A Quote by Whitney Balliett

The brilliant explosion known as Benny Goodman went off in 1935, and it hasn´t gone out yet. — © Whitney Balliett
The brilliant explosion known as Benny Goodman went off in 1935, and it hasn´t gone out yet.
The distance between me and Benny [Goodman], was that I was trying to play a musical thing, and Benny was trying to swing. Benny had great fingers; I'd never deny that. But listen to our two versions of 'Star Dust.' I was playing; he was swinging.
I started off playing the clarinet, after I was inspired by listening to my dad's Benny Goodman records.
Above all else, [Benny Goodman] was a great player, one of the greatest American music has produced. He brought his absolute talent and his invincible love of music to the fore every time he played. There are many other things connected to society and ethnicity that are often mentioned in a discussion of Benny Goodman but all of them are connected to his overwhelming affection for the art of the music and the fairness it should be allowed to express.
Since the advent of Benny Goodman, there have been too few clarinetists to fill the void that Goodman left. Ken Peplowski is most certainly one of those few. The man is magic.
I'm working really hard to get the clarinet out of that hole, that Benny Goodman thing.
When I first met Benny Goodman he wouldn't talk about anything but clarinets, mouthpieces, reeds, etc. When I tried to change the subject, he said 'But that's what we have in common. We both play clarinet.' I said, 'No, Benny, that's where we're different. You play clarinet, I play music.'
Benny Goodman plays the clarinet. I play music.
Everybody in Germany was for the -German cause. But then, after the war ended, when I heard the first Glenn Miller sound on the radio and these fantastic American music makers, I turned into a jazz fanatic. They called me Benny, after Benny Goodman. So, all of a sudden, the eyes of young Germans were opened to America - everything American was absolutely at the top of the list.
Benny [Goodman] used to practice 15 times more than the whole band combined.
Benny Goodman was one of the big influences as a clarinet player. That's why I wanted the clarinet.
Listening to Benny [Goodman] talk about the clarinet was like listening to a surgeon get hung up on a scalpel.
I love Glenn Gould. Max Steiner. John Williams. Louis Prima. Benny Goodman. Miles Davis. John Philip Sousa.
During the last 35 years, the artists multiplied, the public grew enormously, the economy exploded, and so-called contemporary art became fashionable. All these parameters changed the art world form its previous aspects and fundamentals - the explosion of museums and institutions, explosion of Biennales and Triennials, explosion of money, explosion of interest, explosion of artists, explosion of countries interested in contemporary exhibitions, explosion of the public. Not to see that is to be more than blind.
As for my band, well, my mentors were Duke Ellington, Benny Goodman, Jimmie Lunceford, and no one had a band more smartly dressed than Duke.
Every single tune you know from the 1940s until the 1970s was written, arranged, and demoed in the Brill Building. OK, maybe not every song, but writers from Benny Goodman to Lieber & Stoller to Neil Diamond all kept offices there.
These stories seem at times to be stories of a long-lost world when the city of New York was still filled with a river light, when you heard the Benny Goodman quartets from a radio in the corner stationery store, and when almost everybody wore a hat.
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