{"id":4796,"date":"2013-06-02T00:10:45","date_gmt":"2013-06-02T07:10:45","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=4796"},"modified":"2013-06-02T00:08:20","modified_gmt":"2013-06-02T07:08:20","slug":"two-bennies-busting-out","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2013\/06\/two-bennies-busting-out\/","title":{"rendered":"Two Bennies Busting Out"},"content":{"rendered":"<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/06\/Carousel.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/06\/Carousel.jpg\" alt=\"Carousel\" width=\"90\" height=\"153\" class=\"alignleft size-full wp-image-4797\" \/><\/a>You might assume that \u00e2\u20ac\u0153June is Busting Out All Over,\u00e2\u20ac\u009d an exuberant Rodgers and Hammerstein show tune from <em>Carousel<\/em>, is unsuitable as a jazz vehicle. Two Bennies, Goodman and Carter, might argue&#151;if they were around to argue&#151;that there are no bad songs, only bad interpretations. Benny Goodman recorded &#8220;June is Busting Out All Over&#8221; with a pleasant vocal by Kay Penton in 1945, the year the show debuted on Broadway. Goodman\u00e2\u20ac\u2122s record includes his clarinet solo and a 16-bar interlude by the little-remembered Charlie Queener (1921-1997), whose harmonic resourcefulness belied his pigeonhole classification as a \u00e2\u20ac\u0153Dixieland\u00e2\u20ac\u009d pianist.  <\/p>\n<div style=\"text-align: center;\"> <iframe loading=\"lazy\" width=\"440\" height=\"355\" src=\"http:\/\/www.youtube.com\/embed\/PrhvTXlt5Jc?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/iframe><\/div>\n<p><p>Benny Carter wrote a short take-no-prisoners big band arrangement of the song for his 1958 United Artists album <a href=\"http:\/\/www.amazon.com\/Aspects-Benny-Carter\/dp\/B000005H6Q\/?_encoding=UTF8&#038;camp=1789&#038;creative=9325&#038;keywords=Benny%20Carter%20Aspects&#038;linkCode=ur2&#038;qid=1370149242&#038;s=music&#038;sr=1-1&#038;tag=rifftidougram-20\"target=\"_blank\"><em>Aspects<\/em><\/a>. It has solos, fully in the spirit of the chart, by Joe Gordon, trumpet; Frank Rosolino, trombone; Shelly Manne, drums; and the leader on alto saxophone. The video accompanying the music is one of Steve Cerra\u00e2\u20ac\u2122s tribute productions for his blog <a href=\"http:\/\/www.jazzprofiles.blogspot.com\/\"target=\"_blank\">Jazz Profiles<\/a>. We use it here, by way of <em>YouTube<\/em>, with Steve&#8217;s permission, more or less.<\/p>\n<div style=\"text-align: center;\"> <iframe loading=\"lazy\" width=\"440\" height=\"355\" src=\"http:\/\/www.youtube.com\/embed\/rEuk3HxwkRQ?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/iframe><\/div>\n<p><p>The <em>Rifftides<\/em> staff wishes you a carefree weekend and a splendid June. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>You might assume that \u00e2\u20ac\u0153June is Busting Out All Over,\u00e2\u20ac\u009d an exuberant Rodgers and Hammerstein show tune from Carousel, is unsuitable as a jazz vehicle. Two Bennies, Goodman and Carter, might argue&#151;if they were around to argue&#151;that there are no bad songs, only bad interpretations. Benny Goodman recorded &#8220;June is Busting Out All Over&#8221; with [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-4796","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/4796","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=4796"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/4796\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=4796"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=4796"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=4796"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}