Customer Reviews

Complete Benny Goodman Carnegie Hall Concert 1938 [ORIGINAL RECORDINGS REMASTERED] 2CD SET

5 star:		(22)
4 star:		(5)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

Amongst celebrated dates which exist in popular music, 16th January 1938 denotes the day the Benny Goodman Orchestra played the rarified environs of New York's Carnegie Hall - previously designated as the dignified home of classical music. Initially conceived as a publicity stunt to enhance Goodman's increasing popularity, this was the very first time a jazz ensemble had ever played this venue and despite initial coolness towards the event, the sell-out performance left no doubt that swing dance bands provided the latest craze which could no longer be ignored.

Fortunately, the Concert was recorded but in comparison with today's technology the methods and equipment used at the time were relatively crude. The outcome was acceptable but the acetates were filed away and not rediscovered until 1950 when their transfer to vinyl resulted in a million-plus selling album-set. The back-up aluminium masters were also lost for decades but when located in 1998, they formed the basis for a CD set released by Sony the following year. Unfortunately the re-mastering failed to filter out numerous surface imperfections, clicks and hiss with the overall shrill sound lacking depth, much to the disappointment of many buyers who were quick at making their views known concerning such an outcome which could only be regarded as a botched job. Subsequently, other record companies released the Concert with attempts using ongoing developments in technology enabling a degree of improved sound. However, this new Jasmine release has succeeded in both cleanly removing annoying defects and managing to furnish an overall warmer sound without compromising the music, the excitement and ambiance of the occasion and venue.

It's now possible to enjoy interludes by Benny's trio and quartet as well as the full orchestra with the lengthy version of HONEYSUCKLE ROSE played as a jam session and starring such luminaries as Lester Young, Buck Clayton, Count Basie, Harry James and Johnny Hodges. That old Goodman favourite, AVALON brings vibraphonist Lionel Hampton to the fore and other stellar names involved include Ziggy Elman, Teddy Wilson and Bobby Hackett. Supplying necessary glamour, vocalist Martha Tilton, handles LOCH LOMOND and BEI MIR BIST DU SCHON with great style. Of course the highlight is SING, SING, SING, with Jess Stacey's spontaneous piano interlude equaled by typical star drumming from Gene Krupa with his tom-tom rhythms stirring up enthusiasm of the highest order. Carnegie Hall would henceforth open its doors and embrace performances by dance bands, jazz instrumentalists and popular vocalists. This finely-tuned re-mastered recording will ensure this event continues to be cherished as a jazz milestone.

Much has been written about Benny Goodman's Carnegie Hall 1938 concert. Very little about this brilliant edition, and its masterful sound restoration by Bjorn Almstedt. At last this classic swing era concert sounds like the time when the LP came out: a full, warm, authentic sound, far from the horrible CD edition that has been on the market for many years. Make sure you get this version: it's worth every cent, you'll love playing it again and again, and marvel at the likes of Goodman and his many great associates: Gene Krupa, Teddy Wilson, Lionel Hampton, Jess Stacy, and a host of swing and jazz legends. Among them Johnny Hodges, Harry Carney and Cootie Williams, three immortal Ellingtonians, who play 'Blue Reverie'. When I heard this piece for the first time, in 1967, I instantly became a fan of the music of Duke Ellington. That's 40 years ago ...

The public reception to the 1999 Columbia Masterworks release from the newly uncovered masters of the 1938 Carnegie Hall concert was mixed: some appreciated the improved depth of sound while others dismissed it because of the significant increase in surface noise when compared to the original 1950 Columbia release.

So, when Jasmine issued this release -- an attempt to gain the benefits of the masters uncovered in 1998 without the surface noise -- I was intrigued. Could we have a release that retained most of the added depth of sound provided from the uncovered aluminum masters, but successfully eliminate the pops and scratches?

Unfortunately, the answer is no. The subtleties, the nuances of performance that the Columbia 1999 release reveals is lost from the noise reduction technology that was applied, leaving me, the listener feeling distant and disconnected from the performance.

I can hardly blame Jasmine's attempt; there was clearly demand for a less scratchy version of the remastered release, but in my opinion, the sacrifice made to reduce the surface noise is just too great.

If you're not able to put up with the scratches and pops from a recording made in 1938, then this might be a good compromise. If you want to get as close as you can to the experience of being right there in Carnegie Hall, you'll instead want the Columbia Masterworks version.

I have long enjoyed listening to the first Columbia CD release of this concert. I dickered a long while deciding if I really wanted to pay for another copy. Darned glad I did!

From the opening notes of "Blue Skies", it was immediately apparent that this is a HUGE improvement over the old Columbia CDs. The horns sparkle instead of sounding muffled, the ambience is like that in a concert hall instead of sounding like you're listening from the lobby, there are NO noticable surface noises instead of the pronounced hiss/pop/click evident in the old CDs. While I have not heard the newest Columbia (Phil Shapp) release, reviewers here seem to feel that although it is crisp, there is still a lot of surface noise.

One of the big treats with this remastering is hearing just how much Gene Krupa's energetic drumwork drives the proceedings, big band and small. The small group numbers come out with volume balanced and individual instuments clearly articulated; they sounded small and far away on the old release.

Some reviews here complain about the sound quality. I think these reviewers are unfamiliar with recordings from the thirties. While I have heard better audio on studio sides from this era, it is positively the best live performance sound I've heard this side of the fifties.

The content, well covered by other reviewers here, captures arguably the most important jazz concert of the era. I'm not that big a Benny Goodman fan (Fletch Henderson, Duke Ellington, and Count Basie are my staples from the swing band era), but I consider this one of the most essential sets I own. If you are going to own just one Benny Goodman recording, make it this one.

I've heard some of the other releases of this concert; All were marred by clicks and pops that prohibited the listener from really IMMERSING himself in the concert. None of that noise is present on this release. Jasmine's 2-CD set is one of the best - I've never heard it any clearer. If you want to experience this milestone jazz concert as if you were there, get this CD set.

I was looking forward to a great experience with this CD, but it wasn't. IT WAS OUTSTANDING!!

The liner notes were very good and told the interesting story of how this recording was made, but the listening was amazing. I have many albums from the period, and some CD's that were remastered and none are better than this.

This is music at its best

I am one of those people who finds it too distracting to listen to the original recording of this concert.

But this version by Jasmine is fantastic. Most of the songs are DRAMATICALLY improved. If you like the 1938 Carnegie Hall concert, you'll be surprised at how much better this album sounds.

balalalala

I'm listening to Sing Sing Sing from this recording as I type.

One word. Sublime.

... it does have that swing!

With due respect to his excellent 3-star review, I must disagree with Paul Bryan's comment "If you want to get as close as you can to the experience of being right there in Carnegie Hall, you'll instead want the Columbia Masterworks version.".

The Masterworks version did make me feel like I was right there, but the performance was a boxing match not a big band concert. I was being slugged in the nose by a snap, crackle or pop every 10 seconds. Exhausting listening. For just one example, the noise that invades Jess Stacy's amazing piano solo in "Sing Sing Sing" makes you want to scream.

But no more.

It is with this Jasmine CD that I finally feel connected to the thrill that flooded Carnegie Hall that night, and with my childhood memories of my father playing this LP over and over, an LP that sounded far superior to the Masterworks CD. That's the recollection of a 12 year old kid, but the Masterworks version did not take me home. This Jasmine version does. Exciting listening!

The sound in this CD is uneven, which is to be expected given the original recording scenario. I can't speak to the remastering quality, because I have not heard the previous attempts so disdained by other reviewers. What I do know is this CD captures some real excitement and features some of my favorite artists. I would buy this CD if only for its version of "One O'Clock Jump." I've heard various versions of this by Goodman and Basie, but the clarinet on this one exudes unbridled joy. And like most listeners, I get a real kick out of Jess Stacy's break in "Sing, Sing, Sing." Concerning "Honeysuckle Rose," a favorite of mine, I enjoyed hearing some of my favorite artists, but come on, 17 minutes! I was less than enthused at its finish, as was the original audience as evidenced by the unremarkable applause. "I'm Coming Virginia" and "Blue Reverie" were excellent. I'm very glad I got a chance to "attend" this concert, even though while in the car I have to keep hitting the volume control buttons up and down to capture it. One of my top five recordings!