01. Let’s Dance (Baldridge - Stone - Bonime)
02. Stompin’ at thr Savoy (Goodman - Webb - Sampson)
03. Memories of You (Razaf - Blake)
04. King Porter Stomp (Morton)
05. Down South Camp’ Meeten’ (Henderson - Mills)
06. One O’clock Jump (Basie)
07. Avalon (Jolson - Rose)
08. Bugle Call Rag (Pettis - Meyers - Schoebel)
09. Don’t Be That Way (Goodman - Sampson - Parish)
10. Moonglow (Hudson - Da Langs - Mills)
11. Sing, Sing, Sing (Prima)

Benny Goodman & His Orchestra (1, 4 - 6, 8, 9, 11)
Benny Goodman - clarinet
Garry James, Chris Griffin, Ziggy Elman - trumpet (4 - 6, 8, 9, 11)
Jimmy Maxwell, Ziggy Elman, Johnny Martell - trumpet (1)
Red Ballard, Murray McEachern - trombone (4, 5, 8)
Red Ballard, Vernon Brown - trombone (6, 9, 11)
Red Ballard, Vernon Brown, Ted Vesley - trombone (1)
Hymie Shertzer, George Koenig, Art Rollini, Vido Musso - saxophon (4, 5, 8)
Hymie Shertzer, George Koenig, Art Rollini, Babe Russin - saxophon (6, 9, 11)
Toots Mondello, Buff Estes, Bus Bassey, Jerry Jerome - saxophon (1)
Jess Stacey - piano (4 - 6, 8, 9, 11)
Fletcher Henderson - piano (1)
Allan Reuss - guitar (4 - 6, 8, 9, 11), Charlie Christian - guitar (1)
Garry Goodman – double bass (4 - 6, 8, 9, 11), Artie Bernstein – double bass (1)
Gene Krupa - drums (4 - 6, 8, 9, 11), Nick Fetul - drumms (1)

Benny Goodman Sextet (3)
Benny Goodman - clarinet, Lionel Hampton - vibraphone
Fletcher Henderson - piano, Charlie Christian - guitar
Artie Bernstein – double bass, Nick Fetul - drumms

Benny Goodman Quartet (2, 7, 10)
Benny Goodman - clarinet, Lionel Hampton - vibraphone
Teddy Wilson - piano, Gene Krupa - drums
***
Recordings:
1937 tracks (4, 5, 8, 10)
16 january 1938 Carnegie Hall (2, 6, 9, 11)
24 october 1939 trrack (1), 22 november 1939 track (3)

Edited by russian Melodia Recordings

Benny Goodman learned clarinet at his synagogue, bolstered by two years of classical training. He made his professional debut at 12 and became part of the rich Chicago jazz scene, steeped in the music of New Orleans. Goodman first recorded in 1926 and spent several years as a first-call musician in New York. His 1934 band was broadcast on the popular “Let’s Dance” radio show which aired coast to coast. An otherwise unsuccessful tour in 1935 ended in a smash hit in Los Angeles where the audience went wild. Thus, it is said, swing was born and Goodman became its King.

The band included trumpeter Bunny Berigan, vocalist Helen Ward, and Gene Krupa, the explosive drummer who was seminal to the band’s swinging sound. In 1937 Harry James, Ziggy Elman, and Vido Musso joined the band. Success was due to Goodman’s hiring the best arrangers, Fletcher Henderson (whom he credited with creating the swing sound), and the best players whom he rehearsed hard. He was one of the first to feature band members in small settings and the first to integrate a band with such greats as Teddy Wilson, Lionel Hampton, Ella Fitzgerald, and Jimmy Rushing.

Goodman’s 1938 Carnegie Hall concert was a first for a jazz group in such a venerable setting and remains one of jazz’s high points. The band enjoyed many top ten hits a year and was featured in several films, the first being The Big Broadcast of 1937. --- Sandra Burlingame, naxos.com

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1 - Franckie And Johnny
2 - One o'clock Jump
3 - Stompin'at the Savoy
4 - Jersey Bounce
5 - Down south camp meeting
6 - Jumping at the woodside
7 - King Porter Stomp
8 – Stardust
9 - That's a plenty
10 - How high the moon
11 - Seve come eleven
12 - You turned the tables on me
13 - Buggle Call Rag
14 - Let's dance
15 - I found a new baby
16 - Roll'em

US Jazz clarinet player. Known as "The King Of Swing" (born on May 30, 1909 in Chicago, Illinois - died on June 13, 1986 in New York City of a cardiac arrest). Benny Goodman learned to play clarinet at age of 10. He played in Jazz bands at a young age. He formed a band in 1934 and toured the world. Benny Goodman contributed to the development of the "Swing" style of Jazz. ---discogs.com

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1. Great Day
2. La Boheme
3. Call Me Irresponsible
4. People
5. Hello Dolly
6. The Girl From Ipanema
7. The Pink Panther Theme
8. The Lamp Is Low
9. Hallelujah, I Love Her So
10. Them There Eyes 

Benny Goodman (clarinet)
Benny Garcia (guitar)
Herbie Steward, Skeets Herfurt (alto saxophone)
Bob Hardaway, Teddy Edwards (tenor saxophone)
Tay Triscari, Jimmy Zito, Tony Terran (trumpet)
Vern Friley, Bob Edmondson (trombone)
Pete Jolly (piano); Colin Bailey (drums). 

Arrangers: Fletcher Henderson; Joe Lipman; Gerald Wilson; Tommy Newsom; Bill Holman.

All performers, no matter how great, are bound to make one real bad recording during their career, especially if it is a long career. For Benny Goodman it's this strange 1964 album for the Capitol label. Despite heading a band chaired with outstanding West Coast musicians like Ray Triscari, Teddy Edwards, Pete Jolly, and Monty Budwig, playing charts by Gerald Wilson, Bill Holman, and Tommy Newsom, the result is dull and listless. None of those involved seemed to be very interested in playing tunes like "People," "The Pink Panther Theme," or "Hello, Dolly," perhaps feeling that this music was not up to their standards. There are even some Goodman fluffs on clarinet which Goodman, or the producer, didn't bother to remove from the master. Given Goodman's legendary attention to detail and professionalism, it is a surprise he let this album be released at all, much less with his playing below par. To be fair, the session is not a total loss. There are a couple of interesting cuts like "The Lamp Is Low" and a Fletcher Henderson chart for "Them There Eyes," with some good solo work by Pete Jolly andTeddy Edwards, respectively. But over all, this is substandard Goodman which should not be transferred to CD. ---Dave Nathan, Rovi

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Waitin' For Katie - (with Ben Pollack & His Orchestra) 
Clarinetitis 
It's Tight Like That - (with Jimmy Bracken's Toe Ticklers) 
Who? - (with Red Nichols & His Five Pennies) 
Royal Garden Blues - (with Ted Lewis & His Band) 
King Porter Stomp - (with Benny Goodman & His Orchestra) 
Body and Soul - (with Benny Goodman Trio) 
Roll 'Em - (with Benny Goodman & His Orchestra) 
You Turned the Tables on Me - (with Benny Goodman & His Orchestra) 
Sing, Sing, Sing - (with Benny Goodman & His Orchestra) 
Don't Be That Way - (with Benny Goodman & His Orchestra) 
Avalon - (with Benny Goodman Quartet) 
Flyin' Home - (with Benny Goodman Sextet) 
Rose Room - (with Benny Goodman Sextet) 
Let's Dance - (with Benny Goodman & His Orchestra) 
Memories of You - (with Benny Goodman Sextet) 
Benny Rides Again - (with Benny Goodman & His Orchestra) 
Air Mail Special - (with Benny Goodman Sextet) 
Why Don't You Do Right? - (with Benny Goodman & His Orchestra) 
Rachel's Dream - (with Benny Goodman Sextet) 
Undercurrent Blues - (with Benny Goodman & His Orchestra)
Goodbye - (with Benny Goodman & His Orchestra)


Personnel includes: Benny Goodman (trumpet, clarinet); Glenn Miller (vocals, trombone);
Fats Waller (vocals, piano); Ben Pollack (vocals, drums); Helen Ward, Peggy Lee (vocals);
Bud Freeman, Georgie Auld, Wardell Gray (tenor saxophone); Red Nichols, Harry James, 
Cootie Williams, Taft Jordan (trumpet); Mugsy Spanier (cornet); Jack Teagarden (trombone);
Harry Goodman (tuba, acoustic bass); Ted Lewis (clarinet); Lionel Hampton, 
Red Norvo (vibraphone); Teddy Wilson, Fletcher Henderson, Johnny Guarnieri (piano); 
Charlie Christian (electric guitar); Slam Stewart (bass); 
Ray Baudac, Gene Krupa, Dave Tough (drums).

Recorded between 1927 and 1958.

Benny Goodman's volume in the Ken Burns Jazz series ranges from one of his first recording appearances, on a 1927 side by Ben Pollack, all the way to the late '50s. Of the 22 tracks, there are many highlights including "Body and Soul" from his trio (with Teddy Wilson and Gene Krupa), plus two songs from his legendary 1938 Carnegie Hall concert. More than most volumes in the series however, this one was forced to bypass the original versions of Goodman classics ("King Porter Stomp," "Don't Be That Way") in favor of usually inferior radio versions. Still, Ken Burns Jazz is a cheap, easy way for listeners to introduce themselves to the exuberant swing of Benny Goodman. ---John Bush, Rovi

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01 How 'Ya Gonna Keep 'Em Down on the Farm 4:01
02 Autumn Leaves 3:03
03 I Love Paris 3:26
04 April in Paris 2:26
05 A Man and a Woman 3:33
06 C'est Magnifique 3:03
07 Petite Fleur 2:56
08 I Wish You Love 2:33
09 Mimi 3:50
10 C'Est Si Bon 3:03
11 Under Paris Skies 4:08
12 I Will Wait for You 5:49

Benny Goodman - clarinet
Joe Newman - trumpet
Urbie Green - trombone
Attila Zoller - guitar
Bernie Leighton - piano
George Duvivier - bass
Joe Marshall - drums

Benny Goodman's career was becoming rather aimless by 1967. In fact, shortly after recording this LP, the King of Swing would be off of records for nearly two years. The music has its moments (including a Dixielandish version of "How 'Ya Gonna Keep 'Em Down On the Farm") and some short spots for trumpeter Joe Newman and trombonist Urbie Green, but most of the selections (which are all associated with Paris) are rather forgettable and some are merely throwaways. Goodman needed a fresh repertoire, but there was little inspiring for him about such songs as "A Man and a Woman," "I Wish You Love," "Mimi" and "Under Paris Skies." For completists only. ---Scott Yanow, Rovi

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CD1:

01. Don't Be That Way [04:23]
02. One O'clock Jump [06:38]
03. Sensation Rag [01:20]
04. I'm Coming Virginia [02:07]
05. When My Baby Smiles At Me [00:50]
06. Shine [01:04]
07. Blue Reverie [03:17]
08. Life Goes To A Party [04:13]
09. Honeysuckle Rose [13:59]
10. Body And Soul [03:23]
11. Avalon [04:17]
12. The Man I Love [03:26]

CD2:

13. I Got Rhythm [05:06]
14. Blue Skies [03:19]
15. Loch Lomond [03:00]
16. Blue Room [02:43]
17. Swingtime In The Rockies [02:30]
18. Bei Mir Bist Du Schon [04:00]
19. China Boy [04:54]
20. Stompin' At The Savoy [05:52]
21. Dizzy Spells [05:45]
22. Sing Sing Sing (With A Swing) [12:08]
23. Big John's Special [03:44]

Personnel
The Benny Goodman Orchestra:

    * Benny Goodman, clarinet, vocal, and leader
    * Chris Griffin, Ziggy Elman, Harry James, trumpets
    * Red Ballard, Vernon Brown, trombones
    * George Koenig, Art Rollini, Babe Russin, Hymie Schertzer, reed instruments
    * Jess Stacy, piano
    * Teddy Wilson, piano (BG trio and quartet only)
    * Lionel Hampton, vibraphone (BG quartet only)
    * Allan Reuss, guitar
    * Harry Goodman, bass
    * Gene Krupa, drums
    * Martha Tilton, vocal

Additional Personnel:

    * Count Basie, piano
    * Harry Carney, baritone saxophone
    * Buck Clayton, trumpet
    * Freddie Green, guitar
    * Bobby Hackett, cornet
    * Johnny Hodges, soprano[2] and alto saxophones
    * Walter Page, bass

Benny Goodman's January 16, 1938, Carnegie Hall concert is considered the single most important jazz or popular music concert in history: jazz's "coming out" party to the world of "respectable" music, held right in that throne room of musical respectability, Carnegie Hall. The 1950-vintage three-album set from the concert only solidified its reputation, and an earlier CD release derived from the LP master was a choice entry in the Goodman catalog for more than ten years. For the 1999 release, producer Phil Schaap re-sourced the concert from original 78 rpm transcription discs; he has also rescued "Sometimes I'm Happy," the show's original second number, and "If Dreams Come True," its original first encore, along with the unedited version of "Honeysuckle Rose" (with Harry Carney in a two-chorus baritone sax solo and Buck Clayton's three-chorus trumpet solo), all previously lost. The detail is startling, with soloists who are more up close than ever and even details from the audience reactions. Gene Krupa's drums have an extraordinary richness of tone, and the whole rhythm section finally gets its due as well, even Freddie Green's rhythm guitar solo during "Honeysuckle Rose," which is gloriously enhanced. There will be casual listeners, however, who won't like this release because Schaap has chosen to leave a lot of surface noise, in the interest of preserving the original concert ambience. Some compromise should have been possible, however, where the worst source damage is concerned, and some casual listeners may prefer the original CD release, despite the enhancements featured here. ---Bruce Eder, Rovi

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01 Air Mail Special Charlie Christian / Benny Goodman / Jimmy Mundy 6:23
02 Slipped Disc Benny Goodman 4:09
03 Gotta Be This Or That Sunny Skylar 5:15
04 Where Or When Lorenz Hart / Richard Rodgers 2:08
05 I Want To Be Happy Irving Caesar / Vincent Youmans 5:12
06 After You've Gone Henry Creamer / Turner Layton 5:43
07 Waiting For The Robert E. Lee L. Wolfe Gilbert / Lewis F. Muir 2:11
08 Bill Bailey Won't You Please Come Home Hughie Cannon 2:02
09 Sing, Sing, Sing (With A Swing) Louis Prima 9:37
10 St. James Infirmary Traditional; arr. Joe Primrose 4:49
11 Air Mail Special #2 Charlie Christian / Benny Goodman / Jimmy Mundy 5:57
12 My Baby Done Tol' Me Flip Phillips 4:36
13 I Want To Be Happy #2 Irving Caesar / Vincent Youmans 4:36
14 Runnin Wild Arthur Gibbs /Joe Grey / Leo Wood 2:47
15 Gotta Be This Or That Sunny Skylar 6:53
16 After You've Gone Henry Creamer / Turner Layton 4:18

Benny Goodman - Clarinet, vocals
Jack Sheldon - Trumpet
Flip Phillips - Tenor sax
Red Norvo - Vibes
Murray McEachern - Trombone
Jerry Dodgion - Alto sax
Russ Freeman - Piano
Jimmy Wyble - Guitar
Red Wootten - Bass
John Markham - Drums
Maria Marshall - Vocals (tracks 7-8)

Like a former rock star, Benny Goodman continued long after the swing era performing his greatest hits. His repetitiveness is confirmed by the fact that four of the seven bonus tracks (numbers 10 to 16, recorded at various venues) are the same as tunes on the original LP, which was recorded at Ciro’s in Hollywood. Most of this album uses a ten-piece group, which spans the gap between Benny’s big band and his smaller combos. On these recordings from 1959 and 1960, there are occasional hints of Goodman not being quite as agile as he used to be. Can you believe that the King of Swing sometimes sounds breathless? Yet he is still the main soloist and can achieve some high-flying improvisations.

In fact Benny’s dominance tends to reduce the contributions of his talented sidemen. For instance, it would have been nice to hear more solos from trumpeter Jack Sheldon, although he gets some chances to shine on such tracks as the first version of Air Mail Special, although the riffing background tends to get in the way. On the other hand, vibist Red Norvo gets plenty of solos, which he executes with his usual dexterity. And saxists Flip Phillips and Jerry Dodgion also make valuable contributions.

The band swings with the same ease as Goodman’s earlier groups, but it would have been healthy to have included more new tunes instead of the (admittedly) good-old-good ones. Benny even revives Sing, Sing, Sing, a piece which is indelibly associated one drummer on one special occasion. John Markham does his best, although he can’t match the excitement of Gene Krupa’s original show-stopper. But Goodman’s clarinet solo wittily quotes And The Angels Sing as well as containing echoes of his Jewish background.

The personnel listings on the sleeve are confusing, as they fail to list the musicians on the bonus tracks (10 to 18). Red Norvo is listed as out on 4 and 6 but I can hear a vibraphone on both these tracks. My Baby Done Tol Me has vocals by an unnamed singer, whose style is nearer R & B than swing. Despite these flaws, if you loved Benny’s original recordings you will probably enjoy this album, even though it consists mainly of reruns. ---Tony Augarde, musicweb-international.com

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1 	–Ella Fitzgerald 	Goodnight My Love 	
2 	–Martha Tilton 	The Lady's In Love With You 	
3 	–Johnny Mercer 	I Sent For You Yesterday And Here You Come Today 	
4 	–Helen Ward 	Between The Devil And The Deep Blue Sea 	
5 	–Buddy Clark 	I'm Livin' In A Great Big Way 	
6 	–Ella Fitzgerald 	Did Ja Mean It (Hope You Did-'Cause So Did I) 	
7 	–Martha Tilton 	Thanks For The Memory 	
8 	–Helen Ward 	There's A Small Hotel 	
9 	–Jimmy Rushing 	He Ain't Got Rhythm 	
10 	–Johnny Mercer 	Cuckoo In The Clock

The mid-to-late 1930s were the golden years of Benny Goodman’s group. He had several different “girl singers” (as they were called) during this stretch. The first full-time singer was Helen Ward, who sang with Goodman from 1934 to 1936, although Goodman did record one-offs with a few singers during this stretch, including Ella Fitzgerald. It’s thought that a failed relationship with Goodman convinced Ward to leave the group.

Helen Ward was replaced by Martha Tilton, who performed with Goodman at the famous Carnegie Hall concert. After Tilton became sick, she was replaced by Louise Tobin, a bluesier singer, who also happened to be married to Goodman’s lead trumpeter Harry James. When Tobin left in 1939, Goodman’s band was in transition. A few temporary singers were brought in for a session or two, including one of the biggest stars of the day Mildred Bailey. Bailey was not a permanent fixture of Goodman’s band—she worked with her husband Red Norvo. Rather she filled in with Goodman in 1939 when there was an opening.

Female singers were used most often to front Goodman’s band, but on occasion, a male singer would step out in front. He did a few single sessions or short engagements with some well-known male singers, including Jimmy Rushing, Johnny Mercer, and even Frank Sinatra. But his full time male singers included Art London (also known as “Art Lund”) and Dick Haymes.

One of the reasons Goodman didn’t hire many male singers is because, whenever possible, he put himself behind the microphone. Benny Goodman sang on more Benny Goodman sides than any other male vocalist, and perhaps any vocalist, male or female. He had a nice voice: it was light and swinging with a bit of a Johnny Mercer quality to it, although probably not suited for a tender ballad. ---indianapublicmedia.org

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A1 	Memories Of You		3:35
A2 	Can't We Talk It Over		3:36
A3 	That's A-Plenty		4:05
B1 	A Fine Romance		3:06
B2 	It's Bad For Me		3:00
B3 	Goodbye 	3:50

Benny Goodman Sextet: 
Aaron Bell  - bass,
Bobby Donaldson - drums,
Buck Clayton - trio, 
Claude Thornhill - piano, 
Urbie Green - trombone

Benny Goodman - clarinet
Rosemary Clooney - Vocals

No, not Elvis -- or even B.B. King. This would be a date with the King of Swing, Benny Goodman, made near the height of Rosemary Clooney's pop fame and released on a 10" LP. We tend to forget that bebop and hard bop were not the only jazz styles that were recorded in the mid-'50s, for Goodman was still a potent force on the sales ledgers then -- and thus an equally potent draw. Indeed, Clooney sings on only three of the six tracks here ("Memories of You," "It's Bad for Me," "Goodbye"), essentially assuming the role of the resident thrush with her hard-driving, edgy voice of the Mitch Miller era. On "It's Bad for Me," Goodman warms up his rusty vocal pipes and trades off with Clooney, who is totally at home with the swing idiom. The Goodman Trio, with Dick Hyman on piano and Bobby Donaldson on drums, handles "Memories Of You," while the sextet takes care of the rest. On "Can't We Talk It Over" and "A Fine Romance," pianist Claude Thornhill makes a rare appearance with his fellow bandleader (they had played together once over 25 years before), replacing Hyman. The underrated trombonist Urbie Green gets a lot of solo space on the sextet sides, and trumpeter Buck Clayton produces some crackling solo work as well. While "That's a Plenty" has the romping, outgoing flavor of Dixieland, which also happened to enjoy a revival during the '50s, Goodman is mostly content to revive the sound of small group swing -- which he does impeccably. This collectible also has extensive liner notes, a rarity for the Columbia House Party series. ---Richard S. Ginell, allmusic.com

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1 	Elmer's Tune 	2:49
2 	I See A Million People 	2:39
3 	That's The Way It Goes 	3:07
4 	I Got It Bad And That Ain't Good 	3:14
5 	My Old Flame 	3:06
6 	How Deep Is The Ocean 	3:04
7 	Shady Lady Bird 	2:44
8 	Let's Do It 	2:00
9 	Somebody Else Is Taking My Place 	3:08
10 	Somebody Nobody Loves 	3:20
11 	How Long Has This Been Going On 	3:14
12 	That Did It, Marie 	3:10
13 	Winter Weather 	3:00
14 	Everything I Love 	3:03
15 	Not Mine 	3:17
16 	Not A Care In The World 	3:21

George Berg 	Sax (Tenor)
Billy Butterfield 	Trumpet
Big Sid Catlett 	Drums, Drums (Snare)
Ralph Collier 	Drums, Drums (Snare)
Cutty Cutshall 	Trombone
Alvin Davis 	Trumpet
Joe Ferrante 	Trumpet
Chuck Gentry 	Sax (Baritone)
Benny Goodman 	Clarinet, Leader, Performer, Primary Artist
Benny Goodman & His Orchestra 	Performer, Primary Artist
Sol Kane 	Sax (Alto)
Peggy Lee 	Performer, Primary Artist, Vocals
Art Lund 	Vocals
Skip Martin 	Sax (Alto)
Jimmy Maxwell 	Trumpet
Lou McGarity 	Trombone
Tom Morgan 	Guitar
Vido Musso 	Sax (Tenor)
Clint Neagley 	Sax (Alto)
Mel Powell 	Arranger, Piano
Bernie Privin 	Trumpet
Julie Schwartz 	Sax (Alto)
John Simmons 	String Bass
Morty Stuhlmaker 	Drums (Snare), String Bass
Sid Weiss 	String Bass
Cootie Williams 	Trumpet 

When Peggy Lee made her first recording with Benny Goodman's orchestra, she was 19 and scared to death. The result, "Elmer's Tune," is one she probably wished were lost, but the other 15 recordings on this CD (all from 1941) find her improving month by month, struggling gamely through the difficult Eddie Sauter and Mel Powell arrangements. Many of these titles were formerly rare and offer an interesting look at the early Peggy Lee. ---Scott Yanow, AllMusic Review

Just as Benny Goodman was enjoying another triumphant year in 1941, The King Of Swing attended a nightclub in Chicago when he saw a young jazz vocalist singing in a vocal group, and it was during this engagement she was hired by the bandleader to sing at the Ambassador West Hotel and the College Inn as this encounter resulted in a series of record dates from Goodman and Lee for Columbia Records. Presented in it’s own exclusive 78 set later that year, Benny Goodman Feat’ Peggy Lee bring to us a starting point for this talented young jazz vocalist who got shot to stardom with a lively set of superb songs that she performs in upbeat style after being welcomed into Goodman’s orchestra after one of it’s lead band singers, Helen Forest, had left where she took her place. Beginning with there first class version of the Glenn Miller classic Elmer’s Tune, which was a huge success, the track set proceeds with great harmonic excellence on other classic jazz standards that include That’s The Way it Goes, Duke Ellington’s I Got It Bad And That Ain’t Good, Shady Lady, the rousing Somebody Else Is Taking My Place, Winter Weather and Not Mine, as well as snappy takes of classic pop standards that include My Old Flame, How Deep Is The Ocean? and Everything I Love until ending with the final track Not A Care In The World. Just as Goodman was enjoying another triumphant year in 1941, Benny Goodman Feat’ Peggy Lee became another milestone achievement for The King Of Swing and Lee’s rise to national fame that would result into a highly successful and prolific music career for this master jazz vocalist, which makes this full recorded session (78 set) a landmark from jazz history. ---RH, amazon.com

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