Episode 1: “Flying Home” by the Benny Goodman Sextet

Welcome to the first episode proper of A History of Rock Music in 500 Songs! As this is the first real episode, you may notice a couple of flaws in the production -- those will hopefully get ironed out in the coming weeks. In the meantime, sit back and listen to the story of "Flying Home" by the Benny Goodman Sextet! Resources As always, I've put together a Mixcloud mix of all the songs talked about in this episode, which you can stream here. That mix has "Rhapsody in Blue" by the Paul Whiteman Orchestra, "Memories of You" by Louis Armstrong, "Sing Sing Sing" by Benny Goodman, "Flying Home" by Benny Goodman, and "Flying Home" by Lionel Hampton. For all the episodes on pre-1954 music, one invaluable source is the book "Before Elvis" by Larry Birnbaum, which goes into these subjects in far more detail than I can. Lionel Hampton's autobiography is out of print, but you can find second hand copies very cheap. This is the MP3 compilation I mention of many different versions of "Flying Home", and it has the Benny Goodman Sextet version on it as you'd hope. However, it doesn't have the classic Lionel Hampton version -- you can find that on the four-CD box set The Lionel Hampton Story, which is definitely worth getting. There are various issues of the Benny Goodman Carnegie Hall show -- here's a decent one. Transcript We have to start somewhere, of course, and there's no demarcation line for what is and isn't rock and roll, so we're starting well before rock and roll itself, in 1939. We're starting, in fact, with swing. Swing was a form of music that had its roots in 1920s jazz. It's hard to remember now, but when Dixieland jazz was first popularised, in the early 1920s, the reaction to it from "polite society" was essentially the same as to every other black musical form -- it was going to be the end of the world, it was evil "jungle music", it was causing our children to engage in acts of lewdness and intoxication, it was inciting violence... it was, in short, everything that was later said about rock and roll, about hip-hop, and... you get the idea. This might sound ridiculous to modern ears, as we don't normally think of the cornet, the trombone, and the banjo as the most lascivious of instruments, but back in the 1920s this kind of music was considered seriously arousing. And so, as with all of the moral panics around black music, some white people made the music more appetising for other white people, by taking the rough edges off, cleaning it up, and putting it into a suit. In this case, this was done by the aptly-named Paul Whiteman. Whiteman was a violin player and conductor, and he became known as "the king of jazz" for being the bandleader of an all-white band of musicians. Where most jazz bands consisted of eight to ten musicians, all improvising based on head arrangements and interacting with each other, Whiteman's band was thirty-five musicians, playing from pre-written charts. It was polite, clean, and massively popular. Whiteman's band wasn't bad, by any means -- at various times he had musicians like Bix Beiderbecke and Joe Venuti playing for him -- and as you can hear in this performance of "Rhapsody in Blue" they could play some quite exciting jazz. But they were playing something fundamentally different -- something tamer, more arranged, and with the individual players subsumed into the unit. Whiteman still called the music he made jazz, but when other people started playing with similarly big bands, the music became known as "swing". And so from Whiteman, we move to Goodman. Benny Goodman, the "King of Swing", was the leader of the most popular of the pre-war swing bands, as well as being an excellent clarinet player. His band hired arranger Fletcher Henderson (a black musician who led his own excellent band, and who had provided arrangements for Whiteman) to provide their arrangements, and managed to create music that had a lot of the excitement of less-formalised jazz. It was still hi