Goodman was the ninth of twelve children born to poor Jewish emigrants from the Russian Empire. His father, David Goodman, came to the United States in 1892 from Warsaw in partitioned Poland and became a tailor. His mother, Dora Grisinsky, came from Kovno. They met in Baltimore, Maryland, and moved to Chicago before Goodman’s birth. With little income and a large family, they moved to the Maxwell Street neighborhood, an overcrowded slum near railroad yards and factories that was populated by German, Irish, Italian, Polish, Scandinavian, and Jewish immigrants. Money was a constant problem. On Sundays, his father took the children to free band concerts in Douglass Park, which was the first time Goodman experienced live professional performances. To give his children some skills and an appreciation for music, his father enrolled ten-year-old Goodman and two of his brothers in music lessons, from 1919, at the Kehelah Jacob Synagogue and Benny received two years of instruction from the classically trained clarinetist and Chicago Symphony member, Franz Schoepp.
At fourteen he became a member of the musicians’ union and worked in a band featuring Bix Beiderbecke. Two years later he joined the Ben Pollack Orchestra and made his first recordings in 1926. Goodman moved to New York City and became a session musician for radio, Broadway musicals, and in studios. In addition to clarinet, he sometimes played alto saxophone and baritone saxophone. NBC hired Goodman for the radio program Let’s Dance. John Hammond asked Fletcher Henderson if he wanted to write arrangements for Goodman, and Henderson agreed. During the Depression, Henderson disbanded his orchestra because he was in debt. Goodman hired Henderson’s band members to teach his musicians how to play the music. Goodman’s band was one of three to perform on Let’s Dance, playing arrangements by Henderson along with hits such as “Get Happy” and “Limehouse Blues”.
On July 31, 1935, “King Porter Stomp” was released with “Sometimes I’m Happy” on the B-side, both arranged by Henderson and recorded on July 1. In Pittsburgh at the Stanley Theatre some members of the audience danced in the aisles. But these arrangements had little impact on the tour until August at McFadden’s Ballroom in Oakland, California. Goodman and his band, were met by a large crowd of young dancers who cheered the music they had heard on Let’s Dance. Herb Caen wrote, “from the first note, the place was in an uproar.” One night later, at Pismo Beach, the show was a flop, and the band thought the overwhelming reception in Oakland had been a fluke.
The next night, August 21, 1935, at the Palomar Ballroom in Los Angeles, Goodman and his band began a three-week engagement. On top of the Let’s Dance airplay, Al Jarvis had been playing Goodman’s records on KFWB radio. Goodman started the evening with stock arrangements, but after an indifferent response, he began the second set with arrangements by Fletcher Henderson and Spud Murphy. According to Willard Alexander, the band’s booking agent, Krupa said, “If we’re gonna die, Benny, let’s die playing our own thing.” The crowd broke into cheers and applause. News reports spread word of the exciting music and enthusiastic dancing. The Palomar engagement was such a marked success that it is often described as the beginning of the swing era. According to Donald Clarke, “It is clear in retrospect that the Swing Era had been waiting to happen, but it was Goodman and his band that touched it off.
In November 1935 Goodman accepted an invitation to play in Chicago at the Joseph Urban Room Room at the Congress Hotel. His stay there extended to six months, and his popularity was cemented by nationwide radio broadcasts over NBC affiliate stations. While in Chicago, the band recorded If I Could Be with You, Stompin’ at the Savoy, and Goody, Goody. Goodman also played three concerts produced by Chicago socialite and jazz aficionado Helen Oakle. These “Rhythm Club” concerts at the Congress Hotel included sets in which Goodman and Krupa sat in with Fletcher Henderson’s band, perhaps the first racially integrated big band appearing before a paying audience in the United States. Goodman and Krupa played in a trio with Teddy Wilson on piano. Both combinations were well received, and Wilson remained.
In late 1937, Goodman’s publicist Wynn Nathanson suggested that Goodman and his band play Carnegie Hall in New York City. The sold-out concert was held on the evening of January 16, 1938. It is regarded as one of the most significant in jazz history. After years of work by musicians from all over the country, jazz had finally been accepted by mainstream audiences. Recordings of the concert were made, but even by the technology of the day the equipment used was not of the finest quality. Acetate recordings of the concert were made, and aluminum studio masters were cut. “The recording was produced by Albert Marx as a special gift for his wife, Helen Ward, and a second set for Benny. He contracted Artists Recording Studio to make two sets. Artists Recording only had two turntables so they farmed out the second set to Raymond Scott’s recording studio….It was Benny’s sister-in-law who found the recordings in Benny’s apartment [in 1950] and brought them to Benny’s attention.:366 Goodman took the discovered recording to Columbia, and a selection was issued on LP as The Famous 1938 Carnegie Hall Jazz Concert.
Goodman continued his success throughout the late 1930s with his big band, his trio and quartet, and the sextet formed in August 1939, the same month Goodman returned to Columbia Records after four years with RCA Victor. At Columbia, John Hammond, his future brother-in-law, produced most of his sessions. By the mid-1940s, however, big bands had lost much of their popularity. In 1941, ASCAP had a licensing war with music publishers. From 1942 to 1944 and again in 1948, the musicians’ union went on strike against the major record labels in the United States, and singers acquired the popularity that the big bands had once enjoyed. During the 1942–44 strike, the War Department approached the union and requested the production of V-Discs, a set of records containing new recordings for soldiers to listen to, thereby boosting the rise of new artists Also, by the late 1940s, swing was no longer the dominant style of jazz musicians.
