Benny Goodman

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Benny Goodman_table_infobox_0

Benny GoodmanBenny Goodman_header_cell_0_0_0
Background informationBenny Goodman_header_cell_0_1_0
Birth nameBenny Goodman_header_cell_0_2_0 Benjamin David GoodmanBenny Goodman_cell_0_2_1
BornBenny Goodman_header_cell_0_3_0 (1909-05-30)May 30, 1909

Chicago, Illinois, U.S.Benny Goodman_cell_0_3_1

DiedBenny Goodman_header_cell_0_4_0 June 13, 1986(1986-06-13) (aged 77)

New York City, U.S.Benny Goodman_cell_0_4_1

GenresBenny Goodman_header_cell_0_5_0 Benny Goodman_cell_0_5_1
Occupation(s)Benny Goodman_header_cell_0_6_0 Benny Goodman_cell_0_6_1
InstrumentsBenny Goodman_header_cell_0_7_0 ClarinetBenny Goodman_cell_0_7_1
Years activeBenny Goodman_header_cell_0_8_0 1926–1986Benny Goodman_cell_0_8_1
LabelsBenny Goodman_header_cell_0_9_0 Benny Goodman_cell_0_9_1
WebsiteBenny Goodman_header_cell_0_10_0 Benny Goodman_cell_0_10_1

Benjamin David Goodman (May 30, 1909 – June 13, 1986) was an American jazz clarinetist and bandleader known as the "King of Swing". Benny Goodman_sentence_0

In the mid-1930s, Goodman led one of the most popular musical groups in the United States. Benny Goodman_sentence_1

His concert at Carnegie Hall in New York City on January 16, 1938 is described by critic Bruce Eder as "the single most important jazz or popular music concert in history: jazz's 'coming out' party to the world of 'respectable' music." Benny Goodman_sentence_2

Goodman's bands started the careers of many jazz musicians. Benny Goodman_sentence_3

During an era of racial segregation, he led one of the first integrated jazz groups. Benny Goodman_sentence_4

He performed nearly to the end of his life while exploring an interest in classical music. Benny Goodman_sentence_5

Early years Benny Goodman_section_0

Goodman was the ninth of twelve children born to poor Jewish emigrants from the Russian Empire. Benny Goodman_sentence_6

His father, David Goodman (1873–1926), came to the United States in 1892 from Warsaw in partitioned Poland and became a tailor. Benny Goodman_sentence_7

His mother, Dora Grisinsky, (1873–1964), came from Kovno. Benny Goodman_sentence_8

They met in Baltimore, Maryland, and moved to Chicago before Goodman's birth. Benny Goodman_sentence_9

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. Benny Goodman_sentence_10

Money was a constant problem. Benny Goodman_sentence_11

On Sundays, his father took the children to free band concerts in Douglas Park, which was the first time Goodman experienced live professional performances. Benny Goodman_sentence_12

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 clarinettist and Chicago Symphony member, Franz Schoepp. Benny Goodman_sentence_13

During the next year Goodman joined the boys club band at Hull House, where he received lessons from director James Sylvester. Benny Goodman_sentence_14

By joining the band, he was entitled to spend two weeks at a summer camp near Chicago. Benny Goodman_sentence_15

It was the only time he could get away from his bleak neighborhood. Benny Goodman_sentence_16

At 13, he got his first union card. Benny Goodman_sentence_17

He performed on Lake Michigan excursion boats, and in 1923 played at Guyon’s Paradise, a local dance hall. Benny Goodman_sentence_18

In summer 1923, he met Bix Beiderbecke. Benny Goodman_sentence_19

He attended the Lewis Institute (Illinois Institute of Technology) in 1924 as a high-school sophomore and played clarinet in a dance hall band. Benny Goodman_sentence_20

When he was 17, his father was killed by a passing car after stepping off a streetcar. Benny Goodman_sentence_21

His father's death was "the saddest thing that ever happened in our family", Goodman said. Benny Goodman_sentence_22

Career Benny Goodman_section_1

His early influences were New Orleans jazz clarinetists who worked in Chicago, such as Jimmie Noone, Johnny Dodds, and Leon Roppolo. Benny Goodman_sentence_23

He learned quickly, becoming a strong player at an early age, and was soon playing in bands. Benny Goodman_sentence_24

He made his professional debut in 1921 at the Central Park Theater on the West Side of Chicago. Benny Goodman_sentence_25

He entered Harrison Technical High School in Chicago in 1922. Benny Goodman_sentence_26

At fourteen he became a member of the musicians' union and worked in a band featuring Bix Beiderbecke. Benny Goodman_sentence_27

Two years later he joined the Ben Pollack Orchestra and made his first recordings in 1926. Benny Goodman_sentence_28

From sideman to bandleader Benny Goodman_section_2

Goodman moved to New York City and became a session musician for radio, Broadway musicals, and in studios. Benny Goodman_sentence_29

In addition to clarinet, he sometimes played alto saxophone and baritone saxophone. Benny Goodman_sentence_30

In a Victor recording session on March 21, 1928, he played alongside Glenn Miller, Tommy Dorsey, and Joe Venuti in the All-Star Orchestra directed by Nathaniel Shilkret. Benny Goodman_sentence_31

He played with the bands of Red Nichols, Ben Selvin, Ted Lewis, and Isham Jones and recorded for Brunswick under the name Benny Goodman's Boys, a band that featured Glenn Miller. Benny Goodman_sentence_32

In 1928, Goodman and Miller wrote "Room 1411", which was released as a Brunswick 78. Benny Goodman_sentence_33

He reached the charts for the first time when he recorded "He's Not Worth Your Tears" with a vocal by Scrappy Lambert for Melotone. Benny Goodman_sentence_34

After signing with Columbia in 1934, he had top ten hits with "Ain't Cha Glad?" Benny Goodman_sentence_35

and "I Ain't Lazy, I'm Just Dreamin'" sung by Jack Teagarden, "Ol' Pappy" sung by Mildred Bailey, and "Riffin' the Scotch" sung by Billie Holiday. Benny Goodman_sentence_36

An invitation to play at the Billy Rose Music Hall led to his creation of an orchestra for the four-month engagement. Benny Goodman_sentence_37

The orchestra recorded "Moonglow", which became a number one hit and was followed by the Top Ten hits "Take My Word" and "Bugle Call Rag". Benny Goodman_sentence_38

NBC hired Goodman for the radio program Let's Dance. Benny Goodman_sentence_39

John Hammond asked Fletcher Henderson if he wanted to write arrangements for Goodman, and Henderson agreed. Benny Goodman_sentence_40

During the Depression, Henderson disbanded his orchestra because he was in debt. Benny Goodman_sentence_41

Goodman hired Henderson's band members to teach his musicians how to play the music. Benny Goodman_sentence_42

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" by Spud Murphy. Benny Goodman_sentence_43

Goodman's portion of the program was broadcast too late at night to attract a large audience on the east coast. Benny Goodman_sentence_44

He and his band remained on Let's Dance until May of that year when a strike by employees of the series' sponsor, Nabisco, forced the cancellation of the radio show. Benny Goodman_sentence_45

An engagement was booked at Manhattan's Roosevelt Grill filling in for Guy Lombardo, but the audience expected "sweet" music and Goodman's band was unsuccessful. Benny Goodman_sentence_46

Goodman spent six months performing on Let's Dance, and during that time he recorded six more Top Ten hits for Columbia. Benny Goodman_sentence_47

Catalyst for the swing era Benny Goodman_section_3

Main article: Swing era Benny Goodman_sentence_48

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. Benny Goodman_sentence_49

In Pittsburgh at the Stanley Theater some members of the audience danced in the aisles. Benny Goodman_sentence_50

But these arrangements had little impact on the tour until August 19 at McFadden's Ballroom in Oakland, California. Benny Goodman_sentence_51

Goodman and his band, which included Bunny Berrigan, drummer Gene Krupa, and singer Helen Ward were met by a large crowd of young dancers who cheered the music they had heard on Let's Dance. Benny Goodman_sentence_52

Herb Caen wrote, "from the first note, the place was in an uproar." Benny Goodman_sentence_53

One night later, at Pismo Beach, the show was a flop, and the band thought the overwhelming reception in Oakland had been a fluke. Benny Goodman_sentence_54

The next night, August 21, 1935, at the Palomar Ballroom in Los Angeles, Goodman and his band began a three-week engagement. Benny Goodman_sentence_55

On top of the Let's Dance airplay, Al Jarvis had been playing Goodman's records on KFWB radio. Benny Goodman_sentence_56

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. Benny Goodman_sentence_57

According to Willard Alexander, the band's booking agent, Krupa said, "If we're gonna die, Benny, let's die playing our own thing." Benny Goodman_sentence_58

The crowd broke into cheers and applause. Benny Goodman_sentence_59

News reports spread word of the exciting music and enthusiastic dancing. Benny Goodman_sentence_60

The Palomar engagement was such a marked success that it is often described as the beginning of the swing era. Benny Goodman_sentence_61

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." Benny Goodman_sentence_62

The reception of American swing was less enthusiastic in Europe. Benny Goodman_sentence_63

British author J. Benny Goodman_sentence_64 C. Squire filed a complaint with BBC radio to demand it stop playing Goodman's music, which he called "an awful series of jungle noises which can hearten no man." Benny Goodman_sentence_65

Germany's Nazi party barred jazz from the radio, claiming it was part of a Jewish conspiracy to destroy the culture. Benny Goodman_sentence_66

Italy's fascist government banned the broadcast of any music composed or played by Jews which they said threatened "the flower of our race, the youth." Benny Goodman_sentence_67

In November 1935 Goodman accepted an invitation to play in Chicago at the Joseph Urban Room at the Congress Hotel. Benny Goodman_sentence_68

His stay there extended to six months, and his popularity was cemented by nationwide radio broadcasts over NBC affiliate stations. Benny Goodman_sentence_69

While in Chicago, the band recorded If I Could Be with You, Stompin' at the Savoy, and Goody, Goody. Benny Goodman_sentence_70

Goodman also played three concerts produced by Chicago socialite and jazz aficionado Helen Oakley. Benny Goodman_sentence_71

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. Benny Goodman_sentence_72

Goodman and Krupa played in a trio with Teddy Wilson on piano. Benny Goodman_sentence_73

Both combinations were well received, and Wilson remained. Benny Goodman_sentence_74

In his 1935–1936 radio broadcasts from Chicago, Goodman was introduced as the "Rajah of Rhythm." Benny Goodman_sentence_75

Slingerland Drum Company had been calling Krupa the "King of Swing" as part of a sales campaign, but shortly after Goodman and his crew left Chicago in May 1936 to spend the summer filming The Big Broadcast of 1937 in Hollywood, the title "King of Swing" was applied to Goodman by the media. Benny Goodman_sentence_76

At the end of June 1936, Goodman went to Hollywood, where, on June 30, 1936, his band began CBS's Camel Caravan, its third and (according to Connor and Hicks) its greatest sponsored radio show, co-starring Goodman and his former boss Nathaniel Shilkret. Benny Goodman_sentence_77

By spring 1936, Fletcher Henderson was writing arrangements for Goodman's band. Benny Goodman_sentence_78

Carnegie Hall concert Benny Goodman_section_4

Main article: The Famous 1938 Carnegie Hall Jazz Concert Benny Goodman_sentence_79

In late 1937, Goodman's publicist Wynn Nathanson suggested that Goodman and his band play Carnegie Hall in New York City. Benny Goodman_sentence_80

The sold-out concert was held on the evening of January 16, 1938. Benny Goodman_sentence_81

It is regarded as one of the most significant in jazz history. Benny Goodman_sentence_82

After years of work by musicians from all over the country, jazz had finally been accepted by mainstream audiences. Benny Goodman_sentence_83

Recordings of the concert were made, but even by the technology of the day the equipment used was not of the finest quality. Benny Goodman_sentence_84

Acetate recordings of the concert were made, and aluminum studio masters were cut. Benny Goodman_sentence_85

"The recording was produced by Albert Marx as a special gift for his wife, Helen Ward, and a second set for Benny. Benny Goodman_sentence_86

He contracted Artists Recording Studio to make two sets. Benny Goodman_sentence_87

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. Benny Goodman_sentence_88

Goodman took the discovered recording to Columbia, and a selection was issued on LP as The Famous 1938 Carnegie Hall Jazz Concert. Benny Goodman_sentence_89

Charlie Christian Benny Goodman_section_5

Pianist and arranger Mary Lou Williams suggested to Hammond that he see guitarist Charlie Christian. Benny Goodman_sentence_90

Hammond had seen Christian perform in Oklahoma City in 1939 and recommended him to Goodman, but Goodman was uninterested in electric guitar and was put off by Christian's taste in gaudy clothing. Benny Goodman_sentence_91

During a break at a concert in Beverly Hills, Hammond inserted Christian into the band. Benny Goodman_sentence_92

Goodman started playing "Rose Room" on the assumption that Christian didn't know it, but his performance impressed everyone. Benny Goodman_sentence_93

Christian was a member of the Benny Goodman Sextet from 1939 to 1941, and during these two years he turned the electric guitar into a popular jazz instrument. Benny Goodman_sentence_94

Decline of swing Benny Goodman_section_6

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. Benny Goodman_sentence_95

At Columbia, John Hammond, his future brother-in-law, produced most of his sessions. Benny Goodman_sentence_96

By the mid-1940s, however, big bands had lost much of their popularity. Benny Goodman_sentence_97

In 1941, ASCAP had a licensing war with music publishers. Benny Goodman_sentence_98

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. Benny Goodman_sentence_99

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. Benny Goodman_sentence_100

Exploring bebop Benny Goodman_section_7

By the 1940s, some jazz musicians were borrowing from classical music, while others, such as Charlie Parker, were broadening the rhythmic, harmonic, and melodic vocabulary of swing to create bebop (or bop). Benny Goodman_sentence_101

The bebop recordings Goodman made for Capitol were praised by critics. Benny Goodman_sentence_102

For his bebop band he hired Buddy Greco, Zoot Sims, and Wardell Gray. Benny Goodman_sentence_103

He consulted his friend Mary Lou Williams for advice on how to approach the music of Dizzy Gillespie and Charlie Parker. Benny Goodman_sentence_104

Pianist Mel Powell was also an adviser in 1945. Benny Goodman_sentence_105

Goodman enjoyed bebop. Benny Goodman_sentence_106

When he heard Thelonious Monk, he said, "I like it, I like that very much. Benny Goodman_sentence_107

I like the piece and I like the way he played it....I think he's got a sense of humor and he's got some good things there." Benny Goodman_sentence_108

He also admired Swedish clarinetist Stan Hasselgard. Benny Goodman_sentence_109

But after playing with a bebop band for over a year, he returned to his swing band because he concluded that was what he knew best. Benny Goodman_sentence_110

In 1953, he said, "Maybe bop has done more to set music back for years than anything....Basically it's all wrong. Benny Goodman_sentence_111

It's not even knowing the scales....Bop was mostly publicity and people figuring angles." Benny Goodman_sentence_112

Classical repertoire Benny Goodman_section_8

In 1949 he studied with clarinetist Reginald Kell, requiring a change in technique: "instead of holding the mouthpiece between his front teeth and lower lip, as he had done since he first took a clarinet in hand 30 years earlier, Goodman learned to adjust his embouchure to the use of both lips and even to use new fingering techniques. Benny Goodman_sentence_113

He had his old finger calluses removed and started to learn how to play his clarinet again—almost from scratch." Benny Goodman_sentence_114

Goodman commissioned compositions for clarinet and chamber ensembles or orchestra that have become standard pieces of classical repertoire. Benny Goodman_sentence_115

He premiered works by composers, such as Contrasts by Béla Bartók; Clarinet Concerto No. Benny Goodman_sentence_116

2, Op. 115 by Malcolm Arnold; Derivations for Clarinet and Band by Morton Gould; Sonata for Clarinet and Piano by Francis Poulenc, and Clarinet Concerto by Aaron Copland. Benny Goodman_sentence_117

Prelude, Fugue, and Riffs by Leonard Bernstein was commissioned for Woody Herman's big band, but it was premiered by Goodman. Benny Goodman_sentence_118

Herman was the dedicatee (1945) and first performer (1946) of Igor Stravinsky's Ebony Concerto, but many years later Stravinsky made another recording with Goodman as the soloist. Benny Goodman_sentence_119

He made a recording of Mozart's Clarinet Quintet in July 1956 with the Boston Symphony String Quartet at the Berkshire Festival; on the same occasion he recorded Mozart's Clarinet Concerto in A major, K. 622, with the Boston Symphony Orchestra conducted by Charles Munch. Benny Goodman_sentence_120

He also recorded the clarinet concertos of Weber Benny Goodman_sentence_121

After forays outside swing, Goodman started a new band in 1953. Benny Goodman_sentence_122

According to Donald Clarke, this was not a happy time for Goodman. Benny Goodman_sentence_123

He reunited the band to tour with Louis Armstrong. Benny Goodman_sentence_124

But he insulted Armstrong and "was appalled at the vaudeville aspects of Louis's act...a contradiction of everything Goodman stood for". Benny Goodman_sentence_125

Armstrong left Goodman hanging during a joint performance where Goodman called Armstrong back onstage to wrap up the show. Benny Goodman_sentence_126

Armstrong refused to perform alongside Goodman, which led essentially to the end of their friendship. Benny Goodman_sentence_127

Goodman's band appeared as a specialty act in the films The Big Broadcast of 1937; Hollywood Hotel (1938); Syncopation (1942); The Powers Girl (1942); Stage Door Canteen (1943); The Gang's All Here (1943); Sweet and Low-Down (1944), Goodman's only starring feature; Make Mine Music (1946) and A Song Is Born (1948). Benny Goodman_sentence_128

Later years Benny Goodman_section_9

He continued to play on records and in small groups. Benny Goodman_sentence_129

In the early 1970s he collaborated with George Benson after the two met taping a PBS tribute to John Hammond, recreating some of Goodman's duets with Charlie Christian. Benny Goodman_sentence_130

Benson appeared on Goodman's album Seven Come Eleven. Benny Goodman_sentence_131

Goodman continued to play swing, but he practiced and performed classical pieces and commissioned them for clarinet. Benny Goodman_sentence_132

In 1960 he performed Mozart's Clarinet Concerto with conductor Alfredo Antonini at the Lewisohn Stadium in New York City. Benny Goodman_sentence_133

Despite health problems, he continued to perform, his last concert six days before his death. Benny Goodman_sentence_134

Goodman died June 13th, 1986, from a heart attack while taking a nap at his apartment in Manhattan House. Benny Goodman_sentence_135

Personal life Benny Goodman_section_10

One of Goodman's closest friends was Columbia producer John Hammond, who influenced Goodman's move from Victor to Columbia. Benny Goodman_sentence_136

Goodman married Hammond's sister, Alice Frances Hammond Duckworth (1913–1978), on March 20, 1942. Benny Goodman_sentence_137

They had two daughters and raised Alice's three daughters from her first marriage to British politician Arthur Duckworth. Benny Goodman_sentence_138

Goodman's daughter Rachel became a classical pianist. Benny Goodman_sentence_139

She sometimes performed in concert with him, beginning when she was sixteen. Benny Goodman_sentence_140

Goodman and Hammond had disagreements from the 1930s onwards. Benny Goodman_sentence_141

For the 1939 Spirituals to Swing concert Hammond had placed Charlie Christian into the Kansas City Six to play before Goodman's band, which had angered Goodman. Benny Goodman_sentence_142

They disagreed over the band's music until Goodman refused to listen to Hammond. Benny Goodman_sentence_143

Their arguments escalated, and in 1941 Hammond left Columbia. Benny Goodman_sentence_144

Goodman appeared on a 1975 PBS tribute to Hammond but remained at a distance. Benny Goodman_sentence_145

In the 1980s, after the death of Alice Goodman, Hammond and Goodman reconciled. Benny Goodman_sentence_146

On June 25, 1985, Goodman appeared at Avery Fisher Hall in New York City for "A Tribute to John Hammond". Benny Goodman_sentence_147

Goodman was regarded by some as a demanding taskmaster, by others as an arrogant and eccentric martinet. Benny Goodman_sentence_148

Many musicians spoke of "The Ray", the glare that Goodman directed at a musician who failed to perform to his standards. Benny Goodman_sentence_149

After guitarist Allan Reuss incurred Goodman's displeasure, Goodman relegated him to the rear of the bandstand where his contribution would be drowned out by the other musicians. Benny Goodman_sentence_150

Vocalists 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. Benny Goodman_sentence_151

"When I look back, they seem like a life sentence." Benny Goodman_sentence_152

He was generous and funded several college educations, though always secretly. Benny Goodman_sentence_153

When a friend asked him why, he said, "Well, if they knew about it, everyone would come to me with their hand out." Benny Goodman_sentence_154

Goodman helped racial integration in America. Benny Goodman_sentence_155

In the early 1930s, black and white musicians could not play together in most clubs and concerts. Benny Goodman_sentence_156

In the Southern states, racial segregation was enforced by Jim Crow laws. Benny Goodman_sentence_157

Goodman hired Teddy Wilson for his trio and added vibraphonist Lionel Hampton for his quartet. Benny Goodman_sentence_158

In 1939 he hired guitarist Charlie Christian. Benny Goodman_sentence_159

This integration in music happened ten years before Jackie Robinson broke Major League Baseball's six-decade-long color line. Benny Goodman_sentence_160

"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." Benny Goodman_sentence_161

According to Jazz by Ken Burns, when someone asked him why he "played with that nigger" (referring to Teddy Wilson), Goodman replied, "I'll knock you out if you use that word around me again". Benny Goodman_sentence_162

In 1962, the Benny Goodman Orchestra toured the Soviet Union as part of a cultural exchange program between the two nations after the Cuban Missile Crisis and the end of that phase of the Cold War; both visits were part of efforts to normalize relations between the United States and the USSR. Benny Goodman_sentence_163

Members of the band included Jimmy Knepper, Jerry Dodgion, and Turk Van Lake (Vanig Hovsepian). Benny Goodman_sentence_164

Bassist Bill Crow published a very jaundiced view of the tour and Goodman's conduct during it under the title "To Russia Without Love". Benny Goodman_sentence_165

On June 25, 2019, The New York Times Magazine listed Benny Goodman among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire. Benny Goodman_sentence_166

Awards and honors Benny Goodman_section_11

Goodman was honored with the Grammy Lifetime Achievement Award. Benny Goodman_sentence_167

After winning polls as best jazz clarinetist, Goodman was inducted into the Down Beat Jazz Hall of Fame in 1957. Benny Goodman_sentence_168

He was a member of the radio division of the National Association of Broadcasters Hall of Fame. Benny Goodman_sentence_169

His papers were donated to Yale University after his death. Benny Goodman_sentence_170

He received honorary doctorates from Union College, the University of Illinois, Southern Illinois University Edwardsville, Bard College, Brandeis University, Columbia University, Harvard University, and Yale University. Benny Goodman_sentence_171

His music appeared in the documentary Jews and Baseball: An American Love Story (2010) narrated by actor Dustin Hoffman. Benny Goodman_sentence_172

Partial discography Benny Goodman_section_12

See also Benny Goodman_section_13

Benny Goodman_unordered_list_0

Credits to the contents of this page go to the authors of the corresponding Wikipedia page: Goodman.