Remembering Benny Carter, born on this day in 1907

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Benny Carter: The Indispensable Architect of Jazz Elegance

Benny Carter stands as a colossal, yet often under-sung, pillar in the edifice of jazz. His career, spanning an astonishing eight decades from the Roaring Twenties to the dawn of the 21st century, represents a unique confluence of virtuosity, innovation, leadership, and enduring musicality. He wasn’t just a player; he was a multi-instrumentalist (saxophone, trumpet, clarinet), a master arranger and composer, a pioneering bandleader, a trailblazing film scorer, and a mentor to generations. To discuss Carter is to explore the very DNA of jazz sophistication, swing, and harmonic ingenuity.

Biography: A Life in Swingtime

• Beginnings (1907-1920s): Bennett Lester Carter was born in New York City on August 8, 1907. Music permeated his childhood – his mother played piano, and he received some lessons. Initially drawn to the trumpet (inspired by Bubber Miley), a shortage of saxophones in a local band led him to pick up the C-melody saxophone at 15. His talent was immediately evident. By his late teens, he was a professional musician, playing trumpet and saxophone in New York bands, including those led by June Clark, Billy Paige, Earl Hines, and most significantly, Fletcher Henderson (1928, 1930-1931). This immersion in the crucible of early big band jazz was foundational.
• Emergence as a Leader and Innovator (1930s): Carter formed his first big band in 1932. Though financially unstable like many bands of the era, it was a hotbed of innovation. Crucially, this is where Carter solidified his reputation as a revolutionary arranger. His charts for his own band and others (including Henderson, Teddy Hill, McKinney’s Cotton Pickers, and later Benny Goodman and Count Basie) introduced unprecedented textural clarity, intricate counterpoint, and sophisticated harmonic voicings. He moved beyond the simpler riff-based arrangements, crafting pieces with developing motifs, rich harmonies, and distinct roles for sections, laying essential groundwork for the Swing Era’s big band language. Simultaneously, his alto saxophone style matured into one of the most elegant and influential sounds in jazz.
• European Sojourn and Global Impact (1935-1938): Seeking better opportunities and fleeing racial prejudice, Carter accepted an invitation to lead the band at the “Chez Florence” in Paris in 1935. His three years in Europe were transformative. He led the first international big band of significance, featuring top American expatriates like Coleman Hawkins and Django Reinhardt, and top European players. He arranged for the BBC Dance Orchestra (Britain’s premier radio band), composed film scores in Holland (“Big Ben” aka “Benny Carter’s Orchestra”), and became a cultural ambassador, significantly raising the profile of jazz across the continent and influencing countless European musicians. His recordings from this period (like “Crazy Rhythm,” “Blue Light Blues,” “I’m Coming Virginia”) remain classics.

• Hollywood Pioneer and Studio Titan (1940s-1960s): Returning to the US in 1938, Carter briefly led another big band before settling in Los Angeles in 1943. This marked a pivotal shift. He became one of the first prominent African Americans in the Hollywood studio system. Starting with arranging for films like Stormy Weather (1943) and An American Romance (1944), he broke significant racial barriers. His work expanded to include composing and arranging for countless films (The Snows of Kilimanjaro, The View from Pompey’s Head, The Gene Krupa Story, A Man Called Adam), television shows (M Squad, Chrysler Theatre, Ironside, The Name of the Game, Bob Hope Specials, Banyon), and commercials. He was the go-to arranger for singers like Ella Fitzgerald (“How High the Moon” on the Cole Porter Songbook), Sarah Vaughan, Lou Rawls, Peggy Lee, Ray Charles, and Louis Armstrong. This period showcased his extraordinary versatility, impeccable craftsmanship, and ability to work within diverse commercial constraints without sacrificing musical integrity.
• Resurgence as a Performer and Global Ambassador (1970s-1990s): While studio work dominated, Carter never stopped playing. The 1970s saw a remarkable resurgence of his performing career. He began touring internationally again, recording prolifically for labels like Pablo, Concord, and MusicMasters. Albums like The King (1976), Summer Serenade (1980), A Gentleman and His Music (1985), and the Grammy-winning Harlem Renaissance (1992) showcased his undiminished powers. He led all-star ensembles, toured with Jazz at the Philharmonic, and became a revered elder statesman, performing with vitality well into his 80s and 90s.
• Legacy and Honors (Final Years): Carter received numerous accolades late in life and posthumously, befitting his stature: multiple Grammy Awards (including a Lifetime Achievement Award in 1987), the National Medal of Arts (2000), Kennedy Center Honors (1996), and induction into the DownBeat Jazz Hall of Fame. He passed away peacefully in Los Angeles on July 12, 2003, at the age of 95, having witnessed and shaped nearly the entire history of jazz.

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Music Style: The Epitome of Elegant Swing

Benny Carter’s music, whether playing, arranging, or composing, is defined by an overarching quality: elegance. His approach was sophisticated, lyrical, and deeply swinging.

• Alto Saxophone: Carter’s alto sound was warm, rounded, and incredibly fluid. He possessed a seemingly effortless technique that prioritized melodic invention and harmonic sophistication over sheer velocity. His tone was velvety, projecting clarity and a vocal-like quality. He favored long, sinuous lines that unfolded with impeccable logic and grace. His vibrato was warm and controlled. While capable of fiery passages, his default mode was relaxed, urbane swing. He was a master of melodic paraphrase and subtle rhythmic displacement.
• Trumpet & Clarinet: Though less prominent than his alto, Carter was a highly proficient trumpeter with a bright, clear tone and a style reflecting his saxophone’s melodic grace. His clarinet playing, heard more in early years and on specific recordings, was also fluid and assured.
• Arranging & Composition: This is where Carter’s genius arguably shone brightest. His arrangements are masterclasses in balance, texture, and harmonic richness:
  • Textural Clarity: He avoided muddy textures. Each section (saxes, brass) and often individual lines within sections had distinct roles and space to breathe. He used counterpoint effectively, weaving independent melodies that complemented rather than clashed.
  • Harmonic Sophistication: Carter was a harmonic innovator. He employed denser chords (extended harmonies like 9ths, 11ths, 13ths), altered chords, and chromatic passing chords far earlier and more extensively than many contemporaries. He used block voicings (especially for saxes) and drop voicings to create rich, complex sonorities. His harmonic language was advanced yet always served the melody and swing feel.
  • Formal Development: His arrangements often featured development – thematic material introduced, varied, and restated in fresh ways, avoiding simple repetition.
  • Swing Feel: Above all, his arrangements swung with irresistible momentum. He understood groove and rhythmic placement intrinsically.
• Composition: Carter was a prolific composer, penning jazz standards that endure as vehicles for improvisation and elegant melodies in their own right: “When Lights Are Low,” “Blues in My Heart,” “Only Trust Your Heart,” “Key Largo,” “Souvenir,” “Symphony in Riffs,” “Cow Cow Boogie,” “Prohibido,” “Doozy,” “Rock Me to Sleep,” “A Walkin’ Thing,” “I Still Love Him So,” “All That Jazz,” “Another Time, Another Place,” “Everybody’s Wrong But Me,” “I’m In The Mood For Swing,” “Melancholy Lullaby,” “Swing It,” “Lonely Woman,” “Blue Star” (the Medic TV theme).

Improvisational Licks and Language: Melodic Logic and Harmonic Awareness

Carter’s improvisational style is inseparable from his arranging sense. His solos are architecturally sound, melodically inventive, and harmonically astute.

• Arpeggiation and Chord Outlining: Carter frequently used arpeggios (ascending and descending) to clearly outline the underlying chord changes, but always with rhythmic grace and melodic purpose, avoiding mere exercises. He would often decorate arpeggios with chromatic approach notes or neighbor tones.
• Scalar Fluency with a Twist: While fluent in scales, he favored diatonic scales (major, melodic minor) and blues scales, often interjecting chromatic passing tones to create tension and resolution, adding sophistication without sounding forced. His lines flowed seamlessly.
• Motivic Development: A hallmark of Carter’s solos is the development of small melodic motifs. He would introduce a short, catchy idea (a rhythmic cell, an interval leap, a turn) and then subtly vary it – transposing it, inverting it, changing its rhythm – creating a sense of organic growth and unity within the solo.
• Lyrical Phrasing: His phrases were often long, flowing, and vocal-like. He had a superb sense of breath and space, letting lines unfold naturally. He used rhythmic displacement sparingly but effectively, placing accents on unexpected beats to create subtle syncopation within the swing feel.
• Blues Inflection: Deeply rooted in the blues, Carter incorporated bent notes (especially blue thirds and sevenths), smears, and growls (more common on trumpet) with taste and emotional resonance, always maintaining his characteristic elegance.
• Quotation and Allusion: He occasionally wove subtle quotes from other tunes or familiar classical motifs into his solos, adding wit and depth.
• Listening: Crucially, Carter was a master listener. His solos were always in dialogue with the rhythm section and the arrangement, responding dynamically to the musical context. His solos on recordings like “Crazy Rhythm” (1937), “I Can’t Believe That You’re In Love With Me” (1936), “More Than You Know” (1958), or “Body and Soul” (1986) exemplify these traits: melodic beauty, harmonic intelligence, logical development, and effortless swing.

Chord Progressions and Music Harmony: The Foundation of Sophistication

Carter’s harmonic language, both in his compositions/arrangements and his improvisations, was remarkably advanced for his time and remained sophisticated throughout his career.

• Beyond Basic Changes: While grounded in the standard jazz repertoire and blues forms, Carter consistently enriched progressions:
  • Extended and Altered Chords: He liberally used 9ths, 11ths, and 13ths, both diatonic and altered (e.g., b9, #9, #11, b13). These weren’t just coloristic; they were integral to his melodic lines and voicings.
  • Chromaticism: He employed chromatic passing chords and approach chords extensively to create smooth voice leading and surprising harmonic shifts within functional progressions. He used secondary dominants and diminished passing chords effectively.
  • Reharmonization: Carter was a master of subtly reharmonizing standard tunes in his arrangements and solos, substituting chords to create fresh harmonic landscapes while respecting the melody. His arrangement of “I’m Coming Virginia” (1937) is a prime example.
  • Modal Flavor: While not a modal jazz pioneer like later figures, Carter incorporated dorian minor and other modal flavors, especially in blues contexts or original compositions, adding a distinct color. His use of the minor 6th interval was characteristic.
  • Voice Leading: His arrangements are exemplary in their smooth, logical voice leading. Each note within a chord voicing had a purpose and moved convincingly to the next chord, creating a rich, flowing harmonic tapestry. His saxophone section voicings (often 5-part) were particularly renowned for their lushness and clarity.
• Blues Foundation: Despite the sophistication, the blues remained the bedrock. His blues compositions (“Blues in My Heart,” “Doozy”) and improvisations retained the essential feeling while showcasing harmonic nuance.

Influences: Absorbing and Transcending

Carter absorbed influences from the fertile ground of early jazz and stride piano:

• Saxophone: Early influences included Don Redman (also an arranger/saxist), Coleman Hawkins (for harmonic conception and tenor sound, though Carter played alto), and Frankie Trumbauer (for C-melody sax and lyrical approach, influencing Carter’s alto style). He admired Johnny Hodges’ later lyricism but was already developing his own distinct voice concurrently.
• Trumpet: Bubber Miley (original inspiration), Louis Armstrong (overall conception, phrasing, power), Rex Stewart (colleague in Henderson’s band).
• Arranging/Composing: Fletcher Henderson’s early band was his primary arranging school. He also absorbed elements from Duke Ellington (orchestral color) and classical music (form, counterpoint).
• Piano: The harmonic language of stride pianists like James P. Johnson and Fats Waller informed his chordal thinking.

Crucially, Carter synthesized these influences rapidly and developed a highly individual style by his mid-20s, which then became hugely influential itself.

Legacy: The Indispensable Craftsman

Benny Carter’s legacy is immense and multifaceted:

1. Architect of the Big Band Sound: His arranging innovations in the early 1930s fundamentally shaped the sonic language of the Swing Era. Bands led by Goodman, Basie, Ellington, Lunceford, and Webb all benefited directly or indirectly from his concepts of voicing, counterpoint, and development.
2. Pioneering Multi-Instrumentalist: He set a benchmark for mastery on multiple horns (alto, trumpet), proving exceptional fluency across instruments.
3. Master of Elegance and Swing: He defined a school of jazz playing and writing characterized by lyrical beauty, sophisticated harmony, and an effortless, deeply ingrained swing feel. His sound and approach remain touchstones of taste.
4. Hollywood Trailblazer: As one of the first successful African American composers/arrangers in film and television, he broke significant racial barriers and paved the way for countless others, proving Black musicians could excel in the demanding world of studio scoring.
5. Mentor and Educator: Carter actively encouraged younger musicians. His influence is heard directly in the playing of saxophonists like Ben Webster (early on), Phil Woods, and Johnny Hodges (mutual influence). Countless arrangers studied his scores. His later bands often featured younger stars (Kenny Burrell, Wes Montgomery, J.J. Johnson, Tommy Flanagan, Grady Tate) whom he nurtured.
6. Enduring Relevance: His compositions are jazz standards. His recordings, from the 1930s to the 1990s, remain essential listening, consistently demonstrating timeless musical values – melody, harmony, rhythm, and swing. He proved that sophistication and accessibility were not mutually exclusive.

Major Works and Filmography Highlights

• Iconic Compositions: “When Lights Are Low,” “Blues in My Heart,” “Only Trust Your Heart,” “Key Largo,” “Souvenir,” “Symphony in Riffs,” “Cow Cow Boogie,” “Prohibido,” “Doozy,” “A Walkin’ Thing,” “I Still Love Him So,” “All That Jazz,” “Another Time, Another Place,” “Everybody’s Wrong But Me,” “I’m In The Mood For Swing,” “Melancholy Lullaby,” “Swing It,” “Lonely Woman,” “Blue Star”.
• Film Scores (Arranger/Composer):
  • Stormy Weather (1943 – arranger)
  • An American Romance (1944 – arranger)
  • The Snows of Kilimanjaro (1952 – uncredited arranger, reportedly)
  • The View from Pompey’s Head (1955)
  • The Gene Krupa Story (1959)
  • A Man Called Adam (1966 – featuring Louis Armstrong & Sammy Davis Jr.)
  • Buck and the Preacher (1972 – Sidney Poitier)
• Television Themes/Arranging: M Squad, Chrysler Theatre, Ironside, The Name of the Game, Bob Hope Specials, Banyon, The Alfred Hitchcock Hour, Charlie’s Angels (arranger for pilot), Medical Center, Hawaii Five-O (arranger, not theme), The Bill Cosby Show (arranger).
• Vocal Arranging: Landmark work with Ella Fitzgerald (Songbook series), Sarah Vaughan, Lou Rawls, Peggy Lee, Ray Charles, Louis Armstrong, Mel Tormé, etc.

Discography Highlights (Representative Selection)

Carter recorded prolifically across eight decades. Here are landmark albums and sessions:

1. The Formative Years & European Period (1928-1938):
   • Fletcher Henderson & His Orchestra recordings (1928, 1930-1931)
   • Benny Carter & His Orchestra (1932-1934) – Classics Chronological Series
   • Benny Carter in Paris (1936-1938) – Classics Chronological Series / Individual tracks: “Crazy Rhythm,” “I’m Coming Virginia,” “Blue Light Blues,” “Gin and Jive,” “Swingin’ at Maida Vale”
   • Coleman Hawkins: The Bebop Years (includes 1937 tracks with Carter)
2. Big Band & Studio Era (1939-1950s):
   • Benny Carter & His Orchestra (1939-1940, 1941, 1943-1946) – Classics Chronological Series / Mosaic Select
   • Cosmopolite: The Oscar Peterson Verve Sessions (1952-1954) – Features Carter prominently
   • Jazz Giant (Contemporary, 1957-1958) – Quintessential small-group Carter
   • Swingin’ the ’20s (1958) – With Coleman Hawkins
   • Benny Carter with Strings (EmArcy, 1954)
3. The Great Resurgence (1960s-1990s):
   • Further Definitions (Impulse!, 1961) – A masterpiece revisiting the 1937 Paris sound with a stellar sax section (Phil Woods, Charlie Rouse, Coleman Hawkins, Carter).
   • Additions to Further Definitions (Impulse!, 1966)
   • The King (Pablo, 1976)
   • The Benny Carter 4: Montreux ’77 (Pablo, 1977)
   • Summer Serenade (Storyville, 1980)
   • A Gentleman and His Music (Concord, 1985)
   • Central City Sketches (MusicMasters, 1987) – Grammy-nominated orchestral work.
   • Harlem Renaissance (MusicMasters, 1992) – Grammy Winner (Best Large Jazz Ensemble).
   • Songbook (MusicMasters, 1996) – Grammy Winner (Best Jazz Instrumental Solo).
   • Tickle Toe (Verve, 1997 – Recorded 1960)
   • Benny Carter: The Music Master (4-CD Set, MusicMasters, 1994) – Excellent career overview.
   • New York Nights (MusicMasters, 1997)
   • Echoes of San Juan (MusicMasters, 1994)

Most Known Compositions and Performances

• Compositions: “When Lights Are Low” (perhaps his most recorded standard), “Blues in My Heart,” “Only Trust Your Heart,” “Key Largo,” “Souvenir.”
• Iconic Recorded Performances:
  • “Crazy Rhythm” (1937 Paris) – Showcases his blazing alto technique and band.
  • “I’m Coming Virginia” (1937 Paris) – Quintessential Carter arrangement and solo.
  • “Blue Light Blues” (1937 Paris) – Atmospheric masterpiece.
  • “Symphony in Riffs” (1933, 1961) – His major early extended composition.
  • “Doozy” (1958 on Jazz Giant) – Classic small-group blues.
  • “How Can You Lose” (1958 on Jazz Giant) – Beautiful ballad playing.
  • “Only Trust Your Heart” (Numerous versions, e.g., 1985 on A Gentleman and His Music)
  • “Body and Soul” (1986 on Billy Eckstine Sings with Benny Carter) – Sublime late-career ballad interpretation.
  • His solos on Further Definitions (1961) – Especially “Honeysuckle Rose,” “Doozy,” “Fantastic, That’s You.”
  • His Grammy-winning solo on “Prelude to a Kiss” from Harlem Renaissance (1992).

Benny Carter was not merely a jazz musician; he was a complete musical force. His influence permeates the harmonic language of big bands, the lyrical approach of countless saxophonists, and the very professionalism of studio arranging. He embodied swing, sophistication, and perseverance. His music, characterized by its unwavering elegance, melodic invention, and harmonic depth, continues to resonate as a testament to the enduring power of artistry and craft. He truly was, as many called him, “The King.”

Benny Carter Vol. 1 1939 – 1944 (1977) (Full Album)

Track List:

A1 Lady Be Good (A) 0:00 A2 Liebestraum (A) 3:05 A3 My Heart Has Wings (A) 6:01 A4 Big Wig In The Wigwam (A) 9:15 A5 Melancholy Lullaby (A) 11:36 A6 Honeysuckle Rose (B) 13:03 A7 Stardust (C) 14:41 A8 I Used To Love You (D) 17:28 B1 Rose Room (In Sunny Roseland) (D) 20:08 B2 Sweet Georgia Brown (D) 23:03 B3 Swanee River (E) 25:38 B4 All Of Me (E) 28:03 B5 Fish Fry (E) 31:12 B6 Jubilee Jump (F) 33:40 B7 Sleep (F) 36:48 B8 ILL Wind (F) 39:34

Personnel and Recording Dates:
(A) Benny Carter And His Orchestra: Benny carter (tp, as, Idr, arr); Lincoln Mills, Louis Bacon or Joe Thomas, Archie Johnson (tp); Tyree Glenn (tb, vibes); Victor “Vic” Dickenson, James Archey (tb); Jimmy Powell, Carl Frye (as); Ernie Powell (cl, as); Castor McCord (ts); Eddie Haywood Jr (p); Arnold Adams (g); Hayes Alvis (b); Ted Fields (dm); Mercedes Carter (voc).
New York (Savoy Ballroom), May 20, 1939.

(B) Benny Carter With The “Chamber Music Society Of Lower Basin Street” Orchestra:
Benny Carter (as), acc. by Henry “Hot Lips” Levine (tp); Jack Epstein (tb); Alfie Evans (cl); Rudolph Adler (ts); Tony Colucca (g); Harry Patent (b); Nat Levine (dm), New York, May 5, 1940.

(C) Same as for (B), but Carter plays tp instead of as.
New York, May 5, 1940.

(D) Benny Carter And His Orchestra: Claude Dunson, Vernon “jake” Porter, Teddy Buckner or “Snooky” Young, Freddie Webster (tp); Alton “Slim” Moore, Jay Jay Johnson, John “Shorty” Haughton (tb); Benny Carter (as, tp, ldr, arr); Porter Kilbert (as); Hubert “Bumps” Myers, Gene Porter (ts); Willard Brown (bar sax, as); Humphrey “Ted” Brannon (p); Ulysses Livingston (g); Dillon “Curley” Russel (b); Oscar Bradley (dm); Mercedes Carter (voc).
Hollywood, late 1943.

(E) Same as for (D), but Sonny White (p) replaces Brannon.
Hollywood, early 1944.

(F) Same as for (E).
Hollywood, Spring 1944.

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Benny Carter – Take the A Train, Misty – Jazz à Vienne 1991 – LIVE

Benny Carter – Take the A Train, Misty – Jazz à Vienne 1991 – LIVE Benny Carter (Saxophone alto) Swing America All Stars with Harry Edison (Trumpet), Marian McPartland (Piano), Milt Hinton (Basse), Louie Bellson (Drums)

Titles : Take the A train (Billy Strayhorn), Misty (Erroll Garner) Jazz à Vienne 2nd July 1991 Directed by : Patrick Savey

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