Benny Goodman: "Sing, Sing, Sing"

David Rickert

Columnist since 1999

David Rickert also writes for the Jazz Arts Group in Columbus, Ohio.

Recent articles (364 total)

Published: January 31, 2005

"Sing, Sing, Sing" illustrates the tension that always exists between being an artist and being an entertainer. Goodman was forced to play this tune at the conclusion of every show, yet wanted appreciation for the sophistication of his artistry. Krupa, on the other hand, preferred to feed off of the youthful exuberance of the crowd. Many sided with Goodman - Gunther Schuller in The Swing Era writes about the "horrors" of the tune and Krupa's "rigidly relentless pounding"—but there was one moment where the tune achieved a brief moment of sublime elegance. At the Carnegie Hall concert, after the usual theatrics, Jess Stacy was allowed to solo and, given the venue, what followed was appropriate. Used to just playing rhythm on the tune, he was unprepared for a turn in the spotlight, but what came out of his fingers was a graceful, impressionistic marvel with classical flourishes, yet stll managed to swing. It was the best thing he ever did, and it's ironic that such a layered, nuanced performance came at the end of such a chaotic, bombastic tune.

Sources:

Collier, James Lincoln. Benny Goodman and the Swing Era. New York: Oxford University Press, 1989.
Crowther, Bruce. Gene Krupa: His Life and Times New York: Universe Books, 1987.
Firestone, Ross. Swing, Swing, Swing: The Life and Times of Benny Goodman. New York: W.W. Norton & Company, 1993.

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