GINO FRANCESCONI PDF

You can also watch a live, free webcast of the Jan 13 concert! Click here to learn more. Our history of jazz goes back to James Reese Europe. The Benny Goodman concert stands out because it was one of the first times that people bought tickets to actually sit and listen to swing and not dance to it. It was one of the first times blacks and whites played together on a concert stage.

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You can also watch a live, free webcast of the Jan 13 concert! Click here to learn more. Our history of jazz goes back to James Reese Europe. The Benny Goodman concert stands out because it was one of the first times that people bought tickets to actually sit and listen to swing and not dance to it.

It was one of the first times blacks and whites played together on a concert stage. The recording that Benny put in a closet and forgot about for 20 years—at the time of its release, it was one of the bestselling LP sets of all time. It helped cement the live recording. Benny wanted the Carnegie Hall album to come out as one of the first CDs. We had many lunches with Teo, who at the time was producing. Paley was the founder of CBS.

Paley and people who work on the top floor. But about a week later we found out the album was coming out on CD. And Goodman had just reached the pinnacle of his commercial success right in the year of GF: And then the story was that they hired a well-known comedian from the time, Beatrice Lillie, to just sort of hang out and wait in case the audience got unruly But it never got that far. The concert sold out.

We only had two box-office windows at the time and people lined up. It was incredible. He thought they should have a comedian because they were on stage. But there were a lot of Benny followers around.

We only have one copy [of the program]. LS: Which is funny because "4 million people were there. Courtesy of the William P.

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Maestro of Memories

But when the San Francisco native entered the lobby, he was sure he was in the wrong place. But the position is one that he never would have envisioned for himself when he came to New York with dreams of performing on the stage. After enrolling in a Juilliard class taught by conductor Vincent La Selva, Francesconi applied for a job as an usher at the hall. He was hired and soon became the backstage artist attendant, a position he describes as aggrandized gofer. Then a post-concert conversation with conductor Riccardo Muti led Francesconi to pursue his conducting studies full time.

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