Dave Bennett and his band were guest artists at the Portland Symphony Orchestra’s “Tribute to Benny Goodman” before a larger than usual audience Sunday afternoon at Merrill Auditorium.

Bennett is acclaimed for his authentic renditions of Benny Goodman classics, as if he were “channeling” the great clarinetist. Having heard them both live, I would have to say that Bennett has improved upon the original.

This is no slight on Goodman’s genius, but much has happened in music, both classical and jazz, since the heyday of swing and the big bands. Using new materials and techniques puts an edge on Bennett’s performance, making it it more than just an evocation of nostalgia.

Under the lively baton of guest conductor Teresa Cheung, the orchestra became a super-PAC of big bands, providing a unity to the concert not achieved by most pop-symphony collaborations.

The program opened a little slowly, with “Let’s Dance” and a Goodman medley, as if the band and orchestra had to warm up on a late Sunday afternoon. It got into the swing of things with the first vocal, “Do right (like the other men do),” by Carol McCartney, sultry and authentic, with a great and unusual bass riff by Paul Keller, who also does the fine arrangements for the band.

The next number, “These Foolish Things,” utilized the resources of the entire orchestra effectively, especially the brass section.

Bennett has been accused of overemphasizing riffs in his reconstructions, but that’s what audiences go to hear. The audience at Merrill Auditorium went wild over the presto variations on “I’ve Got Rhythm.” If Bennett channels Benny, drummer Peter Siers does well as Gene Kruppa. Bennett’s circular breathing on a long, high note at the end of the piece was spectacular.

It was surprising that, after intermission, things again took a while to warm up, maybe because the first two numbers were less well known. A vocal, “You smile and the angels sing,” got everyone back on track with some outstanding skewed instrumental rhythms.

Bennett can also support a vocalist very well, as “Blues in the Night” demonstrated. The clarinet insinuated itself between bars like a snake. I found this the most soulful work of the afternoon, although the solo clarinet ending of “Sing, Sing, Sing” came close.

Speaking of riffs, pianist Tad Weed’s solo in the latter was simply amazing. It had everything from bird calls to Bartok, with a little Mozart thrown in, all at prestissimo speed.

The encores were “Goodbye,” and “When the Saints Go Marching In,” with a lot of amiable clowning around in the latter.

Christopher Hyde’s Classical Beat column  appears in the Maine Sunday Telegram. He can be reached at:

classbeat@netscape.net