“Well, Benny, you always knew how to play the clarinet and I always knew how to organize a band”, Woody Herman once told his friend and big rival Benny Goodman. An unpretentious clarinettist, pleasant saxophonist and singer, Woodrow Charles ‘Woody’ Herman, whose nickname was borrowed by Allen Stewart Konigsberg before becoming a jazz-loving and celebrated film director, spent the greatest part of his adult life – half a century from 1936 onwards – leading a big band in continuous evolution, sometimes even coming to the fore. His evolved ‘First Herd’ was launched in 1945 in what was then new jazz, namely bebop, even before Dizzy Gillespie. Two years later his ‘Second Herd’ was tinged with the sounds of post bebop, with the arrival of the ‘Brothers’, the very cool young saxophonists who were to shake the aesthetics of their instrument and change the orientation of the whole orchestra. Stan Getz was their flag holder and Four Brothers and Early Autumn represented their most outstanding recorded references. With a humorous nature and a philosophical outlook on life, Woody was fond of his musicians and they respected him in return. With the addition of some dazzling made-to-measure compositions written by young talent assisted by Woody during their debuting steps and who were not to sink into oblivion, (Ralph Burns, Johnny Mandel, Neal Hefti etc.) there was team spirit, enthusiasm and an irresistible flame.
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