Sing, Sing, Sing (With a Swing)

Sing, Sing, Sing ( With a Swing) is a composition by Louis Prima in 1936, which was in the cover version by Benny Goodman jazz standard in particular.

Genesis

Born in New Orleans Louis Prima was a jazz trumpeter who with a first 5 - piece band called New Orleans transition occurred since the year 1934. The members of the band later fluctuated between five and twelve members and was subject to greater fluctuation. In November 1934 Prima received his first recording contract with Brunswick Records. As of March 1935, he appeared with the transition in the famous New York Famous Door club. After 16 singles for Brunswick, only three of those with moderate success came in the pop singles chart, the swing tracks Sing, Sing, Sing ( With a Swing) was recorded on 28 February 1936.

The exact band consisted Prima ( trumpet and vocals), Larry Altpeter (trumpet ), Eddie Miller ( clarinet / tenor saxophone), Frank Pinero ( piano ), Garrett McAdams (guitar), Jack Ryan ( bass), Joe Cataline (tenor saxophone) and George Pemberty (drums). The single was released in March 1936 as a Brunswick # 7628, but missed as most previous records the hit parade. Originally his composition with Sing Bing Sing was entitled, an allusion to Bing Crosby. In order to allow her more versatile use, he has renamed Sing, Sing, Sing ( With a Swing). Shortly after, the band changed in October 1936 to Vocalion Records.

Cover versions

A first cover version came apparent from Fletcher Henderson, who recorded his version of Sing, Sing, Sing on August 4, 1936 in the charts came as the country version of the Hilltoppers from October 8, 1936, or Willie Lewis & nor His Entertainers recorded in Paris on October 15, 1936 version.

Benny Goodman ( clarinet) took the title for the first time with 14 people in New York on July 6, 1937 at the studio, among others, with Harry James, Ziggy Elman, and Chris Griffin (trumpet ), Hymie Shertzer and George Koenig ( alto saxophone), Red Ballard and Murray McEachern (trombone), Gene Krupa (drums), released in August 1937 as Parts I & II (Victor # 36205 ). The recording lasted 8 minutes and 43 seconds, and took both sides of a 12 -inch 78 rpm record. Mundy's arrangement except closed Primate composition also the title of Christopher Columbus with one that was originally written by Chu Berry for the band of Fletcher Henderson.

But not this version made ​​the song famous. Immortal and jazz standard, it was only by the famous live concert by Benny Goodman on the cold evening of January 16, 1938 in New York's Carnegie Hall. Goodman was taking a big risk, because swing bands played in dance clubs. It was the first time that a swing band appeared in the used mostly for classical music Carnegie Hall; Jazz concerts were rarely held here. The project proved to be a great success out because even weeks before the concert, all 2,760 seats were sold out. Here he presented the title as the last of 22 songs and a jam session in an expanded version, arranged by Jimmy Mundy, again as Parts I & II (Victor # 25796 ).

The written specifically for the drum parts allowed Gene Krupa, which initiates the piece, Tomtom extended solos. Other members have ample opportunity to solo, so about Jess Stacy with his contrapuntal tive and almost pastoral piano solo, which he first introduces a song not to belong tone sequence and then returns but on improvisation arrangement. Tenor saxophonist Babe Russin and trumpeter Harry James face before swinging, and eventually forms Goodman's clarinet solo intense the rounding to a 12 -minute presentation with a Forte - finals.

Albert Marx is due to that the legendary concert - recorded - with only three microphones. Without prior mixing the live sound was passed through a broadcasting efficient telephone line to the CBS control room, from where it was transferred to the Artist's Recording Studio (owner Harry Smith). The memory records were min to 8:45. limited, so that a second recording studio (Universal Recording Studio by Raymond Scott) had to be turned on for the rest. Although after the publication in April 1938 with a seventh place in the pop charts not the biggest hit for Goodman, the title has since been associated with Goodman's band, now identified with the big band and swing era and is regarded as one of their " absolute highlights ". This live version was long regarded as the definitive recording of the piece. " The vitality and perfection of this recording brought it about that the piece was once hardly gecovert several decades ." Soloist Harry James retired from the Goodman band shortly after this recording allegedly so, because the song was always played at the end of the concert and it was very difficult at this time to invest sufficient condition for the solo.

A technically be Patched recording was released on the first ever double LP in November 1950, which copies one of the first LPs sold over one million applies. Since November 1999 there is a digitized CD version, which eliminated almost all acoustic shortcomings of the previous records.

Statistics and other cover versions

Composer Louis Prima has had 129 songs on ASCAP register copyright, Sing has been gecovert at least 49 times. National Public Radio's list suggests that the song is one of the 100 most important songs of the 20th century.

New interpretations of the title

Since Benny Goodman's recording of the title, he was taken over by artists of popular music such as, inter alia, by Henry Mancini ( August 1960 ) Anita O'Day or, but only few of jazz musicians such as Gene Krupa, who had contributed much to the Goodman version. Inspired by the Carnegie Hall version developed Jon Hendricks in August 1990 the text of Louis Prima for his album Freddie Freeloader on. On later big band recordings by Peter Herbolzheimer (November 2000), Erich Kunzel Cincinnati Pops Orchestra are ( October 1994) and the GRP All Star Big name band. The vibraphonist Terry Gibbs ( 1986 ), Peter Appleyard (1990, with Bucky Pizzarelli ) and Gary Burton (1992, with Eddie Daniels) have shown that the title is also suitable for small ensembles. In the avant-garde, the piece of the Bloomdaddies was also taken up as Yosuke Yamashita ( who in 1986 drew on the drum group Kodo ). The piece is taken up again reinforced as part of the swing revival; continue to call are shots of Lee Press-On & the Nails and Seamus Blake.

Use of songs in movies

The title was ever played in numerous theatrical and television films use, first in 1936 in the film The Thin Man (Part 2 ): After the Thin Man. On 2 February 1956, he was played in a reenactment of triumphant Carnegie Hall concert of 1938 in the biographical film The Benny Goodman Story. The German documenta artist and former dancer Harry Kramer choreographed in 1963 on the long version of the play the 9- minute short film The impasse ( Camera: Wolfgang Ramsbott ), praised as being particularly valuable. The original version later inspired to King Louis in Walt Disney's The Jungle Book (1967).

Many of the musicians of the swing era then interpreted it in December 1979 in the film All That Jazz. Peter Bogdanovich used in the song They all laughed (1980); Woody Allen took him several times in his film scores, and indeed " whenever he wants to show in his films the vibrant diversity " his " big city " for the first time in 1989 in his article for New Yorker stories in the episode Oedipus Perplexed, 1993 in the film Manhattan Murder Mystery and 1997 for Deconstructing Harry in hell scene; Allen always draws on Goodman's version of Carnegie Hall. The song was also part of the movie " Swing Kids " (1993). In 2002, he was heard in Martin Scorsese's Gangs of New York, in 2003 as the theme song in Stephen Fry's Bright Young Things comedy.

Use of the song was also in the computer game Nintendo GameCube Donkey Konga and Xbox Live game Outpost Kaloki X ( 2006) and in numerous episodes of the animated series The Simpsons from 1994 to 2009.