Benny Goodman is perhaps the most important figure of the Swing Era. He is indisputably one of the most important figures in jazz. But he has always been difficult, controversial and standoffish with researchers and jazz historians. Consequently, there were no full-length studies of his career during his life (discounting, of course, his autobiography, The Kingdom of Swing, which was published in 1939 and, though worth reading, was largely ghost-written). Since Goodman's death two years ago, however, scholarly interest in him has increased. James Lincoln Collier's Benny Goodman and the Swing Era is the first of what I suspect may be several critical assessments Goodman's career.

Collier's book contains three elements. First and foremost, it is a biography. Second, it is a descriptive overview of the Swing Era. Third, it analyzes in detail Benny Goodman's significant recordings. The book's central problem is one of audience: the first two elements are written for newcomers to the field while the third is directed toward experts.

Collier's overview of the Swing Era is nicely done. He considers social and political circumstances, technological innovations and musical antecedents that gave rise to the music of the 1930's. His discussions of pre-swing era "jazz" orchestras like Art Hickman's, Jean Goldkette's and Paul Whiteman's are particularly good, focusing, as they do, on the social and musical soil that nourished the Benny Goodman phenomenon of the middle 30's

However, this panoramic overview results in a thin biography. The central events of Benny Goodman's life and career are capably described. Newcomers will likely find the biographical chapters interesting because Goodman led an interesting life, but those who already have some knowledge of Goodman will find few new details. Most of Collier's information comes from previously published and widely known material.

Curiously, about one-third of this book is devoted to Goodman's recordings. Collier has listened to them carefully and discusses them thoroughly, right down to specific figures in specific measures of specific recordings. He also discusses interesting nuances in the arrangements of Fletcher Henderson, Edgar Sampson, Spud Murphy and others. Experts on Benny Goodman will enjoy comparing and contrasting Collier's impressions with their own. Newcomers, however, will find themselves drowning in esoterica.

In the end, part of this book is written for the newcomer, part for the expert. I can't imagine any reader finding this book fully satisfying. On the other hand, almost any fan of the Swing Era will find something interesting. Even though this book is not all I hoped it would be, it is the first serious, full-length biography we have of the King of Swing, and for that I am grateful.