Benny Goodman, Peggy Lee - Complete Recordings 1941-1947
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CD Details
Artist: Benny Goodman, Peggy LeeEdition: Music CD
Format: Original recording remastered
CD Release Date: 1999-06-15
Music Label: Sony
Soundtracks:
Music CD 1
- Elmer's Tune
- I See A Million People (But All I Can See Is You)
- That's The Way It Goes
- I Got It Bad (And That Ain't Good)
- My Old Flame
- How Deep Is The Ocean
- Shady Lady Bird
- Let's Do It (Let's Fall In Love)
- Somebody Else Is Taking My Place
- Somebody Nobody Loves
- How Long Has This Been Going On?
- That Did It, Marie
- Winter Weather
- Ev'rything I Love
- Not Mine
- Not A Care In The World
- My Old Flame
- How Deep Is The Ocean
- Let's Do It (Let's Fall In Love)
- Blues In The Night
- Where Or When
- On The Sunny Side Of The Street
- The Lamp Of Memory
- If You Build A Better Mousetrap
- When The Roses Bloom Again
- My Little Cousin
- The Way You Look Tonight
- I Threw A Kiss In The Ocean
- We'll Meet Again
- Full Moon
- There Won't Be A Shortage Of Love
- You're Easy To Dance With
- All I Need Is You
- Why Don't You Do Right
- Let's Say A Prayer
- The Freedom Train
- Keep Me In Mind
- For Every Man There's A Woman
Music reviews of Complete Recordings 1941-1947
Music Review: Benny Goodman And Peggy Lee When Her World Was Young
Rating: 5 Stars
Musically, I am a blues man. I am informed, malformed, deformed, reformed by the blues. Then I am a rock man. And a folk man, in all its variants. So where doe that lead me into an exposition of jazz that I have recently started to write more about in this space. Well, let's just call it an extension of the blues (not hard to do by the way). I mentioned in a recent review of the work of jazz singer Mildred Bailey that the clearest example of that is Lady Day, Billie Holiday. I noted there, that, yes, I know that she was a jazz singer extraordinaire. But, the way she swept my blues away when I was down in the dumps sure makes me think she was the queen of the blues (Bessie Smith being, of course, outlandishly the "Empress" ). I would further note in the category of male bandleaders (that is, after all, what jazz was about back in the days, bands) Duke Ellington's work has a similar status.
Taking this idea once more as my theme all of this is by a very round about way of bringing the jazz band leader under review, Benny Goodman into the picture. Duke Ellington set the standard in the 1940's for the phrasing of a jazz piece, for the mix of instruments, for the hush that signaled a new direction to the piece, for the ... well, underlying sense of what was going on. As I expressed elsewhere, for that something unsayable but certainly knowable when the music is done right. Benny Goodman, although I believe more into the commercial showmanship of the music than Ellington and others like Chick Correa (who will be highlighted here later) had that in spots. But Benny had that something different, consciously so. He made his work jump to the swing that would get even a tongue-tied, doubled-jointed clod like this review up and dancing. That, my friends, is no mean trick.
I believe that Benny Goodman had two good stretches. One was with small combos. The other is when he had the singer Peggy Lee fronting for his big band. No question, I am a sucker for a torch singer. Billy Holiday, Helen Whiting, Ivy Andersen, you name it. And naturally included on that list is Ms. Peggy Lee. No, not the Peggy Lee of the 1950's when I was growing up and she had changed her performing persona into a femme fatale with such hits as "Fever" but back in the days before I was born with Benny Goodman and the Swing era. I can still remember as a kid seeing a film clip of her in, I think, "Stage Door Canteen" doing her classic "Why Don't You Do Right Like Some Other Men Do". Wow. And this album is filled with such material from that 'innocent' era. Plenty of torch songs like "My Old Flame" and including Cole Porter standards like "Let's Do It". Naturally, Goodman is at his perfectionist best with a singer like Ms. Lee in front with just enough clarinet solos to keep things interesting. If you want to go back to the mists of time in the career of one Peggy Lee this one is for you.
Description of Complete Recordings 1941-1947
All products are BRAND NEW and factory sealed. Fast shipping and 100% Satisfaction Guaranteed.In 1941, Peggy Lee had just come down from her home state of North Dakota to join Benny Goodman's band in Chicago as a replacement for Helen Forrest. Lee was young, frightened, and forced to sing the band's songs in Forrest's keys. No surprise, then, that the earliest records in this anthology seem a bit stiff and without commitment. She had not yet narrowed her range nor begun to phrase behind the beat (both á la Billie Holiday), but the confidence and speed with which she began to form her style are documented here, and it's amazing to hear how quickly she advanced--keep in mind that all but three of these recordings were made in a one year period between 1941 and 1942. And even when her singing lacks interest, there are some stunning arrangements here by Eddie Sauter and Mel Powell. After six months with the band, Lee was flying: the second CD contains gems such as "Where or When" and "The Way You Look Tonight" with the Goodman trio; her hit cover of Lil Green's "Why Don't You Do Right"; a couple of duos with Johnny Mercer; and three songs from a little-known reunion with Goodman in 1947. By then she was on her own, the Holiday influence was fully assimilated, and her smoky, vibrato-less voice was assured and distinct. --John F. Szwed
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