Goodman was regarded by some as a demanding taskmaster, by others an arrogant and eccentric martinet. Many musicians spoke of The Ray, Goodman's trademark glare that he bestowed on a musician who failed to perform to his demanding standards. Anita O'Day and Helen Forrest spoke bitterly of their experiences singing with Goodman. "The twenty or so months I spent with Benny felt like twenty years," said Forrest. "When I look back, they seem like a life sentence." He could also be incredibly self-absorbed; it is reported that when eating an egg onto which a ketchup bottle cap had fallen, Goodman simply ate around it. At the same time, there are reports that he privately funded several college educations and was sometimes very generous, though always secretly. When a friend asked him why one time, he reportedly said, "Well, if they knew about it, everyone would come to me with their hand out."
Some suggest that Elvis Presley had the same success with rock and roll that Goodman achieved with jazz and swing. Without Goodman there would not have been a swing era. It is true that many of Goodman's arrangements had been played for years before by Fletcher Henderson's orchestra. While Goodman publicly acknowledged his debt to Henderson, many young white swing fans had never heard Henderson's band. While most consider Goodman a jazz innovator, others maintain his main strength was his perfectionism and drive. Goodman was a non - pariel virtuoso clarinetist and -along with only Artie Shaw, amongst the most technically proficient jazz clarinetists of all time.
Goodman is also responsible for a significant step in racial integration in America. In the early 1930s, black and white jazz musicians could not play together in most clubs or concerts. In the Southern states, racial segregation was enforced by the Jim Crow laws. Benny Goodman broke with tradition by hiring Teddy Wilson to play with him ] in the Autumn of 1936. He then added Lionel Hampton on vibes in December, 1936, and in the early Summer of 1939 he augmented the famous "quartette" with pioneering jazz guitarist Charlie Christian to his band and small ensembles, who played with him until his untimely death from tuberculosis less than three years later. To give an understanding of American history at this time, Goodman's integration of popular music happened ten years before Jackie Robinson entered Major League Baseball. "[Goodman's] popularity was such that he could remain financially viable without touring the South, where he would have been subject to arrest for violating Jim Crow laws." By the mid- Summer of 1941, Benny had hired the incomparably rhythmic and show-man drummer, legendary "Big Sid" Catlett, the (later) famous John Simmons on bass, and still possessed the incomparable Charlie Christian on electric guitar -plus Cootie Williams was in the middle of his one-year contract... This amounted to virtually one-quarter of the orchestra of black heritage, but of course -following Jimmy Munday and Fletcher Henderson (who also joined the band as pianist for 6 months in July, 1939) it was really an orchestrated white extension of black big band jazz -only, curiously -better.
String of Pearls
Benny Goodman Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Savoy, it wins you with a glance
Savoy, gives happy feet a chance to dance
Your old form just like a clinging vine
Your lips so warm and sweet as wine
Your cheek so soft and close to mine, divine
While the band is swinging
I'm never tired of romping
And stomping with you at the Savoy
What joy a perfect holiday
Savoy, where we can glide and sway
Savoy, let me stomp away with you
The home of sweet romance
It wins you at a glance
Gives happy feet a chance to dance
Just like a clinging vine
So soft and sweet as wine
So soft and close to mine, divine
How my heart is singing
While the band is swinging
I'm never, never, never tired of romping
And stomping with you at the Savoy
What joy a perfect holiday
Savoy, where we can glide and sway
Savoy, let me stomp away with you
The lyrics to Benny Goodman's song "String of Pearls" are an upbeat tribute to the Savoy Ballroom, a renowned dance club in Harlem, New York during the 1930s and 40s. The lyrics refer to the Savoy's reputation as a symbol of "sweet romance" and the way that it enchanted visitors from the moment they walked in the door. The song's theme is centered around the joy and happiness of dancing, and the lovers' embrace that occurs while swinging to the music.
The lyrics paint a picture of the romantic atmosphere of the Savoy Ballroom, describing a world where dancing brings people closer on the dancefloor, and where even the old and infirm can find joy in "happy feet" on the dancefloor. The lyrics also describe a physical closeness to someone else, where the lover's "cheek so soft and close to mine" is seen as divine. The song builds to a climax as the chorus describes the joy the singer feels while romping and stomping with their partner at the Savoy.
Line by Line Meaning
Savoy, the home of sweet romance
Savoy is a place filled with sweet romance and love.
Savoy, it wins you with a glance
Savoy is so mesmerizing and charming that one falls in love with it in a single glance.
Savoy, gives happy feet a chance to dance
Savoy is a place where everyone can enjoy themselves and dance happily.
Your old form just like a clinging vine
Your old form is like a vine that is growing and clinging to me.
Your lips so warm and sweet as wine
Your lips are as warm and sweet as a glass of wine.
Your cheek so soft and close to mine, divine
When your cheek is close to mine, it feels like a divine experience.
How my heart is singing
My heart is filled with joy and happiness.
While the band is swinging
As the band plays music and swings to the beat, it creates a joyful and lively atmosphere.
I'm never tired of romping
I never get tired of having fun and enjoying myself.
And stomping with you at the Savoy
I love to dance and stomp to the music with you at the Savoy.
What joy a perfect holiday
It brings great joy to be on a perfect holiday at Savoy, filled with love and happiness.
Savoy, where we can glide and sway
Savoy is a place where we can glide and sway to the music, enjoying each other's company.
Savoy, let me stomp away with you
Let's dance and stomp away to the music together at the Savoy.
Lyrics © Warner Chappell Music, Inc.
Written by: Jerry Gray
Lyrics Licensed & Provided by LyricFind
Roger Ford
Although much less well known than the Glenn Miller version, Gray said that he preferred this version of his song.
Hungry Dragon Vs Frightend Hobbit
I've got an original 78 rpm record of this. It's a blast to listen to.
george Cripe
A much jazzier version then Millers. You know this is the music of The Greatest Generation that helped build the morale of our GI's and helped win WW2. When they had the recording strike from 42 to 44, even the War Department got involved, because it was hurting the morale of out troops.
Bob Leadbeater
Shortly after recording this Powell found himself in uniform playing the jerry Gray arrangement every night!
Amí Wyvill-Nonsuch
This sounds so different on my Victrola (original record was one of many included with the record player)!
No Need
😳 we found the time lord
Jane Doe
My favorite; yes different FM Glenn Miller!!
Barry I. Grauman
Welcome back, 'prof'!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Barry I. Grauman
Recorded on February 5, 1942.
Natalie P.
It's so tiresome that every time a jazzed-up version of a standard is presented, the armchair critics crawl our of their nests and rave about how much better it is simply because its louder and more up-tempo. It kind of defeats the purpose of exploring pre-rock music if you're only going to like vintage music that doesn't fall awkwardly on the ears of those who were raised during the Led Zeppelin generation. The fact of the matter is, the Miller version of "Sting Of Pearls" is better. It's a more musical arrangement, and it has Bobby Hackett's immortal cornet solo. The Goodman version is virtually forgotten, and for good reason.