive and masterful tone. If you are used to classical music of the more popular variety (Beethoven, Tchaikovsky etc.), this CD may be challenging at first; but given an even chance you may like it. I first bought these recordings on vynal years ago. It was one of my first introductions to 20th century or "Modern" classical music. I am glad to have upgraded to conveniant CD form.

He is one of the best jazz clarinet players. I learned his style through this CD.

BG will always be the master of all clarinetists in Big Band era, but if you enjoy Classical Music, although it's not a German-Stile precission play (Leister....) you will enjoy the emotion of hearing Copland's Concert by the man it was intended to sound....among other contemporary music.

You will enjoy it, if not, at least, you will find it very interesting if you are a clarinetist and you are looking for a piece of your instrument's music.

An excellent CD to have for all the fans of this great legend. If the Copeland concerto doesn't move you, then nothing will.