Clarinet A La King Jazz Ensemble - Digital Sheet Music

SKU: A0.1874392

Peter Stöve ‘What If Benny Goodman…’ series, Vol. 7! (A take-off on events that could have happened with the Benny Goodman Orchestra’s book of arrangements if things in jazz history had taken another turn).

What if Benny Goodman had recognized the qualities of Eddie Sauter's arrangements and compositions as early as 1935? He must have known Sauter; as an arranger for vibraphonist Red Norvo's orchestra, he had contributed to the success of that band.

Benny Goodman's triumphant rise as the “King of Swing” began in August 1935 with the band's performances at the Palomar Ballroom in Los Angeles. The audience was enthusiastic about the perfect danceability of the Fletcher Henderson arrangements in Goodman's repertoire. This strengthened Goodman's conviction that these pieces were his band's greatest attraction.

But from 1939 onwards, Sauter was asked to write pieces for the Goodman band. These were mainly accompaniments to popular songs for vocalists, but in three cases they were original compositions by Sauter, such as ‘Clarinet A La King’.
In 1939, Goodman's orchestra had expanded by two musicians (compared to the 1935 band): a fifth saxophonist on alto and baritone saxophone, and a fourth trumpeter. This gave the band of that time a somewhat deeper sound. But what if Goodman had asked Sauter to write for the band back in 1935? How would his pieces have sounded?

'Clarinet A La King' is presented here as a piece that could have been a cornerstone of the Goodman band library as early as 1935. Based on the transcription by Myles Collins, it is now written for the 1935 Benny Goodman Orchestra lineup: solo clt/2 as/2 ts/3 tpt/2 trb/rhy. No doubling; tpt 1 to D3. The clarinet soloist must be a first-class ‘BG-wannabe’: fluent soloist, comfortable in the upper register. If your band has such a player: have fun! The music example is a sound excerpt of my Sibelius file.