Benny Goodman and His Orchestra introduced Gordon Jenkins’composition “Goodbye” on the NBC radio program “Let’s Dance,” which began December 1, 1934. Goodman’s September, 1935, recording for RCA Victor hit the charts the following year and rose to #20.

A young Gordon Jenkins, fresh from working gigs on banjo in St. Louis joints, was hired by the Isham Jones Orchestra in 1932 as staff arranger. Jones’ band, begun in 1920, had become a well-respected, sophisticated dance orchestra by the early 1930s. Saxophonist Joe Bishop had written a composition entitled “Blue Prelude,” and the Casa Loma Orchestra scooped Isham Jones and recorded it in early 1933. The Casa Loma record started getting attention, and Jones was not happy that another band had found success with a tune written by one of his sidemen, so he quickly recorded his own version. But before the music could be published it needed lyrics, and Jones wanted them ASAP. Jenkins volunteered, even though Bishop was dubious about his skill as a lyricist. Nevertheless, once the music was published it scored big, and Bing Crosby’s version hit the charts.

The music and lyrics to “Blue Prelude” are in some respects a prelude to “Goodbye”; in fact Jenkins uses the word at the end of his lyrics to “Blue Prelude.” Both songs relate to a personal tragedy in the life of composer Jenkins, and the incident is related in detail in Bruce Jenkins’ biography of his father, Goodbye: In Search of Gordon Jenkins.

Although Jenkins had written “Goodbye” in 1934, he hadn’t pursued publishing it or writing an arrangement. While working with the Jones band in New York he had become friendly with clarinetist Benny Goodman. When Goodman’s band was hired by NBC in 1934 to perform on the “Let’s Dance” radio program, Benny needed a closing theme. While with Jenkins one day, he mentioned this, asking if Gordon might have a composition he could use. Jenkins sat down at the piano and played a few bars of “Goodbye.” Goodman was ecstatic, remarking, “That’s it!” Jenkins scored an arrangement for Benny, and it was introduced on the first “Let’s Dance” program. Much to Jenkins’ surprise it made the hit parade in 1936, his first composition to do so.

For the remainder of his career, Goodman would end every performance with the number, but always as an instrumental. The first vocal rendition was recorded by the band of Andy Kirk in 1938 with Pha Terrell taking the vocal honors. Goodman wouldn’t record a vocal version until 1955 with Rosemary Clooney.