Fletcher Henderson - I'll Always Be In Love With You (1936)

The Fletcher Henderson Orchestra was the most popular African-American band of the 1920s. The smooth, carefully arranged sound of Henderson's orchestra was a huge influence on the Swing style of the next decade. The Orchestra played at the Club Alabam on West 44th Street in New York from 1922 to July of 1924 and then moved to the Roseland Ballroom when Armand J. Piron's Orchestra vacated the job and returned to New Orleans. In 1924 Henderson hired Louis Armstrong to replace Joe Smith on trumpet. Armstrong's thirteen months in the band caused quite a stir among New York Jazz musicians who had never heard anything like him. The orchestra also featured Coleman Hawkins on tenor saxophone, Buster Bailey on clarinet and Don Redman on alto saxophone and also contributing arrangements.
The orchestra recorded with dozens of record companies under a number of different names and pseudonyms including Henderson's Dance Orchestra, Henderson's Club Alabam Orchestra, The Dixie Stompers, Henderson's Happy Six Orchestra, Fletcher Henderson and his Sawin' Six, Louisiana Stompers and the Connie's Inn Orchestra. In 1929 the band travelled to Philadelphia to play the music in a musical revue called "Horseshoes". During rehearsals for the show a dispute over White musicians' role in the production fractured the band and half of the orchestra quit. Henderson put together another version of the band, but things were never the same and the band never resumed the level of popularity that it had enjoyed throughout the 1920s. In the mid 1930s he was the chief arranger for the Benny Goodman Orchestra, and listening to this recording you can hear the Henderson/Goodman Influence.
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Category:

Music

Tags:

• Fletcher Henderson
• Jazz Music
• Harlem
• Speakeasy
• Louis Armstrong
• Victor Records
• 1936

[ASACurator]

Thanks for the additional Info! :-)

[ASACurator]

It is a GREAT Version! ;-)

[fromthesidelines]

Fletcher Henderson was a great composer and musician- but he was a terrible businessman. That's why he kept organizing and reorganizing his various bands during the '30s, and they never lasted long. That's why he began "giving" arrangements to Benny Goodman in the mid-'30s, who was better organized and had more experienced musicians to work with. Incidentally, this arrangement was also used by Bunny Berigan (and rather well) on one of his 1938 "NBC Thesaurus" transcriptions.

[SirRiehl]

I very much enjoy this song!

[scotnick59]

Great but the Goodman version of the same arrangement is a bit smoother

[renascencewoman]

he was a prolific songwriter, too.