He led many jazz and dance bands, of which the best known was his Victor Recording Orchestra of 1924 – 1929, which included, at various times, Bix Beiderbecke, Hoagy Carmichael, Jimmy Dorsey, Tommy Dorsey, Eddie Lang, Frankie Trumbauer, Pee Wee Russell, Steve Brown, Doc Ryker and Joe Venuti, among others. Vocalists included the Keller Sisters and Lynch. In his Jazz Masters of the Thirties, Rex Stewart, a member of Fletcher Henderson's band at the time, writes that the Goldkette band's innovative arrangements and strong rhythm made it the best dance band of its day and "the first original white swing band in jazz history."
In 1927, Paul Whiteman hired away most of Goldkette's better players. Goldkette later helped organize McKinney's Cotton Pickers and Glen Gray's Orange Blossoms, which became famous as the Casa Loma Orchestra. In the 1930s he left jazz to work as a booking agent and classical pianist.
In 1939, he organized the American Symphony Orchestra which debuted at Carnegie Hall. Frankie Laine worked as Goldkette's librarian.
He moved to California in 1961 and the following year died in Santa Barbara, California
Sunday
Jean Goldkette Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Thinking over to sunday
That one day that I am with you
It seems that high time monday and tuesday
oh my how I long for you
And then on thursday
and friday make me feel like im going to die
and then sunday thatone day that I amwith you
The lyrics to Jean Goldkette's "Sunday" describe the longing and anticipation of the singer to be with a loved one on Sundays. The song begins with the declaration that every Monday, the singer begins thinking about Sunday and the prospect of being with their loved one. The singer describes the other days of the week, specifically Tuesday through Friday, as feeling unbearable without their loved one. However, the singer notes that Saturday brings relief as it is a "hay day" and then Sunday finally arrives, the one day the singer gets to spend with the person they long for.
The lyrics are simple, yet effective in conveying the overall feeling of the song. The repetition of the days of the week and the contrasting emotions felt on each day create a sense of waiting and yearning that many can relate to. The singer's emotions easily resonate with listeners, as many have experienced the joy and anticipation of waiting for a special day to spend with someone they love.
Line by Line Meaning
I knew every monday
Every time Monday came around, I was aware of its presence
Thinking over to sunday
I would spend time reflecting on Sunday
That one day that I am with you
Sunday is the one day I get to spend with you
It seems that high time monday and tuesday
Monday and Tuesday seem to take forever to pass
oh my how I long for you
I yearn for you deeply
And then on thursday
When Thursday comes around
and friday make me feel like im going to die
Friday is so unbearable it makes me feel like I'm dying
but after hayday is like sunday
Saturday is like Sunday after a hard day's work
and then sunday that one day that I am with you
And then Sunday arrives, the one day I get to spend with you
Lyrics © BMG Rights Management, Sony/ATV Music Publishing LLC, O/B/O DistroKid, Kobalt Music Publishing Ltd., Fintage House Publishing, Warner Chappell Music, Inc.
Written by: CHESTER CONN, BENNIE KRUEGER, NED MILLER, JULE STYNE
Lyrics Licensed & Provided by LyricFind
@BixLives32
A great side. —And, Eddie Lang aint too shabby.
Usually the bass part was played by the baritone sax because of the constraints of the acoustic recording era. Even after the electric process was introduced (1925), —for the first few years, most white bands continued using the baritone sax instead of a proper bass fiddle. I think it was also a case of the white public expecting the baritone sax. Alas, the truly hip bands began using the bass fiddle as soon as the electric process became the standard. Musicians like Lang and Carl Kress would never have made it on guitar without the electric recording process. Tenor banjo is fine, but...
Almost all of Ellington's earliest recordings are with the powerful Wellman Braud on the bass fiddle.
This Goldkette side shows just how hip these young cats were.
Bix and Tram!
Trumbauer had a special clause added to any contract he signed. —I.e., Trumbauer would play only if Bix was also hired and playing. Hence; If you got Tram, you got Bix. —A matched set.
Bix drank, and he drank the illegal bathtub gin of the day (worse than sterno). Tram rarely drank, and became a steady family man. Bix drank and played Jazz.
Alas, many orchestra leaders were reluctant to hire Bix. Bix rarely bathed and was often late. He also did not read well. Trumbauer simply wanted to make sure that the finest corenet player and Jazz composer in the world had regular work. Plus, they were the closest of friends.
Can you imagine this record without Bix? Bix had a way of forcing an orchestra to swing and play well beyond themselves. If you blow, you may understand this. Sometimes a superior player has an infectious way of pumping up a band. Paul Whiteman understood this, but I doubt if many other leaders were as hip.
@giovannirivoira5496
What a gem!a musical picture of a period with a fabulous orchestra.Bill Rank,Eddie Lang,Steve Brown,Box,Bill Murray...Giants Always in my heart.thank you!
@Bigband78
I was looking for Speigle on that band photo and there he was on the lower right as Newell Wilcox. He was still p[aying tombone in his 90s and had a sharp mind.So happy I had a photo taken with him and he signed it the next year. Our president should have honored him. Great job on this video by Atticus Jazz.
@lesterwyoung
Beautiful, clear bass playing from Steve Brown.
@thatrecord5313
That's a bass?! I thought it was a tuba...
@steveheywood9428
Wonderful recording made smack bang in the middle of the flapper era...absolute magic.
@KDoyle4
I've never heard this record sound so good. This is the cat's pajamas!
@richardlaine9994
I love the infectious gaiety of this Goldkette performance by the Goldkette Orchestra---it is one of the performances that comes to mind every time I think of recordings that best represent the spirit of the Roaring (19)20s. Two others I would place on that list ( among so many others! ) are the Fletcher Henderson Orchestra's version of "Copenhagen" ( 1924 ) and the Ted Weems Orchestra's "Siberia" ( 1925 ). Without naming specific titles, I would include any performances by the Wolverines with Bix Beiderbecke, the many recordings by the New York-based California Ramblers, and many excellent performances by Ben Pollack and His Orchestra, especially those tracks with the young Benny Goodman. It's hard to make specific choices, but given that I made this random choice quite spontaneously, I think i didn't do so badly.
Happy listening, and best wishes to all for a satisfying 2021!!!
@Hernes6
Wonderful Bill Challis arr., masterly played, superb recording, and excellent transfer.
@lesterwyoung
Steve Brown's magnificent, resonant bass!
@thatrecord5313
That's a bass? I thought it was I tuba...