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| The Columbia and Okeh Benny Goodman Orchestra Sessions |
| Benny Goodman |
| első megjelenés éve: 2009 |
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| (2009)
[ LIMITED ]
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|
7 x CD |
| 27.320 Ft
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| 1. CD tartalma: |
| 1. | Jumpin' At The Woodside [A]
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| 2. | Stealin' Apples [B]
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| 3. | Boy Meets Horn [B]
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| 4. | Bolero [B]
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| 5. | Spring Song [C]
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| 6. | Night And Day [C]
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| 7. | Down By The Old Mill Stream [D]
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| 8. | Mozart Matriculates [E]
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| 9. | Let's Dance [F]
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| 10. | Beyond The Moon [G]
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| 11. | Honeysuckle Rose [G]
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| 12. | Opus Local 802 [H]
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| 13. | Board Meeting [H]
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| 14. | Zaggin' With Zig [H]
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| 15. | Can't You Tell [I]
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| 16. | Squeeze Me (tk.-B) [I]
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| 17. | Cocoanut Grove [J]
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| 18. | Jumpin' At The Woodside [alt tk.-B] [A]
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| 19. | Stealin' Apples [alt tk.-B] [B]
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| 20. | Stealin' Apples [alt tk.-D] [C]
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| 21. | Night And Day [alt tk.-B] [C]
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| 22. | Down By The Old Mill Stream [alt tk.-3] [D]
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| 23. | Down By The Old Mill Stream [alt tk.-2] [D]
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| 24. | Opus Local 802 [alt tk.-B] [H]
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| 25. | Squeeze Me [tk.-A] [I]
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| 26. | Cocoanut Grove [alt tk.-1] [J]
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| 2. CD tartalma: |
| 1. | The Hour Of Parting [K]
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| 2. | Crazy Rhythm [K]
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| 3. | Who Cares [L]
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| 4. | Just Like Taking Candy From A Baby [L]
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| 5. | Nostalgia [M]
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| 6. | Henderson Stomp [N]
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| 7. | Benny Rides Again [N]
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| 8. | Frenesi [O]
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| 9. | Superman [P]
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| 10. | Moonlight On The Ganges (-1) [P]
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| 11. | Somebody Stole My Gal [Q]
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| 12. | Let The Door Knob Hitcha [R]
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| 13. | The Hour Of Parting [alt tk.-1] [K]
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| 14. | Crazy Rhythm [alt tk.-3] [K]
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| 15. | Who Cares [So Long As You Care For Me] [alt tk.-5] [L]
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| 16. | Just Like Taking Candy From A Baby [alt tk.-1] [L]
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| 17. | Benny Rides Again [alt tk.-3] [N]
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| 18. | Superman [alt tk.-2] [P]
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| 19. | Superman [alt tk.-3] [P]
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| 20. | Moonlight On The Ganges (-3) [P]
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| 21. | Moonlight On The Ganges (-2) [P]
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| 22. | Somebody Stole My Gal [alt tk.-3] [Q]
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| 23. | Let The Door Knob Hitcha [alt tk.-2] [R]
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| 24. | Let The Door Knob Hitcha [alt tk.-3] [R]
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| 3. CD tartalma: |
| 1. | I'm Not Complainin' [S]
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| 2. | Time On My Hands [S]
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| 3. | Scarecrow [T]
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| 4. | Take It [U]
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| 5. | Solo Flight [U]
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| 6. | Intermezzo [V]
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| 7. | Fiesta In Blue [V]
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| 8. | Cherry [V]
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| 9. | Something New [W]
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| 10. | Air Mail Special [W]
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| 11. | Don't Be That Way [W]
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| 12. | Tuesday At Ten [X]
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| 13. | La Rosita [X]
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| 14. | I'm Not Complainin' [S] [alt tk.-4]
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| 15. | I'm Not Complainin' [S] [alt tk.-2]
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| 16. | Scarecrow [alt tk.-4] [T]
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| 17. | Scarecrow [alt tk.-3] [T]
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| 18. | Scarecrow [alt tk.-2] [T]
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| 19. | Take It [alt tk.-3] [U]
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| 20. | Take It [alt tk.-2] [U]
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| 21. | Solo Flight [alt tk.-2] [U]
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| 22. | Fiesta In Blue [alt tk.-2] [V]
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| 23. | Cherry [alt tk.-3] [V]
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| 24. | Cherry [alt tk.-2] [V]
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| 25. | Something New [Negra Soy] [alt tk.-2] [W]
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| 26. | At Ten [alt tk.-1] [X]
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| 4. CD tartalma: |
| 1. | The Count [Y]
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| 2. | Pound Ridge [Y]
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| 3. | The Birth Of The Blues [AA]
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| 4. | The Earl [BB]
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| 5. | Caprice XXIV Paganini [CC]
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| 6. | Clarinet A La King [mtx. 31393-2] [CC]
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| 7. | I'm Here [CC]
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| 8. | Roll 'Em (Pt.1) (DD)
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| 9. | Roll 'Em (Pt.2) (DD)
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| 10. | I'll Get By [EE]
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| 11. | The Count [alt tk.-3] [Y]
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| 12. | The Count [alt tk.-2] [Y]
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| 13. | Pound Ridge [alt tk.-4] [Y]
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| 14. | Pound Ridge [alt tk.-3] [Y]
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| 15. | Pound Ridge [alt tk.-1] [Y]
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| 16. | The Birth Of The Blues [alt tk.-1] [Z]
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| 17. | Clarinet A La King [mtx. 3980-4] [AA]
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| 18. | Clarinet A La King [mtx. 3980-3] [AA]
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| 19. | Clarinet A La King [mtx. 3980-2] [AA]
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| 20. | Clarinet A La King [mtx. 3980-1] [AA]
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| 21. | The Earl [alt tk.-?] [BB]
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| 22. | The Earl [alt tk.-1] [BB]
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| 23. | I'm Here [alt tk.-2] [CC]
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| 24. | Clarinet A La King [mtx. 31393-4] [EE]
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| 5. CD tartalma: |
| 1. | At The Darktown Strutters Ball [FF]
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| 2. | Jersey Bounce [GG]
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| 3. | A String Of Pearls [HH]
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| 4. | Ramona [HH]
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| 5. | Before [Rachmaninoff Special] [II]
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| 6. | Peter And The Wolf [II]
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| 7. | Six Flats Unfurnished [JJ]
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| 8. | After You've Gone [JJ]
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| 9. | Mission To Moscow [KK]
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| 10. | Love Walked In [LL]
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| 11. | Clarinade [NN]
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| 12. | Jersey Bounce [FF]
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| 13. | At The Darktown Strutters Ball [alt tk.-4) [FF]
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| 14. | At The Darktown Strutters Ball [alt tk.-3] [FF]
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| 15. | At The Darktown Strutters Ball [alt tk.-2] [FF]
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| 16. | Jersey Bounce [alt tk.-4) [GG]
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| 17. | Jersey Bounce [alt tk.-3] [GG]
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| 18. | A String Of Pearls [alt tk.-3] [HH]
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| 19. | A String Of Pearls [alt tk.-2] [HH]
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| 20. | Ramona [alt tk.-3] [HH]
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| 21. | Ramona [alt tk.-2] [HH]
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| 22. | Ramona (BD) [HH]
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| 23. | After You've Gone [alt tk -3] [JJ]
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| 24. | After You've Gone [alt tk -2] [JJ]
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| 25. | Mission To Moscow [alt tk -3] [KK]
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| 26. | Mission To Moscow [alt tk -2] [KK]
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| 27. | Love Walked In [alt tk.-1] [LL]
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| |
| 6. CD tartalma: |
| 1. | Gotta Be This Or That (Pt.1) and [MM]
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| 2. | Just You, Just Me [OO]
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| 3. | Baby, Won't You Please Come Home [OO]
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| 4. | Somebody Stole My Gal [PP]
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| 5. | Lucky [alt tk.-1] [QQ]
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| 6. | Fascinating Rhythm [RR]
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| 7. | Lucky [SS]
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| 8. | Rattle And Roll [SS]
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| 9. | Swing Angel [TT]
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| 10. | Oh, Baby ! (Pt.1) [UU]
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| 11. | Oh, Baby ! (Pt.2) [UU]
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| 12. | Fly By Night [WW]
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| 13. | Put That Kiss Back Where You Found It [XX]
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| 14. | Benjie's Bubble [YY]
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| 15. | Gotta Be This Or That (Pt.1) [alt tk.-2] [MM]
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| 16. | Gotta Be This Or That (Pt.2) [alt tk.-1] [MM]
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| 17. | Lucky [alt tk.-2] [QQ]
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| 18. | Lucky [alt tk.-3] [SS]
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| 19. | Rattle And Roll [alt tk.-2] [SS]
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| 20. | Rattle And Roll [alt tk.-3] [SS]
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| 21. | Swing Angel [alt tk.-3] [TT]
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| 22. | Swing Angel [alt tk.-2] [TT]
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| 23. | Fly By Night [alt tk.-3] [VV]
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| 7. CD tartalma: |
| 1. | Down South Camp Meetin' [AAA]
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| 2. | Mean To Me [AAA]
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| 3. | South Of The Border [AAA]
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| 4. | Muskat Ramble [AAA]
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| 5. | Lulu's Back In Town [BBB]
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| 6. | Star Dust [BBB]
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| 7. | Wrappin' It Up [BBB]
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| 8. | King Porter Stomp [BBB]
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| 9. | When Buddha Smiles [CCC]
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| 10. | Sunrise Serenade [CCC]
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| 11. | I'm Gonna Sit Right Down And Write Myself A Letter [FFF]
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| 12. | My Honey's Lovin' Arms [FFF]
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| 13. | Wolverine Blues [GGG]
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| 14. | Back In Your Own Backyard [HHH]
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| 15. | Swing Into Spring [HHH]
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| 16. | Swanee River [HHH]
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| 17. | I'm Gonna Sit Right Down And Write Myself A Letter [alt tk.-9) [FFF]
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| 18. | Hora Staccato [ZZ]
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| 19. | Poor Butterfly [ZZ]
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| 20. | Moonglow [DDD]
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| 21. | Georgia On My Mind [DDD] (H.Carmichael-S.Gorrell)
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| 22. | I Gotta Right To Sing The Blues [DDD]
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| 23. | I Didn't Know What Time It Was [DDD]
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| 24. | Goodbye [EEE]
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| 25. | Embraceable You [EEE]
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| 26. | Lover, Come Back To Me [EEE]
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| 27. | If I Had You [EEE]
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Jazz
"His quicksilver tone, his insistent drive to swing the music, his ability to execute cleanly the most dramatic filigrees of passages - all these qualities made him one of the most imitated instrumentalists in the world."
--- Robert J. O’Meally, Dir. of Jazz Studies, Columbia Univ.
Limited Edition: 5000 copies
The Swinging Sound Of Benny Goodman
You see it again and again in music - a new generation rushes the dance floor, pushes their parents to the wall, and suddenly it's their turn. There's a new sound. The sound of rebellion. It's also the story of swing, and it's king, Benny Goodman.
Benny Goodman. The name alone evokes a completely different era in popular music and jazz. His remarkably fluid concept on the clarinet took jazz improvisation a step in a new direction from that of his influences, Jimmie Noone and Leon Roppolo. You could hear it as far back as the late 20s and early 30s when BG was an apprentice with the bands of Ben Pollack and Ted Lewis as well as the countless studio sessions he did for a variety of band leaders. Try to describe the Goodman sound? Easy: Pure Swing.
The big band he organized for the "Let's Dance" radio program over NBC in New York eventually matured into the locomotive that barreled through the country to its famed and often told moment of discovery and success at the Palomar Ballroom in Los Angeles. The band delivered to the youth of America a new voice that was hot, cool, progressive and inventive.
In that spirit, Mosaic Records is proud to present the Classic Columbia and OKeh Benny Goodman Orchestra Sessions (1939-1958) - a treasure trove of seven CDs, spanning nearly 20 years of Goodman's musical life, from the late 1930s when his popularity was already well established, throughout the 1950s when Benny would assemble the cream of the mainstream jazz world to be, even if it were just for one session, the Benny Goodman Orchestra. The set features more than 24 tracks that are being released for the first time.
Spotlight On Instrumentals
These recordings represent the second stage of Goodman's career. With the disarming of the early band of which Harry James, Gene Krupa and Jess Stacy were such an intregal part, coupled with the loss of the Goodman Trio and Quartet with Krupa, Teddy Wilson and Lionel Hampton, this marked the end of an era. Leaving the Victor label, Benny joins Columbia and presents some new and old faces: Lionel Hampton, Ziggy Elman, Charlie Christian, Arthur Bernstein, Lou McGarrity, Stan Getz, Jimmy Maxwell and what was once big news - Benny luring Cootie Williams away from the Ellington band.
However, possibly the greatest change in the band was in the arranging department. The man whose charts were a springboard to the early success of the BG band, Fletcher Henderson, is still churning out great arrangements. Yet it was the work of both Eddie Sauter and Mel Powell whose young, fertile ideas were a challenge to both Benny and the band and made for some of the Swing Era's most durable sounds.
We've decided to focus on this set of Goodmania, the instrumental big band sides for Columbia and OKeh. There are a few vocals but these are the instrumentals that although eclipsed commercially by Benny's contemporaries - Harry James, Glenn Miller, the Dorseys and Artie Shaw - they are nonetheless Olympian examples of big band swing.
Mosaic Quality: Superior Sound, Priceless Photographs, Informative Liner Notes
Our transfers of the recordings came for the most part from the original metal mothers, lacquer discs and reel to reel tapes. Our discography took shape through the invaluable research done by Russ Connor in his superb discographies on Benny. We also had access to the original Columbia / OKeh ledgers and AFM logs to also get the details as accurate as possible, and correct errors.
A full retrospective of the period and session-by-session analysis by Loren Schoenberg sets the record straight on all the recordings included. The booklet also includes many priceless photographs of the era including a New Year's Eve dance at the Waldorf Astoria in 1938.
CLASSIC COLUMBIA AND OKEH BENNY GOODMAN ORCHESTRA SESSIONS (1939-1958)
DISCOGRAPHY
All releases are credited on the original issues as Benny Goodman and his Orchestra unless noted. For
the purposes of this discography, only the first issue is listed unless contemporaneous issues exist. All
are American releases unless noted (Arg) for Argentina, (J) for Japan, (Sd) for Sweden or (UK) for
United Kingdom.
Unless noted, all issues were originally released on 78.
78 label abbreviations: Col for Columbia, Har for Harmony, OK for OKeh and Par for Parlophone.
LP label abbreviations: BD for Blu-Disc, Nost for Nostalgia Book Club and Phon for Phontastic.
Arrangers are abbreviated in the following manner: Jeff Alexander (JA), Count Basie (CB), George
Bassman (GB), Henry Brandt (HB), Ralph Burns (RB), Joe Bushkin (JB), Toots Camarata (TC), Buck
Clayton (BC), Duke Ellington (DE), Margie Gibson (MG), Thomas Goodman (TG), Buster Harding
(BH), Fletcher Henderson (FH), Les Hite (LH), Richard Maltby (RM), Skip Martin (SM), Jimmy
Mundy (JM), Jack Pleis (JP), Mel Powell (MP), Edgar Sampson (ESa), Eddie Sauter (ES), Sonny
Skylar (SS), Alec Wilder (AW), Mary Lou Williams (MLW).
To the best of our knowledge, this discography is presented in the order in which each take was
recorded. However, the CDs contained in this set are sequenced with the master take first and then any
alternates at the conclusion of the disc. Alternate takes that were chosen not to be part of this set are
omitted from this discography.
[A] Ziggy Elman, Chris Griffin, Corky Cornelius (tp), Bruce Squires, Red Ballard, Vernon Brown (tb),
Benny Goodman (cl), Toots Mondello, Buff Estes (as), Jerry Jerome, Bus Bassey (ts),
Fletcher Henderson (p), Arnold Covey (g), Artie Bernstein (b), Nick Fatool (d).
Supervised by John Hammond
LA, August 10, 1939
LA 1948-B Jumpin’ At The Woodside (CB, JM-arr) Phon (Sd) 7606 (LP)
LA 1948-A Jumpin’ At The Woodside (CB, JM-arr) Col 35210
[B] Same as [A]
Supervised by John Hammond
LA, August 11, 1939
LA 1951-B Stealin’ Apples (FH-arr) BD T-1004 (LP)
LA 1951-A Stealin’ Apples (FH-arr) Col 35362
LA 1952-A Boy Meets Horn (DE-arr) Col 35301
LA 1953-B Bolero (FH-arr) Phon (Sd) 7606 (LP)
[C] Same as [A]
Supervised by John Hammond
LA, August 16, 1939
LA 1951-D Stealin’ Apples (FH-arr) Phon (Sd) LV 50 (LP)
LA 1962-A Spring Song (FH-arr) Col 35319
LA 1964-B Night And Day (FH-arr) Nost P3-13618 (LP)
LA 1964-A Night And Day (FH-arr) Col 35410
Note: Phontastic LV 50 (LP) was distributed as a private release.
The Columbia files claim that Spring Song was adapted by Benny Goodman and
Jimmy Van Heusen.
[D] Jimmy Maxwell, Johnny Martel, Ziggy Elman (tp), Ted Vesely, Red Ballard, Vernon Brown (tb),
Benny Goodman (cl), Toots Mondello, Buff Estes (as), Jerry Jerome, Bus Bassey (ts),
Fletcher Henderson (p), Arnold Covey (g), Artie Bernstein (b), Nick Fatool (d).
Supervised by John Hammond
NYC, September 13, 1939
CO 25351-3 Down By The Old Mill Stream (FH-arr) Phon (Sd) XM79 (LP)
CO 25351-2 Down By The Old Mill Stream (FH-arr) Phon (Sd) 7606 (LP)
CO 25351-1 Down By The Old Mill Stream (FH-arr) Col 35445
Note: Phontastic XM79 (LP) was distributed as a private release.
[E] Same as [D]
Supervised by John Hammond
NYC, October 20, 1939
no matrix Mozart Matriculates (HB-arr) BD T-1004 (LP)
Note: According to the Columbia logs, matrix WCO 26197-A was assigned to this title. However, Mozart
Matriculates wound up being scrapped and the matrix given to a recording of Frenesi
by a Spanish sextet.
[F] Same as [D]
Supervised by John Hammond
NYC, October 24, 1939
WCO 26202-A Let’s Dance (GB, FH-arr) Col 35301
[G] Same as [D] except Charlie Christian (g) replaces Covey on matrix 26290.
Supervised by John Hammond
NYC, November 22, 1939
WCO 26289-A Beyond The Moon (FH-arr) Col 35410
WCO 26290-A Honeysuckle Rose (FH-arr) Col 35319
[H] Jimmy Maxwell, Johnny Martel, Ziggy Elman (tp), Ted Vesely, Red Ballard, Vernon Brown (tb),
Benny Goodman (cl), Toots Mondello, Buff Estes (as), Jerry Jerome, Bus Bassey (ts), Johnny Guarnieri
(p), Arnold Covey (g), Artie Bernstein (b), Nick Fatool (d).
Supervised by John Hammond
NYC, December 27, 1939
WCO 26365-B Opus Local 802 (FH-arr) previously unissued
WCO 26365-A Opus Local 802 (FH-arr) Col 35362
WCO 26367-A Board Meeting (LH-arr) Col 35396
WCO 26368-A Zaggin’ With Zig (ES-arr) Col 35356
Note: Alhtough the American Federation of Musicians session logs are not extant in the Sony vaults to confirm
personnel for this session, it’s possible that Charlie Christian is the guitarist here as the Columbia ledgers
show him as being present for this session.
[I] Same as [H]
Supervised by John Hammond
NYC, January 16, 1940
WCO 26418-A Can’t You Tell (FH-arr) Col 35543
WCO 26419-B Squeeze Me (FH-arr) Phon (Sd) 8821 (CD)
WCO 26419-A Squeeze Me (FH-arr) Phon (Sd) 7610 (LP)
[J] Jimmy Maxwell, Irving Goodman, Ziggy Elman (tp), Ted Vesely, Red Ballard, Vernon Brown (tb),
Benny Goodman (cl), Toots Mondello, Les Robinson (as), Jerry Jerome, Bus Bassey (ts), Johnny
Guarnieri (p), Charlie Christian (g), Artie Bernstein (b), Nick Fatool (d).
LA, April 3, 1940
HH 2426 / (WCO 26717) -1 Cocoanut Grove (ES-arr) previously unissued
HH 2426 / WCO 26717-A (-2) Cocoanut Grove (ES-arr) Col 35527
Note: Sessions [J], [K], [L] and [M] were taken from newly found lacquer discs which bear the prefix
HH in addition to an individual disc number. No mention is made of the regular WCO matrix numbers
on these lacquers and each take is listed numerically rather than alphabetically as are found on the
originally issued 78s.
Sessions [J] through [M] have been misdated in various discographies. The true recording dates were
discovered by Goodman discographer Russ Connor in the form of letters from the World Broadcasting
System studios in Hollywood to Columbia Records in NY. The newly found lacquers mentioned above
confirmed these dates as they were notated on each disc.
As is noted in session [H] there is some debate whether Arnold Covey or Charlie Christian is the
guitarist on this session. Since the American Federation of Musician session logs list Christian as being
present, we have chosen Christian for this date.
[K] Same as [J]
LA, April 10, 1940
HH 2423 / (WCO 26740) -1 The Hour Of Parting (ES-arr) previously unissued
HH 2423 / WCO 26740-A (-3) The Hour Of Parting (ES-arr) Col 35527
HH 2435 / (WCO 26742) -3 Crazy Rhythm (FH-arr) previously unissued
HH 2435 / WCO 26742-B (-4) Crazy Rhythm (FH-arr) Col 35497
[L] FRED ASTAIRE WITH BENNY GOODMAN AND HIS ORCHESTRA –1 / FRED ASTAIRE
WITH BENNY GOODMAN ORCHESTRA AND SEXTET –2: Same as (J) except add Fred
Astaire (vcl, tap dancing) and Lionel Hampton (vib) to matrix HH 2454 / WCO 26809.
LA, April 30, 1940
HH 2450 / WCO 26807-A (-4) Who Cares (So Long As You
Care For Me) (FA-vcl) (ES-arr) –1 Col 35517
HH 2451 / (WCO 26807) -5 Who Cares (So Long As You
Care For Me) (FA-vcl) (ES-arr) –1 previously unissued
HH 2454 / (WCO 26809) -1 Just Like Taking Candy From
A Baby (FA-vcl, tap) (FH-arr) –2 -
HH 2454 / WCO 26809-A (-3) Just Like Taking Candy From
A Baby (FA-vcl, tap) (FH-arr) –2 Col 35517
[M] Same as [J] except Jerome doubles on bass clarinet.
LA, June 25, 1940
HH 2470 / WCO 26983-B (-5) Nostalgia (Waltz) (ES-arr) Col 35594
[N] Jimmy Maxwell, Irving Goodman, Alec Fila, Cootie Williams (tp), Lou McGarity, Red Gingler (tb),
Benny Goodman (cl), Gus Bivona, Skip Martin, (as), Bob Snyder (as, bari), Georgie Auld, Jack Henderson
(ts), Fletcher Henderson –1, Bernie Leighton –2 (p), Mike Bryan (g), Artie Bernstein (b), Harry Jaeger (d).
NYC, November 13, 1940
CO 29064-5 Henderson Stomp (FH-arr) –1 previously unissued
XCO 29065-3 Benny Rides Again (ES-arr) –2 BD T-1009 (LP)
XCO 29065-1 Benny Rides Again (ES-arr) –2 Col 55001 (12” 78)
Note: See the producer’s note at the end of this discography for further information about this session.
[O] Same as [N] except Cutty Cutshall (tb) replaces Gingler.
NYC, November 29, 1940
CO 29179-2 Frenesi (FH-arr) Col 35863
Note: According to the AFM logs and Columbia ledgers, there are 3 trumpets at this session
with Cootie Williams replacing Irving Goodman on Frenesi only.
[P] Same as [O]
NYC, December 18, 1940
XCO 29256-2 Superman (ES-arr) Col PG 33405 (LP)
XCO 29256-3 Superman (ES-arr) Col GL 523 (LP) / previously unissued
XCO 29256-1 Superman (ES-arr) Col 55002 (12” 78)
CO 29258-3 Moonlight On The Ganges (ES-arr) BD T-1004 (LP)
CO 29258-2 Moonlight On The Ganges (ES-arr) previously unissued
CO 29258-1 Moonlight On The Ganges (ES-arr) Phon (Sd) 7612 (LP)
Note: Composites of matrices CO 29256-3 (from the start of the record toward the end of Cootie
Williams’ solo) and -1 (from Georgie Auld’s solo to the end of the record) were spliced together to
form the release on the Columbia LP Benny Goodman Presents Arrangements By Eddie
Sauter (GL 523). The previously unissued material from -3 starts at Georgie Auld’s solo.
Composites of matrices CO 29258-3 (from the start of the record through the first half of Benny’s solo)
and -1 (from the second half of Benny’s solo to the end of the record) were spliced together for a
“new” take on that same Columbia LP.
Blu-Disc T-1004 incorrectly states -4 as the take that was used for Moonlight On The Ganges.
[Q] Same as [O] except Fletcher Henderson (p) replaces Leighton for this title only from this session.
NYC, December 20, 1940
CO 29275-3 Somebody Stole My Gal (FH-arr) BD T-1009 (LP)
CO 29275-1 Somebody Stole My Gal (FH-arr) Col 35916
[R] Jimmy Maxwell, Irving Goodman, Alec Fila (tp), Cootie Williams (tp, vcl), Lou McGarity,
Cutty Cutshall (tb), Benny Goodman (cl), Gus Bivona, Skip Martin, Bob Snyder (as), Georgie Auld,
Jack Henderson (ts), Teddy Wilson (p), Mike Bryan (g), Artie Bernstein (b), Dave Tough (d).
NYC, January 14, 1941
CO 29502-2 Let The Door Knob Hitcha (CW-vcl) (MG-arr) Phon (Sd) 7612 (LP)
CO 29502-3 Let The Door Knob Hitcha (CW-vcl) (MG-arr) BD T-1009 (LP)
CO 29502-1 Let The Door Knob Hitcha (CW-vcl) (MG-arr) Col 35962
[S] Same as [R] except Hymie Schertzer (as) replaces Martin and Count Basie (p) replaces Wilson.
NYC, January 21, 1941
CO 29529-4 I’m Not Complainin’ (ESa-arr) previously unissued
CO 29529-2 I’m Not Complainin’ (ESa-arr) Phon (Sd) 7612 (LP)
CO 29529-1 I’m Not Complainin’ (ESa-arr) Col 36022
Skip Martin (as) and Teddy Wilson (p) replace Schertzer and Basie.
same session
CO 29530-1 Time On My Hands (ES-arr) Col 36180
[T] Jimmy Maxwell, Irving Goodman, Alec Fila, Cootie Williams (tp), Lou McGarity, Cutty Cutshall
(tb), Benny Goodman (cl), Gus Bivona, Les Robinson (as), Georgie Auld, Pete Mondello (ts),
Bob Snyder (bari), Johnny Guarnieri (p), Mike Bryan (g), Artie Bernstein (b), Dave Tough (d).
NYC, February 19, 1941
CO 29775-4 Scarecrow (BH-arr) Phon (Sd) 7615 (LP)
CO 29775-3 Scarecrow (BH-arr) Time Life STLJ05 (LP)
CO 29775-2 Scarecrow (BH-arr) BD T-1009 (LP)
CO 29775-1 Scarecrow (BH-arr) Col 36180
Note: Time Life STLJ05 incorrectly states -2 as the take used and Blu-Disc T-1009 incorrectly states -4
as the take that was used.
[U] Same as [T] except Skip Martin (as) replaces Robinson.
NYC, March 4, 1941
CO 29863-3 Take It (voc ens.) (MG-arr) BD T-1009 (LP)
CO 29863-2 Take It (voc ens.) (MG-arr) Phon (Sd) 7615 (LP)
CO 29863-1 Take It (voc ens.) (MG-arr) Col 36067
CO 29865-1 Solo Flight (JM-arr) –1 Col 36684
CO 29865-2 Solo Flight (JM-arr) –1 Col CL 652 (LP)
–1 Charlie Christian (el-g) replaces Bryan.
[V] Jimmy Maxwell, Billy Butterfield, Irving Goodman, Cootie Williams (tp), Lou McGarity,
Cutty Cutshall (tb), Benny Goodman (cl), Gus Bivona, Les Robinson (as), Georgie Auld,
Pete Mondello (ts), Skip Martin (bari), Johnny Guarnieri (p), Mike Bryan (g), Artie Bernstein (b),
Dave Tough (d).
NYC, March 27, 1941
CO 30070-1 Intermezzo (ES-arr) –1 Col 36050
CO 30071-2 Fiesta In Blue (JM-arr) Phon (Sd) 7615 (LP)
CO 30071-1 Fiesta In Blue (JM-arr) Col 36755
CO 30072-3 Cherry (JM-arr) Phon (Sd) 7616 (LP)
CO 30072-2 Cherry (JM-arr) BD T-1009 (LP)
CO 30072-1 Cherry (JM-arr) Har 1061
–1 omit Cootie Williams (tp) and one of the reeds doubles on bass clarinet.
Note: Goodman initially blocked the release of Cherry because he felt Harry James’ hit version
for Columbia was a better arrangement. The master take on Harmony was released in 1946.
[W] Jimmy Maxwell, Billy Butterfield, Irving Goodman, Cootie Williams (tp), Lou McGarity,
Cutty Cutshall (tb), Benny Goodman (cl), Les Robinson, Jimmy Horvath (as), Georgie Auld,
Pete Mondello (ts), Skip Martin (bari), Teddy Wilson (p), Mike Bryan (g), Artie Bernstein (b),
Jo Jones (d).
NYC, May 6, 1941
CO 30420-2 Something New (Negra Soy) (ES-arr) Phon (Sd) 7616 (LP)
CO 30420-1 Something New (Negra Soy) (ES-arr) Col 36209
CO 30421-1 Air Mail Special (JM-arr) Col 36254
CT 104 Don’t Be That Way (ESa-arr) Phon (Sd) 7616 (LP)
Note: Don’t Be That Way is noted in the Columbia logs as “For Mr. Wallerstein – test 104”
and was a gift to then Columbia president Ted Wallerstein. The “CT” prefix stands for “Columbia Test”.
[X] Jimmy Maxwell, Billy Butterfield, Cootie Williams (tp), Lou McGarity, Cutty Cutshall (tb),
Benny Goodman (cl), Les Robinson, Gene Kinsey (as), Georgie Auld, Pete Mondello (ts),
Skip Martin (bari), Mel Powell (p), Charlie Christian (g), Walter Yost (b), Sid Catlett (d).
NYC, June 11, 1941
CO 30648-1 Tuesday At Ten (SM-arr) Phon (Sd) 7616 (LP)
CO 30648-2 Tuesday At Ten (SM-arr) Col 36254
CO 30651-1 La Rosita (ES-arr) Col 36284
Note: Discographies list the bassist as Walter Iooss.
[Y] Jimmy Maxwell, Billy Butterfield, Al Davis, Cootie Williams (tp), Lou McGarity, Cutty Cutshall
(tb), Benny Goodman (cl), Clint Neagley, Skip Martin (as), Vido Musso, George Berg (ts),
Chuck Gentry (bari), Mel Powell (p), Tom Morgan (g), John Simmons (b), Sid Catlett (d).
Chicago, August 1, 1941
CCO 3927-3 The Count (MLW-arr) previously unissued
CCO 3927-2 The Count (MLW-arr) -
CCO 3927-1 The Count (MLW-arr) Col 36379
CCO 3928-4 Pound Ridge (?SM-arr) previously unissued
CCO 3928-2 Pound Ridge (?SM-arr) Col 36421
CCO 3928-3 Pound Ridge (?SM-arr) previously unissued
CCO 3928-1 Pound Ridge (?SM-arr) Phon (Sd) 7616 (LP)
[Z] Same as [Y]
Chicago, August 15, 1941
CCO 3951-1 The Birth Of The Blues (ES-arr) Col PG 33405 (LP)
[AA] Same as [Y]
Chicago, August 20, 1941
CCO 3951-2 The Birth Of The Blues (ES-arr) Col 36359
CCO 3980-4 Clarinet A La King (ES-arr) previously unissued
CCO 3980-3 Clarinet A La King (ES-arr) -
CCO 3980-2 Clarinet A La King (ES-arr) Phon (Sd) 7616 (LP)
CCO 3980-1 Clarinet A La King (ES-arr) Col PG 33405 (LP)
Note: Since the master take of Clarinet A La King is from a later session (see session CC),
the above takes can be found at the end of Disc IV with the rest of the alternate takes. See the
producer’s note at the end of this discography for further information on Clarinet A La King.
[BB] Jimmy Maxwell, Billy Butterfield, Al Davis, Cootie Williams (tp), Lou McGarity, Cutty Cutshall
(tb), Benny Goodman (cl), Clint Neagley, Skip Martin (as), Vido Musso, George Berg (ts),
Chuck Gentry (bari), Mel Powell (p), Tom Morgan (g), Marty Blitz (b), Jo Jones (d).
NYC, September 25, 1941
CO 31364-? The Earl (MP-arr) BD T-1014 (LP)
CO 31364-1 The Earl (MP-arr) -1 V-Disc 425 A, Navy V 205 A
CO 31364-2 The Earl (MP-arr) -1 OK 6474
-1 omit Jo Jones.
[CC] Same as [BB] except Sid Catlett (d) replaces Jo Jones.
NYC, October 2, 1941
CO 31390-1 Caprice XXIV Paganini (SM-arr) Col 36411
CO 31393-2 Clarinet A La King (ES-arr) OK 6544
CO 31402-2 I’m Here (MP-arr) Phon (Sd) 7617 (LP)
CO 31402-1 I’m Here (MP-arr) Col 36411
Note: See the producer’s note at the end of this discography for further information on
Clarinet A La King.
[DD] Same as [CC]
NYC, October 8, 1941
no matrix Roll ‘Em (Pt.1) (MLW-arr) BD T-1014 (LP)
no matrix Roll ‘Em (Pt.2) (MLW-arr) -
[EE] Jimmy Maxwell, Billy Butterfield, Al Davis (tp), Lou McGarity, Cutty Cutshall (tb),
Benny Goodman (cl), Clint Neagley, Skip Martin (as), Vido Musso, George Berg (ts),
Chuck Gentry (bari), Mel Powell (p), Tom Morgan (g), Sid Weiss (b), Ralph Collier (d).
NYC, October 23, 1941
CO 31393-4 Clarinet A La King (ES-arr) previously unissued
no matrix I’ll Get By (AW-arr) Phon (Sd) 7617 (LP)
Note: Since the master take of Clarinet A La King is from an earlier session (see session CC),
the above take can be found at the end of Disc IV with the rest of the alternate takes. See the producer’s
note at the end of this discography for further information on Clarinet A La King.
Columbia’s files state that only Clarinet A La King was waxed at this session. However, since
it is rare for just one tune to be recorded at a session, we’ve adapted Russ Connor’s reasoning from his
bio-discography of Benny Goodman (Listen To His Legacy) and added an otherwise unassignable
recording of I’ll Get By to this session.
[FF] Same as [EE] except Bernie Privin (tp) replaces Butterfield; Sol Kane (as) replaces Martin; and
possibly Artie Baker (bari) replaces Gentry.
NYC, January 15, 1942
CO 32238-1 Jersey Bounce (MP-arr) V-Disc 409 A, Navy 189 A
CO 32241-4 At The Darktown Strutters Ball (MP-arr) previously unissued
CO 32241-3 At The Darktown Strutters Ball (MP-arr) V-Disc 425 A, Navy 205 A
CO 32241-1 At The Darktown Strutters Ball (MP-arr) Col 36699
CO 32241-2 At The Darktown Strutters Ball (MP-arr) previously unissued
Note: Since -1 of Jersey Bounce is considered an alternate to the master take found in
Session (GG) it can be found at the end of Disc V with the rest of the alternate takes.
Discographies have listed CO 32241-2 as being the take used on the V-Disc issues. However, the
original lacquer discs reveal the above new information to be correct.
[GG] Jimmy Maxwell, Bernie Privin, Al Davis (tp), Lou McGarity, Cutty Cutshall (tb),
Benny Goodman (cl), Clint Neagley, Sol Kane (as), Vido Musso, George Berg (ts), Chuck Gentry or
Artie Baker (bari), Mel Powell (p), Tom Morgan (g), Sid Weiss (b), Ralph Collier (d).
NYC, January 23, 1942
CO 32238-4 Jersey Bounce (MP-arr) previously unissued
CO 32238-3 Jersey Bounce (MP-arr) -
CO 32238-2 Jersey Bounce (MP-arr) OK 6590
[HH] Same as [GG] except Art Ralston (bari) replaces either Gentry or Baker.
NYC, February 5, 1942
CO 32383-3 A String Of Pearls (MP-arr) Phon (Sd) 7620 (LP)
CO 32383-2 A String Of Pearls (MP-arr) BD T-1015 (LP)
CO 32383-1 A String Of Pearls (MP-arr) OK 6590
CO 32385-3 Ramona (ES-arr) Phon (Sd) 7620 (LP)
CO 32385-2 Ramona (ES-arr) previously unissued
CO 32385-BD Ramona (ES-arr) BD T-1006 (LP)
CO 32385-1 Ramona (ES-arr) Col (Arg) 20.323 B (78)
Note: New information from the lacquer discs show that composites of matrices CO 32385-BD (from the
start of the record through Benny’s clarinet solo) and -1 (from the end of Benny’s solo to the end of
the record) were spliced together to form the release on the Columbia LP Benny Goodman Presents
Arrangements By Eddie Sauter (GL 523).
[II] Jimmy Maxwell, Bernie Privin, John Napton (tp), Lou McGarity, Cutty Cutshall (tb),
Benny Goodman (cl), Sol Kane, Bud Shiffman (as), Vido Musso, George Berg (ts), Art Ralston (bari),
Mel Powell (p), Tom Morgan (g), Sid Weiss (b), Ralph Collier (d).
NYC, March 12, 1942
CO 32600-1 Before (Rachmaninoff Special) (TC-arr) OK 6644
no matrix Peter And The Wolf (poss.MP-arr) Epic EE 22025 (LP)
Note: The artist card for the Epic LP lists Eddie Sauter as the arranger.
[JJ] Jimmy Maxwell, Tony Faso, Benny Baker (tp), Lou McGarity, Charlie Castaldo (tb),
Benny Goodman (cl), Hymie Schertzer, Clint Neagley (as), Jon Walton, Leonard Sims (ts),
Bob Poland (bari), Mel Powell (p), Dave Barbour (g), Cliff Hill (b), Hud Davies (d).
NYC, July 27, 1942
CO 33047-1 Six Flats Unfurnished (RM-arr) Col 36652
CO 33049-3 After You’ve Gone (FH-arr) BD T-1014 (LP)
CO 33049-2 After You’ve Gone (FH-arr) -
CO 33049-1 After You’ve Gone (FH-arr) Col 36699
[KK] Same as [JJ] except Lawrence Stearns (tp) replaces Baker.
NYC, July 30, 1942
CO 33070-3 Mission To Moscow (MP-arr) BD T-1014 (LP)
CO 33070-2 Mission To Moscow (MP-arr) Phon (Sd) 7648 (LP)
CO 33070-1 Mission To Moscow (MP-arr) Col 36680
[LL] Vince Badale, Al Cuozzo, Tony Faso, Stan Fishelson (tp), Trummy Young, Sy Shaeffer,
Bill Pritchard (tb), Benny Goodman (cl), Bill Shine, Aaron Sachs (as), Stan Kosow, Al Epstein (ts),
Danny Bank (bari), Charlie Queener (p), Mike Bryan (g), Clyde Lombardi (b), Morey Feld (d).
NYC, March 17, 1945
CO 34477-1 Love Walked In (ES-arr) Col “Star Time” XLP 32642, Vol 1 (LP)
CO 34477-2 Love Walked In (ES-arr) Col GL 523 (LP)
[MM] Vince Badale, Al Cuozzo, Tony Faso, Stan Fishelson (tp), Trummy Young, Eddie Aulino,
Chauncey Welsch (tb), Benny Goodman (cl), Ray Beller, Aaron Sachs (as), Stan Kosow, Al Epstein
(ts), Danny Bank (bari), Charlie Queener (p), Mike Bryan (g), Slam Stewart (b), Morey Feld (d),
Red Norvo (vib).
NYC, April 27, 1945
CO 34646-2 Gotta Be This Or That (Pt.1) (BG-vcl) (SS/ESa-arr) Phon (Sd) 7650 (LP)
CO 34646-1 Gotta Be This Or That (Pt.1) (BG-vcl) (SS/ESa-arr) Col 36813
CO 34647-2 Gotta Be This Or That (Pt.2) (SS/ESa-arr) previously unissued
CO 34647-1 Gotta Be This Or That (Pt.2) (SS/ESa-arr) Col 36813
Note: Due to space limitations, this session is out of sequence and can be found on Disc VI.
No metal part or lacquer disc exists for the individual master takes of Gotta Be This Or That.
However, both CO 34646-1 and CO 34647-1 are combined on a lacquer with the last 8 seconds cut from
Pt.1 and the first 4 seconds cut from Pt.2. This combined take is the one transferred for this set.
[NN] Vince Badale, Al Cuozzo, Tony Faso, Frank LoPinto (tp), Trummy Young, Eddie Aulino,
Chauncey Welsch (tb), Benny Goodman (cl), Bill Shine, Aaron Sachs (as), Stan Kosow, Ray Beller (ts),
Danny Bank (bari), Charlie Queener (p), Mike Bryan (g), Clyde Lombardi (b), Morey Feld (d).
NYC, May 16, 1945
CO 34475-3 Clarinade (MP-arr) Phon (Sd) 7650 (LP)
Note: See the producer’s note at the end of this discography for further information on Clarinade.
[OO] Vince Badale, Chris Griffin, Tony Faso, Frank LoPinto (tp), Trummy Young,
Eddie Aulino, Chauncey Welsch (tb), Hymie Schertzer, Gerry Sanfino (as), Benny Goodman
(cl), Bill Shine, Al Epstein (ts), Danny Bank (bari), Charlie Queener (p), Mike Bryan (g),
Slam Stewart (b), Morey Feld (d).
NYC, August 29, 1945
CO 35141-1A Just You, Just Me (FH-arr) Par (UK) R3000
CO 35142-1 Baby, Won’t You
Please Come Home (FH-arr) Col ZLP 13906 (7” 33 1/3)
_______________________________________________________________________________________
(PP) Same as (OO) except Sy Shaeffer (tb) replaces Young and Mel Powell (p) replaces Queener.
NYC, September 12, 1945
no matrix Somebody Stole My Gal (FH-arr) previously unissued
Note: The Columbia CD Benny Goodman – Best Of The Big Bands (CK 45338) includes a
recording of Somebody Stole My Gal that is without a matrix number and more than likely
stems from this session. That version, unfortunately, is missing from the vaults. However, the above
is an alternate that appears on a lacquer disc along with matrix CO 35191 (That’s All That Matters
To Me). This alternate may also have been the first attempt, as it appears that the timing was too
long for a 78 single, and therefore the decision was made to remove the trumpet solo from the take
found on the Columbia CD.
_______________________________________________________________________________________
(QQ) Vince Badale, Bernie Privin, Tony Faso, Frank LoPinto (tp), Chauncey Welsch, Eddie Aulino,
Tommy Reo (tb), Benny Goodman (cl), Bill Shine, Gerry Sanfino (as), Bud Freeman, Al Epstein (ts),
Danny Bank (bari), Charlie Queener (p), Mike Bryan (g), Slam Stewart (b), Morey Feld (d).
NYC, September 24, 1945
CO 35237-2 Lucky (ESa-arr) Phon (Sd) 7652 (LP)
CO 35237-1 Lucky (ESa-arr) Nost P3-13618 (LP)
Note: The Columbia ledgers list this as You’re Right, I’m Wrong.
_______________________________________________________________________________________
(RR) Johnny Best, Conrad Gozzo, Tony Faso, Louis Mucci (tp), Kai Winding, Chauncey Welsch,
Dick LeFave (tb), Benny Goodman (cl), Bill Shine, Gerry Sanfino (as), Stan Getz, Emmet Carl (ts),
Danny Bank (bari), Charlie Queener (p), Mike Bryan (g), Barney Spieler (b), Morey Feld (d).
NYC, November 20, 1945
CO 35443-1 Fascinating Rhythm (FH-arr) Col (UK) DB 2416
_______________________________________________________________________________________
(SS) Johnny Best, Conrad Gozzo, Billy Butterfield, Bernie Privin (tp), Kai Winding, Chauncey Welsch,
Dick LeFave (tb), Benny Goodman (cl), Bill Shine, Gerry Sanfino (as), Stan Getz, Peanuts Hucko (ts),
Danny Bank (bari), Mel Powell (p), Mike Bryan (g), Barney Spieler (b), Buddy Rich (d).
NYC, December 19, 1945
CO 35237-3 Lucky (ESa-arr) Phon (Sd) 7652 (LP)
CO 35237-4 Lucky (ESa-arr) Col (UK) DB 2443
CO 35523-2 Rattle And Roll (BC-arr) previously unissued
CO 35523-3 Rattle And Roll (BC-arr) Phon (Sd) 7661 (LP)
CO 35523-1 Rattle And Roll (BC-arr) Col 36988
_______________________________________________________________________________________
(TT) Johnny Best, Bernie Privin, Brodie Schroff, Mannie Klein (tp), Lou McGarity, Hoyt Bohannon,
Dick LeFave (tb), Benny Goodman (cl), Bill Shine, Gerry Sanfino (as), Stan Getz, Gish Gilbertson (ts),
Danny Bank (bari), Mel Powell (p), Mike Bryan (g), Barney Spieler (b), Ralph Collier (d).
LA, January 30, 1946
HCO 1672-3? Swing Angel (BC-arr) previously unissued
HCO 1672-2? Swing Angel (BC-arr) -
HCO 1672-1 Swing Angel (BC-arr) Col 36955
Note: Even though the lacquer disc states HCO 1672-4, -3, -2, what is noted as -2 is
identical to the 78 master take -1.
_______________________________________________________________________________________
(UU) Johnny Best, Bernie Privin, Nate Kazebier, Jimmy Blake (tp), Lou McGarity, Cutty Cutshall (tb),
Addison Collins (fr-h), Benny Goodman (cl, vcl), Bill Shine, John Prager (as), Gish Gilbertson,
Cliff Strickland (ts), Danny Bank (bari), Mel Powell (p), Mike Bryan (g), Barney Spieler (b),
Louis Bellson (d), Johnny White (vib).
NYC, May 14, 1946
XCO 36286-? Oh, Baby ! (Pt.1) (BG-vcl) (MP-arr) SonyBMG 88697 09491 2 (CD)
XCO 36287-2 Oh, Baby ! (Pt.2) (MP-arr) Col 55039 (12” 78)
Note: Matrix XCO 36286-1 and -2 (Oh, Baby! (Pt.1)), both of which appeared on the original
78 issue (Columbia 55039), are no longer in the Sony vaults. And although the session logs state that the lacquer
disc with matrix XCO 36286 contains takes -2 through -5, none of these four takes match up to either
-1 or -2. To further confuse matters, the disc’s label is faded, making it impossible to determine any of
the take numbers. The version of Part 1 heard on the SonyBMG CD listed above is incorrectly listed as -2.
_______________________________________________________________________________________
(VV) Same as (UU) except Dick Mains (tp) replaces Blake; Ralph LaPolla (as, bari) replaces Bank;
and omit vibes.
NYC, June 13, 1946
CO 36659-3 Fly By Night (JP-arr) previously unissued
Note: New information from the lacquer disc pinpoints this date as the first attempt of
Fly By Night.
_______________________________________________________________________________________
(WW) Johnny Best, Bernie Privin, Nate Kazebier, Dick Mains (tp), Lou McGarity, Cutty Cutshall (tb),
Addison Collins (fr-h), Benny Goodman (cl), Hymie Schertzer, Larry Molinelli (as), Gish Gilbertson,
Cliff Strickland (ts), John Pepper (bari), Joe Bushkin (p), Mike Bryan (g), Jack Lesberg (b),
Louis Bellson (d).
NYC, July 18, 1946
CO 36659-1 Fly By Night (JP-arr) Phon (Sd) 7654 (LP)
_______________________________________________________________________________________
(XX) Johnny Best, Nate Kazebier, Dick Mains, Mickey McMickle (tp), Cutty Cutshall, Leon Cox (tb),
Addison Collins (fr-h), Benny Goodman (cl, vcl), Hymie Schertzer, Larry Molinelli (as), Cliff Strickland,
Lester Clark (ts), Al Klink (bari), Joe Bushkin (p), Mike Bryan (g), Barney Spieler (b), Louis Bellson (d).
NYC, August 7, 1946
CO 36738-1 Put That Kiss Back
Where You Found It (BG-vcl) V-Disc 719 A
_______________________________________________________________________________________
(YY) Same as (XX).
NYC, August 29, 1946
CO 36767-1 Benjie’s Bubble (JB-arr) Col 37187
_______________________________________________________________________________________
(ZZ) Johnny Best, Nate Kazebier, Dick Mains, Dale Pierce (tp), Cutty Cutshall, Leon Cox (tb),
Addison Collins (fr-h), Benny Goodman (cl), Bill Shine, Larry Molinelli (as), Zoot Sims,
Cliff Strickland (ts), John Rotella (bari), Victor Arno, Harry Bluestone, Howard Halber, Dan Lube,
Mischa Russell, Marshall Sosson (vln), Allen Herschmann, Paul Robyn (viola), Cy Bernard,
Arthur Kafton (cel), Joe Bushkin (p), Barney Kessel (g), Harry Babasin (b), Louis Bellson (d),
Johnny White (vib).
LA, October 15, 1946
HCO 2083-1 Hora Staccato (JA-arr) Col 37207
HCO 2084-1 Poor Butterfly Har 1061
Note: This session and the other string sessions (DDD & EEE) can be found at the end of Disc VII.
_______________________________________________________________________________________
(AAA) Jimmy Maxwell, Billy Butterfield, Chris Griffin, Al Stewart (tp), Lou McGarity,
Cutty Cutshall, Will Bradley (tb), Benny Goodman (cl), Hymie Schertzer, Al Klink (as),
Peanuts Hucko, Boomie Richman (ts), Art Drellinger (bari), Stan Freeman (p), Johnny Smith (g),
Bob Haggart (b), Terry Snyder (d).
Produced by George Avakian
NYC, April 26-27, 1951
CO 45670-1 (5) Down South Camp Meetin’ (FH-arr) Col 39416
CO 45671-1 (4) Mean To Me (FH-arr) Col (Sd) DS2058
CO 45672-1 (6) South Of The Border (FH-arr) Col 39416
CO 45673-1 (7) Muskat Ramble (FH-arr) Col (Sd) DZ863
Note: The number in parentheses is the actual chronological take (for example, Down South
Camp Meetin’s master take was the fifth attempt).
_______________________________________________________________________________________
(BBB) Same as (AAA).
Produced by George Avakian
NYC, April 29-30, 1951
CO 45674-1 (?) Lulu’s Back In Town (FH-arr) Har HL 7225 (LP)
CO 45675-1 (1) Star Dust (FH-arr) Col (Sd) DZ863
CO 45676-1 (3) Wrappin’ It Up (FH-arr) Col 39513
CO 45677-1 (?) King Porter Stomp (FH-arr) Col 39564
Note: See session (AAA) for an explanation on the number in parentheses.
_______________________________________________________________________________________
(CCC) Same as (AAA) except Bernie Privin (tp) replaces Maxwell and add Carl Poole (tp).
Produced by George Avakian
NYC, September 26, 1951
CO 47080-1 When Buddha Smiles (FH-arr) PB 1957 (LP)
CO 47081-1 Sunrise Serenade (FH-arr) –1 Har HL 7225 (LP)
-1 omit Butterfield.
Note: A fourth title from this session, Trees, was initially scheduled to be recorded as well.
_______________________________________________________________________________________
(DDD) BENNY GOODMAN WITH STRINGS: Hal Diner, Bill Schaefer, Al Thompson (tb),
Benny Goodman (cl), George Kast, Samuel Cytron, Mischa Russell, Felix Slatkin, Paul Nero,
Sam Middleman, Dave Frisina, Marshall Sosson, Ted Rosen (vln), David Sterkin,
Maurice Perlmutter (vla), Cy Bernard, Armand Kaproff (cello), Paul Smith (p), George Van Eps (g),
John Ryan (b), Nick Fatool (d), Paul Weston (dir, arr. on all titles).
Produced by Paul Weston
LA, December 19, 1951
RHCO 10063-1B (5) Moonglow Col DJ 2185 (78), GL 102 (LP)
RHCO 10064-1B (5) Georgia On My Mind Col GL 102 (LP)
RHCO 10065-1B (7) I Gotta Right To Sing The Blues -
RHCO 10066-1B (1) I Didn’t Know What Time It Was -
Note: This session is presented out of chronological order and can be found after the alternate
takes at the end of Disc VII.
Some Columbia 78 DJ copies of Moonglow do not carry a catalog number and are
backed with If I Had You from session (DDD).
See session (AAA) for an explanation on the number in parentheses.
All titles also issued on Columbia set G4-13 (45).
_______________________________________________________________________________________
(EEE) BENNY GOODMAN WITH STRINGS: Hal Diner, Bill Schaefer, Al Thompson (tb),
Benny Goodman (cl), Eudice Shapiro, Samuel Cytron, Mischa Russell, Felix Slatkin, Paul Nero,
Sam Middleman, Harry Bluestone, Robert Sushel, Ted Rosen (vln), David Sterkin,
Virginia Majewski (vla), Cy Bernard, Victor Gottlieb (cello), Paul Smith (p), George Van Eps (g),
Morty Corb (b), Nick Fatool (d), Paul Weston (dir, arr. on all titles except where noted).
Produced by Paul Weston
LA, March 5, 1952
RHCO 10139-1B (2) Goodbye (TG-arr) Col (J) L3016 (78), GL 102 (LP)
RHCO 10140-1A (11) Embraceable You Col GL 102 (LP)
RHCO 10141-1A (9) Lover, Come Back To Me Col DJ 241 (78), GL 102 (LP)
RHCO 10142-1A (4) If I Had You - -
Note: This session is presented out of chronological order and can be found after the alternate
takes at the end of Disc VII.
Some Columbia 78 DJ copies of If I Had You do not carry a catalog number and are
backed with Moonglow from session (CCC).
See session (AAA) for an explanation on the number in parentheses.
All titles also issued on Columbia set G4-13 (45).
_______________________________________________________________________________________
(FFF): Bernie Privin, Chris Griffin, Mickey McMickle, Ricky Trent (tp), Lou McGarity, Cutty Cutshall,
Will Bradley (tb), Benny Goodman (cl), Hymie Schertzer, Al Klink (as), Peanuts Hucko, Boomie Richman (ts),
Art Drellinger (bari), Mel Powell (p), Mundell Lowe (g), Jack Lesberg (b), Terry Snyder (d).
Produced by George Avakian
NYC, May 28, 1952
CO 47458-6/-8 I’m Gonna Sit Right Down And
Write Myself A Letter (FH-arr) Har HL7190 (LP)
CO 47458-9 I’m Gonna Sit Right Down And
Write Myself A Letter (FH-arr) previously unissued
CO 47459-4 My Honey’s Lovin’ Arms (MP-arr) -
Note: The Harmony release is a composite of take 6 (from the beginning of the track up to and including
the trumpet and tenor solos) and take 8.
_______________________________________________________________________________________
(GGG) Jimmy Maxwell, Billy Butterfield, Chris Griffin (tp), Lou McGarity, Cutty Cutshall,
Bobby Byrne (tb), Benny Goodman (cl), Hymie Schertzer, Milt Yaner (as), Boomie Richman,
Al Klink (ts), Bernie Leighton (p), Barry Galbraith (g), Eddie Safranski (b), Don Lamond (d).
Produced by George Avakian
NYC, February 23, 1953
CO 48873-1A (5) Wolverine Blues (FH-arr) Col PE 10 (7” LP), 4-PE 10 (45),
Har HL 7190 (LP)
Note: Columbia PE 10 and 4-PE 10 were promotional singles (as “Priceless Editions”).
See session (AAA) for an explanation on the number in parentheses.
_______________________________________________________________________________________
(HHH) Buck Clayton, Doc Severinsen, Bernie Glow (tp), Chauncey Welsch, Eddie Bert, Bill Byers (tb),
Benny Goodman (cl), Hymie Schertzer, Walt Levinsky (as), Al Klink, Boomie Richman (ts), Sol
Schlinger (bari), Hank Jones (p), Tony Mottola (g), George Duvivier (b), Roy Burnes (d).
Produced by Irving Townsend
NYC, February 25, 1958
CO 60487-9 Back In Your Own Backyard (FH-arr) Col 4-41148 (45)
CO 60488-3 Swing Into Spring (RB-arr) -
CO 60489-4 Swanee River (FH-arr) previously unissued
Note: Matrix 60488 was issued contemporaneously on a Columbia promotional EP (ZTEP 27372) and
an LP (no catalog number) for Texaco.
_______________________________________________________________________________________
Album Index:
45
Columbia Set G4-13 Let’s Hear The Melody
(4-76-G through 4-79-G)
EP
Columbia / Texaco Promo Swing Into Spring
10” LP
Columbia GL 102 Let’s Hear The Melody
12” LPs
Blu-Disc 1004 The Un-heard Benny Goodman - Volume Two – The Big Band
Blu-Disc 1006 The Un-heard Benny Goodman – Volume Three
Blu-Disc 1009 The Un-heard Benny Goodman – Volume Four
Blu-Disc 1014 The Un-heard Benny Goodman – Volume Seven 1941-1942
Columbia CL 523 Benny Goodman Presents Eddie Sauter Arrangements
Columbia CL 652 Charlie Christian With The Benny Goodman Sextet And
Orchestra
Columbia / Texaco Promo Swing Into Spring
Columbia PG 33405 Benny Goodman – Solid Gold Instrumental Hits
Epic EE 22025 Benny Goodman – Clarinet A La King
Harmony HL 7190 Swing With Benny Goodman In High Fidelity
Harmony HL 7225 Swing Time
Nostalgia Book Club P3 13618 Various Artists – Rare Big Band Gems
1932-1947
Phontastic (Sd) 7606 The Alternate Goodman Vol. I
Phontastic (Sd) 7610 The Alternate Goodman Vol. II
Phontastic (Sd) 7612 The Alternate Goodman Vol. III
Phontastic (Sd) 7615 The Alternate Goodman Vol. IV
Phontastic (Sd) 7616 The Alternate Goodman Vol. V
Phontastic (Sd) 7617 The Alternate Goodman Vol. VI
Phontastic (Sd) 7620 The Alternate Goodman Vol. VII
Phontastic (Sd) 7650 The Alternate Goodman Vol. X
Phontastic (Sd) 7652 The Alternate Goodman Vol. XI
Phontastic (Sd) 7654 The Alternate Goodman Vol. XII
Phontastic (Sd) 7661 The Permanent Goodman
Playboy 1957 The Playboy Jazz All Stars
Time Life STL-J05 Giants Of Jazz – Benny Goodman
CD
SonyBMG 88697 09491 2 The Essential Benny Goodman
________________________________________________________________________
Original sessions supervised by George Avakian, John Hammond, Morty Palitz, Mannie Sachs,
Irving Townsend and Paul Weston.
Produced for release by Scott Wenzel
Excutive Producer: Michael Cuscuna
Metal part and lacquer transfers: Matt Cavaluzzo, Michael Brooks, Andreas Meyer.
LP transfers: Andreas Meyer
Tape transfers: Mark Wilder
Sound restoration and mastering by Malcolm Addey.
24 bit technology was utilized at all stages of the production of this Mosaic release.
Design direction: Richard Mantel
Design production: InkWell, Inc.
Special thanks to George Avakian, Ed Berger, Eddie Bert, Michael Brooks, Mark Cantor,
Russ Connor, Anthony Fountain, Tad Hershorn, The Institute of Jazz Studies, David Jessup,
Sheila Johnson, Matt Kelly, Dan Levinson, Robin Manning, Marty Napoleon, Michael Panico,
Lloyd Rauch, Aaron Sachs, Tom Tierney and Maria “Iron Maiden” Triana.
We are also indebted to Emily D. Ferrigno and Suzanne Eggleston Lovejoy who made it possible
to research the Benny Goodman Papers (file MS 53) and the Frederick and Rose Plaut Papers
(file MS 52) at the Irving S. Gilmore Music Library of Yale University. These photographs (and the
others within this booklet) may not be reproduced without permission of the copyright owner.
Vault research: Anthony Fountain and Scott Wenzel
This compilation (p) 2008 SONY BMG MUSIC ENTERTAINMENT /Manufactured by SONY BMG
MUSIC ENTERTAINMENT, 550 Madison Avenue, New York, NY 10022-3211/WARNING
All Rights Reserved. Unauthorized duplication is a violation of applicable laws.
© 2008 Mosaic Records L.L.C., 35 Melrose Place, Stamford, CT 06902. All rights reserved.
Phone: 203-327-7111/Fax 203-323-3526/ Website: www.mosaicrecords.com.
Producer’s Note: Initially, the vision of this boxed set came from long time record collector and
historian Lloyd Rauch who suggested we tackle Benny’s Columbia sessions from the 1950s. However,
in conversation with Loren Schoenberg, he suggested we stretch it back to when Benny left Victor for
Columbia in 1939 and zero in on the fabulous Eddie Sauter arrangements for BG. Eventually we leaned
toward releasing all of Benny’s big band instrumental master takes and a few specialty vocals
thrown in for good measure. Not included are all of the Helen Forrest, or Peggy Lee recordings as they
are, at the time of this writing, currently available on CD.
A special kudos should be given to both Russ Connor and David Jessup. Mr. Connor’s groundbreaking
discographies, BG-Off The Record: A Bio-Discography Of Benny Goodman (Gaildonna Publishers) (1958),
BG-On The Record (with assistance by Warren Hicks) (Arlington House) (1969), Benny Goodman:
Listen To His Legacy (Scarecrow Press) (1988) and the final installment in 1996 of additions and
corrections with Benny Goodman - Wrappin’ It Up (Scarecrow Press) are all benchmarks for any
discographical work and are highly recommended. His was more than a discography but a biography
of a man he knew on a deep personal level for over 30 years. Another gentleman that has carried the
torch of Goodmania is one David Jessup who was quite active in the publication of Wrappin’ It Up. We
would like to thank both Russ and David for their help and assistance with this discography. Further
discographical data has come forth from the original logs and ledgers at Sony-BMG.
The sound quality of these sessions will differ from track to track even though we had access to the
cleanest source copy made available from the original metal parts, 16” lacquer acetates, and
¼” reel to reel tape at the SonyBMG vaults. However, the master take of Pound Ridge, was
quite worn and therefore a Columbia 78 was used. The following titles do not currently reside in metal
or lacquer form at SonyBMG and therefore transfers of LP bootlegs were the only means to obtain a
source copy: After You’ve Gone (-3 & -2), Down By The Old Mill Stream (-3),
The Earl (-?), I’ll Get By, Mission To Moscow (-3),
Mozart Matriclulates, Roll ‘Em (parts 1 & 2), Scarecrow (-4),
String Of Pearls (-3) and (-2), Take It (-3) and Rattle And Roll (-3).
There are a number of reasons why this is not the complete Goodman big band offerings on Columbia
and OKeh. Although there are a number of alternate takes that found their way on various unauthorized
discs, tapes and CDs, these performances are, unfortunately, no longer in the physical possession of
SonyBMG. Instead they lie in the hands of private collectors, institutions or have been lost or destroyed
over time. Because of this, we were unable to provide all of the takes of a given tune. Another instance
where we did not use a specific take was when the solo content varied only slightly from alternate to
master. There were also alternates and breakdowns that we had access to, but due to space limitations
we were unable to include them as part of the set. In some cases where a metal part or lacquer disc did
not exist in order to access a take number or to even find the sequence of performance, a question
mark will follow the matrix.
Scott Wenzel
Details of specific sessions are listed here:
Session (N): The lacquer of the master take of Henderson Stomp was damaged and therefore
we used a previously unissued take (-5). The other takes from this matrix (-2 and -3 have been released
on LP and -4 remains unissued) vary little in solo structure and are not issued here. Neither a metal part
nor lacquer exists for -2 of Benny Rides Again and therefore it is not included.
Session (AA) Clarinet A La King: Although the condition of the original source (lacquer disc)
was poor we have decided to release all takes of CCO 3980. Loren Schoenberg relays in his notes further
reasoning for issuing all the takes from this session.
Session (CC) and (EE) Clarinet A La King: Both CO 31393-2 (10/2/41) and -3 (10/23/41)
found their way onto OKeh 6544. The common take, which is -3, is extant only as a metal part in the
Sony vaults. A lacquer disc containing -4 and -5, however, does exist and we have decided to use -4
since sonically it is far superior. Therefore we can identify the order of initial releases as such:
(AA) August 20, 1941, Chicago (Entire session exists on lacquer discs at Sony in this performance order).
CCO 3980-4 Mosaic MD7-240 (CD)
CCO 3980-3 Mosaic MD7-240 (CD)
CCO 3980-2 Phontastic 7616 (LP)
CCO 3980-1 Columbia PG 33405 (LP)
(CC) October 2, 1941, New York (Except for the master take -2, all lacquer or metal parts are missing from
the Sony vaults. It’s possible that the performances follow this order as shown in Listen To The Legacy).
CO 31393-BD Unissued – exists on a private tape
CO 31393-BD same
CO 31393-1 Phontastic 7617 (LP)
CO 31393-? Blu-Disc 1014 (LP)
CO 31393-2 OKeh 6544 (only exists on metal part)
CO 31393-? Blu-Disc 1014 (LP)
(EE) October 23, 1941, New York
CO 31393-4 Mosaic MD7-240 (CD) (Exists on lacquer disc)
CO 31393-5 Phontastic 7617 (LP) (Exists on lacquer disc)
CO 31393-3 OKeh 6544 (only exists on metal part)
Since the lacquer disc exists, we know the performance order of -4 and -5. However, it’s not certain if
-3 came first or last. CO 31393-5 is also known as CO 31393-“1”. In Listen To The Legacy,
Russ Connor mentions a 12” test pressing that was made available to him with a bogus -1 applied to it.
Session (MM): A first attempt of Gotta Be This Or That (Part 1) with a vocal by Jane Harvey
and Goodman and recorded at the March 17th session is not included in this package. Another take that
was released on LP but not included here is a continuous version of Parts 1 and 2 with a Trummy Young
trombone solo and vocal by Benny. However, this take is not included here since Young’s solo and
Goodman’s vocal are musically flawed in addition to the lacquer running out of time making the
performance incomplete during Red Norvo’s solo.
Session (NN): Neither the lacquer nor metal part exists for the master take (-4) of Clarinade
which was issued on Columbia 36823. Therefore, we have opted to use -3 since there is barely any
difference between it and the master take.
Benny Goodman
Active Decades: '20s, '30s, '40s, '50s, '60s and '70s
Born: May 30, 1909 in Chicago, IL
Died: Jun 13, 1986 in New York, NY
Genre: Jazz
Styles: Big Band, Swing, Sweet Bands
Benny Goodman was the first celebrated bandleader of the Swing Era, dubbed "The King of Swing," his popular emergence marking the beginning of the era. He was an accomplished clarinetist whose distinctive playing gave an identity both to his big band and to the smaller units he led simultaneously. The most popular figure of the first few years of the Swing Era, he continued to perform until his death 50 years later.
Goodman was the son of Russian immigrants David Goodman, a tailor, and Dora Rezinsky Goodman. He first began taking clarinet lessons at ten at a synagogue, after which he joined the band at Hull House, a settlement home. He made his professional debut at 12 and dropped out of high school at 14 to become a musician. At 16, in August 1925, he joined the Ben Pollack band, with which he made his first released band recordings in December 1926. His first recordings under his own name were made in January 1928. At 20, in September 1929, he left Pollack to settle in New York and work as a freelance musician, working at recording sessions, radio dates, and in the pit bands of Broadway musicals. He also made recordings under his own name with pickup bands, first reaching the charts with "He's Not Worth Your Tears" (vocal by Scrappy Lambert) on Melotone Records in January 1931. He signed to Columbia Records in the fall of 1934 and reached the Top Ten in early 1934 with "Ain't Cha Glad?" (vocal by Jack Teagarden), "Riffin' the Scotch" (vocal by Billie Holiday), and "Ol' Pappy" (vocal by Mildred Bailey), and in the spring with "I Ain't Lazy, I'm Just Dreamin'" (vocal by Jack Teagarden).
These record successes and an offer to perform at Billy Rose's Music Hall inspired Goodman to organize a permanent performing orchestra, which gave its first performance on June 1, 1934. His instrumental recording of "Moon Glow" hit number one in July, and he scored two more Top Ten hits in the fall with the instrumentals "Take My Word" and "Bugle Call Rag." After a four-and-a-half-month stay at the Music Hall, he was signed for the Saturday night Let's Dance program on NBC radio, playing the last hour of the three-hour show. During the six months he spent on the show, he scored another six Top Ten hits on Columbia, then switched to RCA Victor, for which he recorded five more Top Ten hits by the end of the year.
After leaving Let's Dance, Goodman undertook a national tour in the summer of 1935. It was not particularly successful until he reached the West Coast, where his segment of Let's Dance had been heard three hours earlier than on the East Coast. His performance at the Palomar Ballroom near Los Angeles on August 21, 1935, was a spectacular success, remembered as the date on which the Swing Era began. He moved on to a six-month residency at the Congress Hotel in Chicago, beginning in November. He scored 15 Top Ten hits in 1936, including the chart-toppers "It's Been So Long," "Goody-Goody," "The Glory of Love," "These Foolish Things Remind Me of You," and "You Turned the Tables on Me" (all vocals by Helen Ward). He became the host of the radio series The Camel Caravan, which ran until the end of 1939, and in October 1936, the orchestra made its film debut in The Big Broadcast of 1937. The same month, Goodman began a residency at the Pennsylvania Hotel in New York.
Goodman's next number one hit, in February 1937, featured Ella Fitzgerald on vocals and was the band's first hit with new trumpeter Harry James. It was also the first of six Top Ten hits during the year, including the chart-topping "This Year's Kisses" (vocal by Margaret McCrae). In December, the band appeared in another film, Hollywood Hotel. The peak of Goodman's renown in the 1930s came on January 16, 1938, when he performed a concert at Carnegie Hall, but he went on to score 14 Top Ten hits during the year, among them the number ones "Don't Be That Way" (an instrumental) and "I Let a Song Go out of My Heart" (vocal by Martha Tilton), as well as the thrilling instrumental "Sing, Sing, Sing (With a Swing)," which later was inducted into the Grammy Hall of Fame.
By 1939, Goodman had lost such major instrumentalists as Gene Krupa and Harry James, who left to found their own bands, and he faced significant competition from newly emerged bandleaders such as Artie Shaw and Glenn Miller. But he still managed to score eight Top Ten hits during the year, including the chart-topper "And the Angels Sing" (vocal by Martha Tilton), another inductee to the Grammy Hall of Fame. He returned to Columbia Records in the fall. In November, he appeared in the Broadway musical Swingin' the Dream, leading a sextet. The show was short-lived, but it provided him with the song "Darn That Dream" (vocal by Mildred Bailey), which hit number one for him in March 1940. It was the first of only three Top Ten hits he scored in 1940, his progress slowed by illness; in July he disbanded temporarily and underwent surgery for a slipped disk, not reorganizing until October. He scored two Top Ten hits in 1941, one of which was the chart-topper "There'll Be Some Changes Made" (vocal by Louise Tobin), and he returned to radio with his own show. Among his three Top Ten hits in 1942 were the number ones "Somebody Else Is Taking My Place" (vocal by Peggy Lee) and the instrumental "Jersey Bounce." He also appeared in the film Syncopation, released in May.
American entry into World War II and the onset of the recording ban called by the American Federation of Musicians in August 1942 made things difficult for all performers. Goodman managed to score a couple of Top Ten hits, including the number one "Taking a Chance on Love" (vocal by Helen Forrest), in 1943, drawn from material recorded before the start of the ban. And he used his free time to work in films, appearing in three during the year: The Powers Girl (January), Stage Door Canteen (July), and The Gang's All Here (December).
Goodman disbanded in March 1944. He appeared in the film Sweet and Low-Down in September and played with a quintet in the Broadway revue Seven Lively Arts, which opened December 7 and ran 182 performances. Meanwhile, the musicians union strike was settled, freeing him to go back into the recording studio. In April 1945, his compilation album Hot Jazz reached the Top Ten on the newly instituted album charts. He reorganized his big band and scored three Top Ten hits during the year, among them "Gotta Be This or That" (vocal by Benny Goodman), which just missed hitting number one. "Symphony" (vocal by Liza Morrow) also came close to hitting number one in early 1946, and Benny Goodman Sextet Session did hit number one on the album charts in May 1946. Goodman hosted a radio series with Victor Borge in 1946-1947, and he continued to record, switching to Capitol Records. He appeared in the film A Song Is Born in October 1948 and meanwhile experimented with bebop in his big band. But in December 1949, he disbanded, though he continued to organize groups on a temporary basis for tours and recording sessions.
If popular music had largely passed Goodman by as of 1950, his audience was not tired of listening to his vintage music. He discovered a recording that had been made of his 1938 Carnegie Hall concert and Columbia Records released it on LP in November 1950 as Carnegie Hall Jazz Concert, Vol. 1 & 2. It spent a year in the charts, becoming the best-selling jazz album ever up to that time, and was later inducted into the Grammy Hall of Fame. A follow-up album of airchecks, Benny Goodman 1937-1938: Jazz Concert No. 2, hit number one in December 1952. The rise of the high fidelity 12" LP led Goodman to re-record his hits for the Capitol album B.G. in Hi-Fi, which reached the Top Ten in March 1955. A year later, he had another Top Ten album of re-recordings with the soundtrack album for his film biography, The Benny Goodman Story, in which he was portrayed by Steve Allen but dubbed in his own playing.
After a tour of the Far East in 1956-1957, Goodman increasingly performed overseas. His 1962 tour of the U.S.S.R. resulted in the chart album Benny Goodman in Moscow. In 1963, RCA Victor staged a studio reunion of the Benny Goodman Quartet of the 1930s, featuring Goodman, Gene Krupa, Teddy Wilson, and Lionel Hampton. The result was the 1964 chart album Together Again! Goodman recorded less frequently in his later years, though he reached the charts in 1971 with Benny Goodman Today, recorded live in Stockholm. His last album to be released before his death from a heart attack at 77 was Let's Dance, a television soundtrack, which earned a Grammy nomination for Best Jazz Instrumental Performance, Big Band.
Goodman's lengthy career and his popular success especially in the 1930s and '40s has resulted in an enormous catalog. His major recordings are on Columbia and RCA Victor, but Music Masters has put out a series of archival discs from his personal collection, and many small labels have issued airchecks. The recordings continue to demonstrate Goodman's remarkable talents as an instrumentalist and as a bandleader.
--- William Ruhlmann, All Music Guide |
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