LIONEL HAMPTON AND HIS ORCHESTRA – 1938-1939 | The Chronogical Classics – 534 (1990) FLAC (image+.cue), lossless

Lionel Hampton's series of record dates leading all-star swing bands produced some of the more exciting music of the late '30s. Just on this CD alone, Hampton led groups with musicians drawn from the Duke Ellington, Earl Hines, Cab Calloway, and Benny Goodman big bands, among others. Among the more notable performances are Benny Carter's "I'm in the Mood for Swing," a swing version of Jelly Roll Morton's "Shoe Shiner's Drag," tenor saxophonist Chu Berry having one of his best showcases on "Sweethearts on Parade," and a romp on "Twelfth Street Rag." Through it all, Hampton (whether on vibes, two-fingered piano, drums, or singing) often steals the show. Scott Yanow
Tracklist + Credits : 

LIONEL HAMPTON AND HIS ORCHESTRA – 1939-1940 | The Chronogical Classics – 562 (1991) FLAC (tracks+.cue), lossless

During 1937-1940, Lionel Hampton led a series of exciting small-group swing dates featuring all-stars drawn from a variety of jazz orchestras. This reissue is one of the strongest. The first four songs alone have Hampton heading a group that includes altoist Benny Carter; tenors Coleman Hawkins, Chu Berry, and Ben Webster; and a 22-year old trumpeter named Dizzy Gillespie (who takes a solo on "Hot Mallets"). Also featured along the way are trumpeters Henry "Red" Allen and Ziggy Elman, trombonist J.C. Higginbotham, altoist Earl Bostic, and the Nat King Cole Trio. Three songs (including a classic version of "Dinah") feature Coleman Hawkins and (on trumpet) Benny Carter. This highly recommended set has more than its share of gems. Scott Yanow
Tracklist : 

BENNY GOODMAN AND HIS ORCHESTRA – 1939 | The Classics Chronological Series – 1025 (1998) FLAC (tracks+.cue), lossless

This CD traces Benny Goodman & His Orchestra during their final Victor recordings and their first sessions for the Columbia label. The band did not change all that much during this time style-wise, although such fixtures as trumpeter Chris Griffin, pianist Jess Stacy, drummer Buddy Schutz, and singer Martha Tilton departed. Along the way the key soloists are trumpeter Ziggy Elman, Jerry Jerome on tenor, and Goodman, while Fletcher Henderson spent a period filling in on piano. There are no small-group performances on this CD, but such fine killer-dillers as "The Kingdom of Swing," "There'll Be Some Changes Made," "Jumpin' at the Woodside," "Stealin' Apples," and "Spring Song." Scott Yanow  
Tracklist + Credits : 

BENNY GOODMAN AND HIS ORCHESTRA – 1939, Vol. 2 | The Classics Chronological Series – 1064 (1999) FLAC (tracks+.cue), lossless

1939 was most significant in Benny Goodman's history for the discovery of electric guitarist Charlie Christian, who became a part of the clarinetist's new sextet with Lionel Hampton, Fletcher Henderson, Artie Bernstein, and Nick Fatool. On this CD, Christian is featured on such numbers as the earliest version of "Flying Home," "Rose Room," "Stardust," "Memories of You," "Soft Winds," and "Seven Come Eleven," plus the big band version of "Honeysuckle Rose." The Goodman orchestra (which still featured trumpeter Ziggy Elman) is heard on the majority of the selections, including the earliest full-length recording of Goodman's theme "Let's Dance" and a few numbers with singer Mildred Bailey. These Columbia sessions have not often been reissued in full, so this disc makes for a fine acquisition for listeners not already owning the Christian sextet tracks. Scott Yanow  

Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1939-1940 | The Classics Chronological Series – 1098 (1999) FLAC (tracks+.cue), lossless

Despite competition from Glenn Miller, Artie Shaw, Count Basie, and Tommy Dorsey, Benny Goodman largely held on to his popularity during the 1939-1940 period. The personnel was changing in his big band, but it was still a strong outfit with trumpeters Ziggy Elman and Jimmy Maxwell, trombonist Vernon Brown, Jerry Jerome on tenor, pianist Johnny Guarnieri, and singer Helen Forrest being significant voices. Among the better big band selections on this consistently swinging CD are "Zaggin' With Zig," "The Fable of the Rose," "Shake Down the Stars," and "I'm Nobody's Baby"; however, it is the three sextet numbers that take honors. "Till Tom Special," "The Sheik of Araby," and "Poor Butterfly" feature Goodman with guitarist Charlie Christian, Lionel Hampton, and either Count Basie or Guarnieri on piano. All of the Benny Goodman recordings from this era are well worth acquiring by swing fans. Scott Yanow  
Tracklist :

BENNY GOODMAN AND HIS ORCHESTRA – 1940 | The Classics Chronological Series – 1131 (2000) FLAC (tracks+.cue), lossless

During the time covered by this CD, Benny Goodman was stricken with sciatica and had to break up his big band for a few months. When he came back, his new orchestra only retained a few of the earlier musicians. This disc has the last recordings by his original big band (which he had formed in 1934) and has two different versions of his small group; his new big band did not record until November 13. Fortunately, Benny Goodman was wise enough to retain the services of the great electric guitarist Charlie Christian, who is heard in the earlier sextet with Lionel Hampton and the later septet with trumpeter Cootie Williams, tenor saxophonist Georgie Auld, and guest pianist Count Basie. The combo tracks include "Air Mail Special" and "Boy Meets Goy," "Royal Garden Blues," "As Long As I Live," and the riff-filled "Benny's Bugle." The better big band selections include "Crazy Rhythm" and "Mister Meadowlark" (featuring Helen Forrest). Fred Astaire has a guest vocal (and a bit of tap dancing) on "Who Cares." Scott Yanow  
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1940-1941 | The Classics Chronological Series – 1154 (2000) FLAC (tracks+.cue), lossless

The second Benny Goodman & His Orchestra (the one he organized after taking a few months off to partly recover from sciatica) is heard on this CD during their first recordings. Cootie Williams and Jimmy Maxwell are in the trumpet section, trombonist Lou McGarity and tenor saxophonist Georgie Auld have solo space, bassist Artie Bernstein drives the rhythm section, and Helen Forrest takes some fine vocals. Eddie Sauter's often-radical arrangements (including "Benny Rides Again," "Taking a Chance on Love," "Superman," and "Moonlight on the Ganges") really challenge the clarinetist and are quite often classic. In addition, an excellent small-group date with Williams, Auld, pianist Ken Kersey, and Charlie Christian includes "Breakfast Feud," "I Can't Give You Anything but Love," and "Gilly." Scott Yanow
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1941 | The Classics Chronological Series – 1202 (2001) FLAC (tracks+.cue), lossless

All of the master takes from Benny Goodman's recordings from a two-month period in early 1941 are on this CD. Helen Forrest, one of the best big band singers, has 13 vocals, including "The Mem'ry of a Rose," "This Is New," and "Oh! Look at Me Now." Trumpeter Cootie Williams, trombonist Lou McGarity, and tenor saxophonist Georgie Auld have some brief solos with the big band, Teddy Wilson plays with the orchestra (which he did not get a chance to do during the early days), and Eddie Sauter contributes some of the arrangements. Charlie Christian is showcased on "Solo Flight," while "Scarecrow" (from Buster Harding) is memorable. But the best session included is by the Benny Goodman Sextet (Williams, Auld, Christian, bassist Artie Bernstein, and drummer Jo Jones) with Count Basie guesting on piano. "Breakfast Feud," "On the Alamo," "I Found a New Baby," and "Gone With What Draft" are all gems. Recommended. Scott Yanow
Tracklist :

BENNY GOODMAN AND HIS ORCHESTRA – 1941, Vol. 2 | The Classics Chronological Series – 1236 (2002) FLAC (tracks+.cue), lossless

This CD in Classics' extensive Benny Goodman series starts out with the last Sextet date to feature Charlie Christian, including two songs ("Blues In B" and "Waitin" For Benny") performed by the band without Goodman during a rehearsal that was taped by an alert engineer. Otherwise, this CD consists of big band performances from Goodman's still-mighty orchestra, featuring trumpeters Cootie Williams (showcased on "Fiesta In Blue") and Jimmy Maxwell, trombonist Lou McGarity, and Georgie Auld on tenor. Helen Forrest has seven excellent vocals including "When The Sun Comes Out" and "Smoke Gets In Your Eyes," and there are diverse arrangements by the likes of Eddie Sauter, Jimmy Mundy, Edgar Sampson, and Margie Gibson. Several of these numbers are rarely reissued despite their high quality, so it is a pleasure to hear the complete sessions in chronological order by this memorable big band. Scott Yanow  
Tracklist :

EDMOND HALL – 1937-1944 | The Classics Chronological Series – 830 (1995) FLAC (tracks+.cue), lossless

Those who missed out on Mosaic's limited-edition reissue of Edmond Hall's superb Blue Note recordings may want to pounce on this segment of the clarinetist's chronology. Everything there is to love about small-group swing is present at full potency in these remarkably solid performances. For the session of February 5, 1941 Meade "Lux" Lewis put all of his best blues and boogie energies into a celeste, that tinkling little keyboard instrument that sounds like a glockenspiel. The combination of a celestial Lewis and the soulful Hall with guitarist Charlie Christian and bassist Israel Crosby resulted in music unlike anything heard before or since. On November 29, 1943 the Edmond Hall Blue Note Jazzmen had Vic Dickenson and a very inspired Sidney DeParis on the front line. The humbly majestic James P. Johnson makes the music feel like ritual. Three hot numbers are fountains of joy, but the real magic develops during two collectively improvised blues taken at relaxed tempos. Nothing could be finer or more pleasing than this confluence of master improvisers, drawing upon the highly evolved traditions of New York and New Orleans as they listened ever so carefully to each other while inventing their own grammar of straightforward blues, swing and boogie-woogie. The Edmond Hall Sextet recorded four sides for Commodore on December 18, 1943. Guitarist Al Casey sat in on this occasion, only three days after the passing of his mentor, Fats Waller. Eddie Heywood was a great pianist, much less humble than James P. Johnson but formidable enough to rock the hell out of the "Downtown Café Boogie." The piano introduction to a very relaxed "Uptown Café Blues" sounds similar to the beginning of Heywood's blues collaborations with Billie Holiday. Edmond Hall's way of handling the blues is unforgettably immediate and sincere. Both of the 1943 dates are towed into port by the exceptionally fine drumming of Big Sid Catlett. Back with Blue Note on January 25, Edmond Hall leads his All Star Quintet in developing four of his own original compositions. While "Rompin' in '44," the band moves with gently pronounced modernity, rooted in tradition but responding to new ideas and updated styles. Red Norvo, always aware of fresh influences, had something to do with this development. "Blue Interval" is something like a course in organic gardening; "Smooth Sailin'" is a solid upbeat piece of blues, as is the rocking restless jam called "Seein' Red." As a gesture of chronological completeness, Classics tacked on a pair of sides from 1937 with vocals by Henry Nemo. These would be more enjoyable if he didn't closely imitate Fats Waller's singing style, right down to the expostulations and tag lines. Considering the wealth of outstanding jazz on this one CD, these two oddities are a neat bonus. They do not detract in any way from the masterpieces gathered together in memory of the great Edmond Hall. arwulf arwulf  

Tracklist + Credits :

BILL COLEMAN – 1940-1949 | The Classics Chronological Series – 1256 (2002) FLAC (tracks), lossless

This second volume of the complete recordings of Bill Coleman presented in chronological order opens with ten vocal tracks of surprising warmth and intimacy. Remember those marvelous records that Coleman made with Fats Waller & His Rhythm in the mid-'30s? These rare and pleasant performances from 1940 and 1941 are faintly reminiscent of those Rhythm sides, although naturally neither of the vocalists heard here comes anywhere near Waller's candid charm and effervescence. Eddy Howard does sound remarkably cozy with his two little love songs, and Chick Bullock -- said to have been the most heavily recorded vocalist of the 1930s -- turns in what might well be his best performances on record. What really makes these pretty pop tunes sparkle and glow is the combination of great instrumentalists. Collectively speaking, trombonist Benny Morton, clarinetists Edmond Hall and Jimmy Hamilton, saxophonists Bud Freeman and George James, electric guitarist Charlie Christian, and pianist Teddy Wilson turn each of these songs into relatively substantial jazz. Even "Oh, How I Hate to Get Up in the Morning" -- once Irving Berlin's famous kvetching lyrics are out of the way -- swings with abandon largely thanks to the presence of master percussionist J.C. Heard. The Bill Coleman chronology leaps rather abruptly to a pair of swing-to-bop blowing sessions involving tenor saxophonist Don Byas recorded in Paris on January 4 and 5, 1949. Coleman sings his own "Bill's Brother's Blues" and wields his horn magnificently alongside Byas, particularly on "Liza," "What Is This Thing Called Love?," and "St. Louis Blues." This portion of the Bill Coleman story ends with a session led by pianist Jack Dieval and featuring smoky tenor saxophonist Paul Vernon. Coleman sings again, this time on "I Can't Get Started" and a briskly rendered "Tea for Two." arwulf arwulf
Tracklist + Credits :

IDA COX - Complete Recorded Works in Chronological Order Vol. 5 (1939-1940) DOCD-5651 (1999) FLAC (tracks+.cue), lossless

Other than an album from 1961, this CD has blues singer Ida Cox's final recordings. The first seven selections (which include a previously unreleased "One Hour Mama") has four additional alternate takes. Cox is heard in 1939 backed by an accurately-titled "all-star band" that consists of trumpeter Hot Lips Page, trombonist J.C. Higginbotham, clarinetist Edmond Hall, either James P. Johnson or Fletcher Henderson on piano, guitarist Charlie Christian, bassist Artie Bernstein and Lionel Hampton on drums. Although her prime was considered the 1920s, Ida Cox on "Death Letter Blues" and "Four Day Creep" still sounds pretty strong. The remainder of this CD is taken from a 1940 session with trumpeter Red Allen, Higginbotham, Hall, pianist Cliff Jackson, bassist Billy Taylor, and drummer Jimmy Hoskins that resulted in four titles and four alternate takes; only two performances were released previously, but Cox's singing is excellent. It is a pity that because musical styles had changed, Ida Cox was largely forgotten during this period. Scott Yanow

Tracklist
1 Deep Sea Blues (Take 1) 3:20
Ida Cox
2 Deep Sea Blues (Take 2) 3:24
Ida Cox
3 Death Letter Blues (Take 1) 3:17
Ida Cox
4 Death Letter Blues (Take 4) 2:46
Ida Cox
5 One Hour Mama (Take 4) 2:56
Ida Cox / Porter Grainger
6 One Hour Mama (Breakdown) (Take 5) 0:17
Ida Cox
7 One Hour Mama (Take 6) 3:07
Ida Cox / Porter Grainger
8 Four Day Creep 3:28
Ida Cox
9 Pink Slip Blues 3:01
Porter Grainger
10 Hard Times Blues 3:00
Ida Cox
11 Take Him Off My Mind 3:05
Porter Grainger
12 Last Mile Blues (Take 1) 3:12
Ida Cox / Jesse Crump
13 Last Mile Blues (Take 2) 3:19
Ida Cox / Jesse Crump
14 I Ain't Gonna Let Nobody Break My Heart 3:21
Ida Cox
15 I Can't Quit That Man (Take 1) 2:55
16 I Can't Quit That Man (Take 2) 3:00
17 I Can't Quit That Man (Take 3) 3:17
18 You Got To Swing And Sway (Take 1) 2:57
Ida Cox
19 You Got To Swing And Sway (Take 2) 2:33
Ida Cox

Credits

Henry "Red" Allen - Trumpet

Artie Bernstein - Bass, Sax (Bass)

Charlie Christian - Guitar

Ida Cox - Composer, Primary Artist, Vocals

Edmond Hall - Clarinet

Lionel Hampton - Drums

Fletcher Henderson - Piano

J.C. Higginbotham - Trombone

Jimmie Hoskins - Drums

Cliff Jackson & His Crazy Cats - Piano

James P. Johnson & His Orchestra - Piano

James P. Johnson - Piano

Hot Lips Page - Trumpet

Billy Taylor - Sax (Bass)

Billy Taylor, Sr. - Bass

CHARLIE CHRISTIAN - Celestial Express (1999) FLAC (tracks+.cue), lossless

Definitive's mini-anthology of classic recordings featuring pioneer electrically amplified guitarist Charlie Christian is an excellent core sample taken from his brief and eventful career. Note that Definitive has also issued what purport to be compilations containing all of Christian's complete live and studio recordings, as well as another more modestly proportioned sampler entitled The Genius of the Electric Guitar. Charlie Christian was like a will-o'-the-wisp, a strikingly creative sideman who appeared at studio sessions and live jams during a span of months only adding up to a couple of years before succumbing to tuberculosis at the age of 25 in 1942. On Definitive's Celestial Express, the guitarist is heard with various groups led by Lionel Hampton and Benny Goodman, with Edmond Hall's Celeste Quartet, and with the Kansas City Six (a band including Count Basie and Lester Young) at the second From Spirituals to Swing concert in Carnegie Hall. Christian accompanies sweet vocalist Eddy Howard (who sounded a bit like Gene Austin); jams out with a quartet including bassist Oscar Pettiford at the Harlem Breakfast Club in Minneapolis, MN; cooks with a sextet while waiting for Benny Goodman to show up and lead a studio recording session; and improvises freely in the wild and woolly atmosphere of Minton's Playhouse, an after-hours joint favored by young musicians seeking a loose and friendly environment suitable for collective artistic exploration. It's a fine taste of great music from a time when music was evolving as rapidly as all of the other arts near middle of the maelstrom of the 20th century. by arwulf arwulf  
 

CHARLIE CHRISTIAN - Electric (2011) FLAC (tracks+.cue), lossless

Charlie Christian's career was all too brief, lasting a mere five years. After catching the attention of John Hammond, who recommended him to Benny Goodman, he appeared on fewer than 100 sessions between 1939 and 1941, mostly broadcasts, plus a few privately recorded sessions issued on various labels over the years, in addition to his well-known studio recordings and with Goodman. While the music in this compilation has been previously available, this collection has to much recommend it. First of all, new digital transfers have been made from original acetates from the Jerry Newhouse collection, rather than relying on later generation sources. Frank Driggs' detailed liner notes provide a wealth of historical background and there are also lots of photographs. But the most important factor is the music itself. The four performances by Christian with tenor saxophonist Jerry Jerome (who was working in Goodman's orchestra while Christian was playing in the clarinetist's sextet) are informal jam sessions made between concerts with Goodman, with two regional players, pianist Frankie Hines and a teenaged Oscar Pettiford, the latter still a few years away from achieving fame for his virtuoso playing. Following Jerome's opening solo in "Tea for Two," Christian dazzles with his confident playing and solid rhythmic support, while Hines also takes a chorus and Pettiford is barely audible. Christian's spacious, inventive solo is the highlight of "Stardust," while Christian's dominates the two takes of "I Got Rhythm." In the Goodman sextet broadcasts, much of the solo space goes to the leader and vibraphonist Lionel Hampton in these relatively brief performances (most of which run right around three minutes), though Christian makes himself known when he solos and with his presence in the rhythm section. Among Christian's features are a bluesy solo in a version of "Flying Home" and some tasty breaks in his "Shivers" (co-composed with Hampton), while he steals the show from the veterans with his playing in "Seven Come Eleven." It is tragic that Charlie Christian died far too young from tuberculosis, but this rewarding collection is an excellent investment. by Ken Dryden
Tracklist:
1 Tea for Two 4:54
Irving Caesar / Vincent Youmans
2 Stardust 5:44
Hoagy Carmichael
3 I Got Rhythm [Take 1] 3:34
George Gershwin / Ira Gershwin
4 I Got Rhythm [Take 2] 3:32
George Gershwin / Ira Gershwin
5 Flying Home [Hollywood Bowl, Los Angeles, CA, August 19, 1939] 3:06
Benny Goodman
6 Memories of You [Camel Caravan, NYC, October 7, 1939] 3:16
Andy Razaf
7 AC DC Current [Waldorf-Astoria Hotel, NYC October 14, 1939] 2:38
Charlie Christian / Benny Goodman
8 Flying Home [Waldorf-Astoria Hotel, NYC October 16, 1939] 3:11
Benny Goodman
9 Shivers [Camel Caravan, NYC, November 4, 1939] 2:53
Charlie Christian
10 Seven Come Eleven (Roast Turkey Stomp) [Camel Caravan, NYC, November 25, 1939] 2:43
Charlie Christian / Benny Goodman
11 AC DC Current [Waldorf-Astoria Hotel, NYC November 27, 1939]  2:29
Charlie Christian / Benny Goodman
12 AC DC Current [Camel Caravan, NYC December 2, 1939] 2:18
Charlie Christian / Benny Goodman
13 Dinah [Camel Caravan, NYC, December 16, 1939] 3:06
Harry Akst / Joe Young
14 Gone with What Wind [Cocoanut Grove, Ambassador Hotel, Los Angeles, CA, March 19, 1940] 3:34
Count Basie / Charlie Christian / Benny Goodman
15 Sheik of Araby [Cocoanut Grove, Ambassador Hotel, Los Angeles, CA, April 12, 1940] 3:58
16 Sheik of Araby[Cocoanut Grove, Ambassador Hotel, Los Angeles, CA, April 26, 1940] 2:49
17 Six Appeal [Mark Hopkins Hotel, San Francisco, CA, June 4, 1940] 2:44
Benny Goodman
Credits
Art Bernstein - Bass
Charlie Christian - Guitar
Nick Fatool - Drums
Benny Goodman - Clarinet
Johnny Guarnieri - Piano
Lionel Hampton - Vibraphone
Fletcher Henderson - Piano
Frankie Hines - Piano
Oscar Pettiford - Bass

CHARLIE CHRISTIAN - Electric
 (2011) Uptown / FLAC (tracks+.cue), lossless

O Púbis da Rosa

CHARLIE CHRISTIAN - The Genius of the Electric Guitar [4CD] 2012 / Columbia

 First, a few myths get cleared up by the very existence of this box, which goes far beyond the original Columbia compilations with the same name. For starters, Columbia goes a long way to setting the record straight that Charlie Christian was not the first electric guitarist or the first jazz guitarist or the first electric guitarist in jazz. For another, they concentrate on only one thing here: documenting Christian's seminal tenure with Benny Goodman's various bands from 1939-1941. While in essence, that's all there really is, various dodgy compilations have been made advertising Christian playing with Lester Young or Lionel Hampton. It's true that he did, but only in the context of the Goodman band. There are 98 tracks spread over four CDs, all of which have been remastered from original sources -- the sound is nothing short of breathtaking. The tracks include the well-known master takes, all 70 of them, as well as 17 never before released alternates and 28 cuts that have only been issued on European or Japanese compilations. What all of this compiling proves is one thing certainly: all single-disc collections cannot begin to do justice to the legend and methyl that surrounds Christian's genius. The single-disc ventures are merely shadows, not even photographs or snaps of the massive wealth of musicality that this collaboration between these two men, and the various bands and orchestras they were involved in. Chronologically laid out, the notes are exhaustive enough to include take numbers for jazz historians to argue about. For the rest of us, we get to delve deep into the Goodman band's treasure trove with "Flying Home," "Rose Room," "Memories of You," "AC-DC Current" -- with a killer Lionel Hampton vibes solo, as well as Christian's fat-shaped chords that sound downright funky -- "Gone With What Wind," and more masters with those slippery solos and lilting clarinets. Plus, we get nine alternate takes just on disc one. Disc two brings Lester Young and Buck Clayton to the Goodman sextet, as well as players like Georgie Auld and Cootie Williams. These sides in 1940 are the most cooking, as Christian has to actually get in and mix it up with the horns. Among the most noteworthy are "Ad Lib Blues," "Lester's Dream," "Wholly Cats," and "Royal Garden Blues." The alternates are three takes of "Six Appeal (My Daddy Rocks Me)" and two of "Good Enough to Keep (Air Mail Special)," which must have been hell to pick between for the original issues -- they all smoke. Disc three puts the Goodman sextet in a new groove, with Count Basie making the scene briefly with Williams and Auld. The trading of fours between Basie and Christian on "Breakfast Feud" -- of which there are even steamier alternate takes -- is one of the highlights of either's career, and the only place on record where Goodman himself gets lost in the beat. Finally, disc four presents the Goodman Orchestra, Metronome All-Star Review, and his own big band. The sheer talent on these sides is dizzying to even list: Gene Krupa, Harry James, Jack Teagarden, Benny Carter, Pete Mondello, Fletcher Henderson, and on. Christian shines on all of these sides. Backed by a rhythm guitarist (acoustic), and a big rhythm section, his solos are wracked with fluttering arpeggios that seem to meander before sideswiping the listener with their on-target incision into the melodic framework of the tune and their absolutely in-the-pocket sense of time. Along with alternate takes, there are sextet false starts and breakdowns included, as well as the Goodman Orchestra's rehearsals. The fourth is easily the most exhausting disc of the set to listen through, but it also has the most astonishing music. This set is an archivist's dream, to be sure, but it nonetheless offers the rest of listeners plenty as well: a complete education in Goodman, as well as Christian and the eras, and to be sure, the most potent music outside the Ellington band from those years. In addition, Peter Broadbent's encyclopedic biographical notes and Loren Schoenberg' s obsessively (yes, that's a good thing) musical notes make for an indispensable package both historically and aesthetically.

Tracklist

The Master Takes
1-01 –Benny Goodman Sextet
Flying Home 3:12
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Fletcher Henderson
Vibraphone – Lionel Hampton

1-02 –Benny Goodman Sextet
Rose Room 2:47
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Fletcher Henderson
Vibraphone – Lionel Hampton

1-03 –Benny Goodman Sextet
Stardust 3:14
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Fletcher Henderson
Vibraphone – Lionel Hampton

1-04 –Benny Goodman Sextet
Memories Of You 3:10
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Fletcher Henderson
Vibraphone – Lionel Hampton

1-05 –Benny Goodman Sextet
Soft Winds 2:26
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Fletcher Henderson
Vibraphone – Lionel Hampton

1-06 –Benny Goodman Sextet
Seven Come Eleven 2:46
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Fletcher Henderson
Vibraphone – Lionel Hampton

1-07 –Benny Goodman Sextet
Shivers 2:48
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Vibraphone – Lionel Hampton

1-08 –Benny Goodman Sextet
AC/DC Current 2:45
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Vibraphone – Lionel Hampton

1-09 –Benny Goodman Sextet
I'm Confessin' (That I Love You) 2:58
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Vibraphone – Lionel Hampton

1-10 –Benny Goodman Sextet
Till Tom Special 3:04
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Count Basie
Vibraphone – Lionel Hampton

1-11 –Benny Goodman Sextet
Gone With What Wind 3:22
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Count Basie
Vibraphone – Lionel Hampton

1-12 –Benny Goodman Sextet
The Sheik Of Araby 3:15
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Vibraphone – Lionel Hampton

1-13 –Benny Goodman Sextet
Untitled Tune 2:01
Bass – Artie Bernstein

Drums – Nick Fatool
Piano – Johnny Guarnieri
Vibraphone – Lionel Hampton

1-14 –Benny Goodman Sextet
Poor Butterfly 2:50
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Vibraphone – Lionel Hampton

1-15 –Benny Goodman Sextet
I Surrender, Dear 3:00
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Vibraphone – Lionel Hampton

1-16 –Benny Goodman Sextet
Boy Meets Goy (Grand Slam) 2:53
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Vibraphone – Lionel Hampton

1-17 –Benny Goodman Sextet
These Foolish Things 3:12
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Dudley Brooks
Vibraphone – Lionel Hampton

The Alternate Takes
1-18 –Benny Goodman Sextet
Flying Home (Alternate Take) 3:15
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Fletcher Henderson
Vibraphone – Lionel Hampton

1-19 –Benny Goodman Sextet
Memories Of You (Alternate Take) 3:08
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Fletcher Henderson
Vibraphone – Lionel Hampton

1-20 –Benny Goodman Sextet
Soft Winds (Alternate Take) 2:28
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Fletcher Henderson
Vibraphone – Lionel Hampton

1-21 –Benny Goodman Sextet
Shivers (Alternate Take) 2:30
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Vibraphone – Lionel Hampton

1-22 –Benny Goodman Sextet
Gone With What Wind (Alternate Take) 3:15
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Count Basie
Vibraphone – Lionel Hampton

1-23 –Benny Goodman Sextet
The Sheik Of Araby (Alternate Take) 3:26
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Vibraphone – Lionel Hampton

1-24 –Benny Goodman Sextet
I Surrender, Dear (Alternate Take) 2:55
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Vibraphone – Lionel Hampton

1-25 –Benny Goodman Sextet
Boy Meets Goy
 (Grand Slam) (Alternate Take) 2:50
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Vibraphone – Lionel Hampton

1-26 –Benny Goodman Sextet
These Foolish Things (Alternate Take) 3:05
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Dudley Brooks
Vibraphone – Lionel Hampton

The Master Takes
2-01 –Benny Goodman Sextet
Six Appeal (My Daddy Rocks Me) 3:18
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Dudley Brooks
Vibraphone – Lionel Hampton

2-02 –Benny Goodman Sextet
Good Enough To Keep
(Air Mail Special) 2:53
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Dudley Brooks
Vibraphone – Lionel Hampton

2-03 –Benny Goodman Sextet
Ad Lib Blues 3:20
Acoustic Guitar – Freddie Green
Bass – Walter Page
Drums – Jo Jones
Piano – Count Basie
Tenor Saxophone – Lester Young
Trumpet – Buck Clayton

2-04 –Benny Goodman Sextet
Wholly Cats 3:15
Acoustic Guitar – Freddie Green
Bass – Walter Page
Drums – Jo Jones
Piano – Count Basie
Tenor Saxophone – Lester Young
Trumpet – Buck Clayton

2-05 –Benny Goodman Sextet
Charlie's Dream 3:12
Acoustic Guitar – Freddie Green
Bass – Walter Page
Drums – Jo Jones
Piano – Count Basie
Tenor Saxophone – Lester Young
Trumpet – Buck Clayton

2-06 –Benny Goodman Sextet
I Never Knew 2:58
Acoustic Guitar – Freddie Green
Bass – Walter Page
Drums – Jo Jones
Piano – Count Basie
Tenor Saxophone – Lester Young
Trumpet – Buck Clayton

2-07 –Benny Goodman Sextet
Lester's Dream 3:16
Acoustic Guitar – Freddie Green
Bass – Walter Page
Drums – Jo Jones
Piano – Count Basie
Tenor Saxophone – Lester Young
Trumpet – Buck Clayton

2-08 –Benny Goodman Sextet
Wholly Cats 3:03
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

2-09 –Benny Goodman Sextet
Wholly Cats 2:59
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

2-10 –Benny Goodman Sextet
Royal Garden Blues 3:01
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

2-11 –Benny Goodman Sextet
As Long As I Live 3:19
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

2-12 –Benny Goodman Sextet
Benny's Bugle 3:05
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

2-13 –Benny Goodman Sextet
Gilly 2:36
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Ken Kersey*
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

The Alternate Takes
2-14 –Benny Goodman Sextet
Six Appeal (My Daddy Rocks Me)
(Alternate Take) 3:13
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Dudley Brooks
Vibraphone – Lionel Hampton

2-15 –Benny Goodman Sextet
Six Appeal (My Daddy Rocks Me)
(Alternate Take) 3:18
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Dudley Brooks
Vibraphone – Lionel Hampton

2-16 –Benny Goodman Sextet
Six Appeal (My Daddy Rocks Me)
(Alternate Take) 2:52
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Dudley Brooks
Vibraphone – Lionel Hampton

2-17 –Benny Goodman Sextet
Good Enough To Keep (Air Mail Special)
 (Alternate Take) 2:47
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Dudley Brooks
Vibraphone – Lionel Hampton

2-18 –Benny Goodman Sextet
Good Enough To Keep (Air Mail Special)
(Alternate Take) 2:56
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Dudley Brooks
Vibraphone – Lionel Hampton

2-19 –Benny Goodman Sextet
Wholly Cats (Alternate Take) 2:58
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

2-20 –Benny Goodman Sextet
Wholly Cats (Alternate Take) 3:05
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

2-21 –Benny Goodman Sextet
Wholly Cats (Alternate Take) 3:03
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

2-22 –Benny Goodman Sextet
Royal Garden Blues (Alternate Take) 2:46
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

2-23 –Benny Goodman Sextet
Royal Garden Blues (Alternate Take) 3:02
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

2-24 –Benny Goodman Sextet
As Long As I Live (Alternate Take) 3:22
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

2-25 –Benny Goodman Sextet
Gilly (Alternate Take) 2:35
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Ken Kersey*
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

2-26 –Benny Goodman Sextet
Gilly (Alternate Take) 2:35
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Ken Kersey*
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

The Master Takes
3-01 –Benny Goodman Sextet
Breakfast Feud 3:09
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Ken Kersey*
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-02 –Benny Goodman Sextet
I Can't Give You Anything But Love 3:23
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Ken Kersey*
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-03 –Benny Goodman Sextet
Breakfast Feud 3:03
Bass – Artie Bernstein
Drums – Jo Jones
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-04 –Benny Goodman Sextet
On The Alamo 3:24
Bass – Artie Bernstein
Drums – Jo Jones
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-05 –Benny Goodman Sextet
I Found A New Baby 3:02
Bass – Artie Bernstein
Drums – Jo Jones
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-06 –Benny Goodman Sextet
Gone With What Draft 2:40
Bass – Artie Bernstein
Drums – Jo Jones
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-07 –Benny Goodman Sextet
A Smo-o-o-oth One 3:17
Bass – Artie Bernstein
Drums – Dave Tough
Piano – Johnny Guarnieri
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-08 –Benny Goodman Sextet
Air Mail Special
(Good Enough To Keep) 3:22
Bass – Artie Bernstein
Drums – Dave Tough
Piano – Johnny Guarnieri
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

The Alternate Takes
3-09 –Benny Goodman Sextet
Breakfast Feud (Alternate Take) 3:53
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Ken Kersey*
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-10 –Benny Goodman Sextet
Breakfast Feud (Alternate Take) 3:17
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Ken Kersey*
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-11 –Benny Goodman Sextet
Breakfast Feud (Alternate Take) 3:10
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Ken Kersey*
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-12 –Benny Goodman Sextet
Breakfast Feud (Alternate Take) 3:14
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Ken Kersey*
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-13 –Benny Goodman Sextet
I Can't Give You Anything But Love
 (Alternate Take) 3:23
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Ken Kersey*
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-14 –Benny Goodman Sextet
I Can't Give You Anything But Love
(Alternate Take) 3:35
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Ken Kersey*
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-15 –Benny Goodman Sextet
Breakfast Feud (Alternate Take) 3:06
Bass – Artie Bernstein
Drums – Jo Jones
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-16 –Benny Goodman Sextet
Breakfast Feud (Alternate Take) 3:13
Bass – Artie Bernstein
Drums – Jo Jones
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-17 –Benny Goodman Sextet
Breakfast Feud (Alternate Take) 3:05
Bass – Artie Bernstein
Drums – Jo Jones
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-18 –Benny Goodman Sextet
I Found A New Baby
(Alternate Take) 2:55
Bass – Artie Bernstein
Drums – Jo Jones
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-19 –Benny Goodman Sextet
Gone With What Draft
(Alternate Take) 2:42
Bass – Artie Bernstein
Drums – Jo Jones
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-20 –Benny Goodman Sextet
Gone With What Draft
(Alternate Take) 2:43
Bass – Artie Bernstein
Drums – Jo Jones
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-21 –Benny Goodman Sextet
A Smo-o-o-oth One
 (Alternate Take) 3:17
Bass – Artie Bernstein
Drums – Dave Tough
Piano – Johnny Guarnieri
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-22 –Benny Goodman Sextet
A Smo-o-o-oth One
(Alternate Take) 3:19
Bass – Artie Bernstein
Drums – Dave Tough
Piano – Johnny Guarnieri
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

3-23 –Benny Goodman Sextet
Air Mail Special (Good Enough To Keep)
 (Alternate Take) 3:22
Bass – Artie Bernstein
Drums – Dave Tough
Piano – Johnny Guarnieri
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

The All Star & Orchestra Sessions - The Master Takes
4-01 –Metronome All Star Nine*
All Star Strut 3:07
Alto Saxophone – Benny Carter
Bass – Bob Haggart
Drums – Gene Krupa
Piano – Jess Stacy
Tenor Saxophone – Eddie Miller (2)
Trombone – Jack Teagarden
Trumpet – Harry James (2)

4-02 –Benny Goodman And His Orchestra
Honeysuckle Rose 3:02
Alto Saxophone – Buff Estes, Toots Mondello
Arranged By – Fletcher Henderson
Bass – Artie Bernstein
Drums – Nick Fatool
Guitar – Arnold Covey
Piano – Fletcher Henderson
Tenor Saxophone – Bus Bassey, Jerry Jerome
Trombone – Red Ballard, Ted Vesely, Vernon Brown
Trumpet – Jimmy Maxwell, Johnny Martel, Ziggy Elman

4-03 –Benny Goodman And His Orchestra
Li'l Boy Love 2:59
Alto Saxophone – Les Robinson, Toots Mondello
Arranged By – Eddie Sauter
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Tenor Saxophone – Bus Bassey, Jerry Jerome
Trombone – Red Ballard, Ted Vesely, Vernon Brown
Trumpet – Irving Goodman, Jimmy Maxwell, Ziggy Elman
Vocals – Helen Forrest

4-04 –Benny Goodman And His Orchestra
Solo Flight 2:47
Alto Saxophone – Gus Bivona, Skippy Martin*
Arranged By – Jimmy Mundy
Baritone Saxophone – Bob Snyder
Bass – Artie Bernstein
Drums – Dave Tough
Piano – Johnny Guarnieri
Tenor Saxophone – George Auld*, Pete Mondello
Trombone – Cutty Cutshall, Lou McGarity
Trumpet – Alec Fila, Cootie Williams,
Irving Goodman, Jimmy Maxwell

The All Star & Orchestra Sessions - The Alternate Takes
4-05 –Metronome All Star Nine*
All Star Strut (Alternate Take) 3:12
Alto Saxophone – Benny Carter
Bass – Bob Haggart
Drums – Gene Krupa
Piano – Jess Stacy
Tenor Saxophone – Eddie Miller (2)
Trombone – Jack Teagarden
Trumpet – Harry James (2)

4-06 –Benny Goodman And His Orchestra
Li'l Boy Love (Alternate Take) 2:57
Alto Saxophone – Les Robinson, Toots Mondello
Arranged By – Eddie Sauter
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Tenor Saxophone – Bus Bassey, Jerry Jerome
Trombone – Red Ballard, Ted Vesely, Vernon Brown
Trumpet – Irving Goodman, Ziggy Elman
Vocals – Helen Forrest

4-07 –Benny Goodman And His Orchestra
Solo Flight (Alternate Take) 2:46
Alto Saxophone – Gus Bivona, Skippy Martin*
Arranged By – Jimmy Mundy
Baritone Saxophone – Bob Snyder
Bass – Artie Bernstein
Drums – Dave Tough
Piano – Johnny Guarnieri
Tenor Saxophone – George Auld*, Pete Mondello
Trombone – Cutty Cutshall, Lou McGarity
Trumpet – Alec Fila, Cootie Williams, Irving Goodman, Jimmy Maxwell

The Sextet Breakdowns & False Starts
4-08 –Benny Goodman Sextet
Untitled Tune (Breakdown) 1:35
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Vibraphone – Lionel Hampton

4-09 –Benny Goodman Sextet
Poor Butterfly (False Start) 0:29
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Vibraphone – Lionel Hampton

4-10 –Benny Goodman Sextet
I Surrender, Dear (Breakdown) 1:03
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Vibraphone – Lionel Hampton

4-11 –Benny Goodman Sextet
I Surrender, Dear (Breakdown) 1:10
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Johnny Guarnieri
Vibraphone – Lionel Hampton

4-12 –Benny Goodman Sextet
Six Appeal (My Daddy Rocks Me)
(Breakdown) 1:05
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Dudley Brooks
Vibraphone – Lionel Hampton

4-13 –Benny Goodman Sextet
Six Appeal (My Daddy Rocks Me)
(False Start) 0:19
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Dudley Brooks
Vibraphone – Lionel Hampton

4-14 –Benny Goodman Sextet
These Foolish Things (False Start) 0:34
Bass – Artie Bernstein
Drums – Nick Fatool
Piano – Dudley Brooks
Vibraphone – Lionel Hampton

4-15 –Benny Goodman Sextet
Tune Up & Blues (False Start) 0:16
Acoustic Guitar – Freddie Green
Bass – Walter Page
Drums – Jo Jones
Piano – Count Basie
Tenor Saxophone – Lester Young
Trumpet – Buck Clayton

4-16 –Benny Goodman Sextet
Wholly Cats (Breakdown) 0:54
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Count Basie
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

4-17 –Benny Goodman Sextet
Breakfast Feud (False Start) 0:27
Bass – Artie Bernstein
Drums – Harry Jaeger
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

4-18 –Benny Goodman Sextet
Breakfast Feud (False Start) 0:09
Bass – Artie Bernstein
Drums – Harry Jaeger
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

4-19 –Benny Goodman Sextet
Gilly (Breakdown) 1:31
Bass – Artie Bernstein
Drums – Harry Jaeger
Piano – Ken Kersey*
Tenor Saxophone – George Auld*
Trumpet – Cootie Williams

4-20 –Metronome All Star Nine*
All Star Strut (Breakdown) 1:18
Alto Saxophone – Benny Carter
Bass – Bob Haggart
Drums – Gene Krupa
Piano – Jess Stacy
Tenor Saxophone – Eddie Miller (2)
Trombone – Jack Teagarden
Trumpet – Harry James (2)

The Sextet Rehearsal Sequences
4-21 –Benny Goodman Sextet
Benny's Bugle (Rehearsal Sequence - Part One) 14:19
4-22 –Benny Goodman Sextet
Benny's Bugle (Rehearsal Sequence - Part Two) 9:18
–Benny Goodman Sextet
March 13, 1941 Jam Session (21:02)
4-23a – Riffin' Around 3:31
4-23b – Waitin' For Benny
(A Smo-o-o-oth One) 3:37
4-23c – I Can't Believe That You're
 In Love With Me 6:20
4-23d – Rose Room 4:01
4-23e – I Hadn't Anyone Till You 1:59
4-23f – Blues In B 1:34
CBR320/scan

O Púbis da Rosa