A Quote by Harry James

Benny [Goodman] used to practice 15 times more than the whole band combined. — © Harry James
Benny [Goodman] used to practice 15 times more than the whole band combined.
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.
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.
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.
The most significant bands I played in when I first got to New York were Bobby Watson's band, Roy Hargrove's first band, Benny Golson's band, Benny Green's trio, and probably the most significant out of all of those, for me personally, was playing in Freddie Hubbard's band.
Benny Goodman's band was integrated before baseball. Even before it was physically integrated, music was integrated. Everyone listened to Armstrong and Ellington. The 20s was called the Jazz Age. It's part of being American.
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.
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.
The brilliant explosion known as Benny Goodman went off in 1935, and it hasn´t gone out yet.
I'm working really hard to get the clarinet out of that hole, that Benny Goodman thing.
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.
I started off playing the clarinet, after I was inspired by listening to my dad's Benny Goodman records.
Benny Goodman was one of the big influences as a clarinet player. That's why I wanted the clarinet.
I usually settle into a routine during the season where I shoot for about 15 or 20 minutes before and after practice, and then do the whole practice.
When I was young kid, I used to watch Jack Benny, and I thought the minimal aspect of what he did was revelatory. I loved Jack Benny.
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