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By Morroe Berger

This striking two-volume paintings was once hailed as a milestone of jazz literature whilst it used to be initially released in 1982. interpreting either his musical and cultural value, the authors current the lifestyles and occupation of Benny Carter, probably the most very important and flexible figures in jazz. prior to now twenty years, Carter, in his eighties and nineties, persisted to extend his musical realm. during this re-creation, Edward Berger has introduced the unprecedented Carter saga into the recent millennium, including insider bills of excursions, significant live shows, recordings, and different unique occasions. moreover, the recent paintings finds extra of the reticent Carter's complicated personality and perspectives, gleaned from thousands of hours of interviews and conversations. The accompanying annotated discography, probably the most complete ever dedicated to the paintings of a unmarried musician, has been completely revised and up-to-date. Dozens of recent and formerly unpublished photos were further.

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Extra info for Benny Carter, a life in American music, Volume 2

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He played some guitar and led the musical family in singing at home, mainly church songs. He liked to drink, too, which caused occasional uneasiness at home and injured his own health in later years, but his influence in the household was always a wholesome one as recalled by his son and his elder daughter Edna. He encouraged his son's musical interests, taking pride in his growing professional success. The children's musical inclinations were mainly developed, at first, by their mother. Sadie Bennett Carter was the classically selfless mother, working as a domestic for white families nearby.

Financial support was provided by the Department of Sociology and the Program in Afro-American Studies of Princeton University and a grant from the National Endowment for the Humanities. The following musicians, figures in the music industry, and friends and relatives of Benny Carter generously consented to be interviewed, mostly in person, some by phone, and a few through correspondence. Their reminiscences and observations added immeasurably to our understanding of Benny Carter and his music: Leo Arnaud, Charlie Barnet, George Bassman, Dick Berg, Archie Bleyer, Bill Borden, Edna Byrnes, Cab Calloway, Margaret Carter, David Cavanaugh, Bill Challis, Doc Cheatham, Frank Comstock, Mercer Cook, Stanley Dashberg, Charles Delaunay, Dave Dexter, George Duvivier, Harry "Sweets" Edison, Roy Eldridge, Kai Ewans, Peter Faith, Harry Garfield, Dizzy Gillespie, Benny Goodman, Mike Gould, Norman Granz, Rene Hall, John Hammond, Albert Harris, Horace and Angell Henderson, Sammy Heyward, Earl Hines, Elliot Horne, Faith Hubley, Calvin Jackson, J.

Aware that in showbusiness, especially in Hollywood, appearances are a close second to talent in importance, he has usually owned good houses in the right neighborhoods, and in front of them has had two of these leading carsCadillac, Rolls Royce, Mercedes. He has travelled first class, dressed in the best clothing in a correct but unobtrusive style, entertained generously at home and unostentatiously picked up tabs in restaurants and night clubs. All of this has not been just a façade, for Carter has had the talent, income, and taste to accord with such appearances.

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