Benny Ausmus

Rockstar Records present a twenty-nine song CD album entitled Benny Joy, Little Red Book with recordings from the years 1957 to 1963. There are two recordings which are dually credited to Benny Joy and "Big" John Taylor, and one solo "Big"John Taylor release. Their initial recording from the year 1957 "Hey"… High School Baby! b/w Spin The Bottle were released using only Benny Joy’s name, and they were recorded for the Haines City, Florida based Tri-Dec label. The CD album includes the Dixie version of Spin The Bottle which was the undubbed master leased to Shelby Singleton who added his name to the writing credits.

To say that Benny Carter had a remarkable and productive career would be an extreme understatement. As an altoist, arranger, composer, bandleader, and occasional trumpeter, Carter was at the top of his field since at least 1928, and in the late '90s, Carter was as strong an altoist at the age of 90 as he was in 1936 (when he was merely 28). His gradually evolving style did not change much through the decades, but neither did it become at all stale or predictable except in its excellence. Benny Carter was a major figure in every decade of the 20th century since the 1920s, and his consistency and longevity were unprecedented…

Avid Jazz continues with its Four Classic Albums series with a second re-mastered 2CD set release from Benny Carter, complete with original artwork, liner notes and personnel details. For our Second Set from the instantly recognisable horn of Benny Carter we have selected four more albums for you to enjoy as we again pay tribute to one of the true legendary giants of the jazz world.
“The Tatum, Carter, Bellson Trio”, “Makin’ Whoopee”, “B.B.B & Co.” and “Further Definitions”.
Jazz greats heard on these four phenomenal selections include some of the greatest names in the jazz world, Coleman Hawkins, Ben Webster, Art Tatum, Louis Bellson, Jo Jones, Barney Bigard, Shorty Sherock, Jimmy Rowles, Leroy Vinnegar, Mel Lewis, Phil Woods, Charlie Rouse, Dick Katz and Jimmy Garrison.

Falling in Love With Benny Goodman is part of RCA's mid-line Falling in Love With series, which focuses on romantic highlights from classic big-band, swing, and jazz artists. There aren't any risky choices on Goodman's volume, but that's fine, since each of the title's 16 cuts - including "Body and Soul," "The Man I Love," "Moonglow," "In a Sentimental Mood," "These Foolish Things Remind Me of You," and "The Glory of Love" - sustains a mellow, romantic mood. This record may not really be necessary, but for anyone looking for lovely, romantic music from Goodman, it's not a bad choice at all.

The first half of this chronological release of Benny Goodman's 1931-1933 recordings is comprised of dance band performances from 1931 - 12 selections with vocals from Paul Small, Smith Ballew, and Dick Robertson that have little to recommend them except excellent musicianship. The jazz content is pretty low and even Goodman is not heard from much. This is from the era when the clarinetist earned his employment as a studio musician. The final ten numbers are from 1933 and are of greater interest. Trombonist/singer Jack Teagarden is well featured on six songs, Billie Holiday makes her hesitant recording debut on "Your Mother's Son-in-Law" and "Riffin' the Scotch," and there are some fine solos along the way by both Jack and Charlie Teagarden, pianist Joe Sullivan, and Goodman. This is still Benny Goodman pre-history, for he would not attempt to lead a big band until 1934.

Altoist/arranger Benny Carter's classic Further Definitions is a revisiting, instrumentation-wise, to the famous 1937 session that Carter and tenor saxophonist Coleman Hawkins made in France with two top European saxophonists (Andre Ekyan and Alix Combelle) and guitarist Django Reinhardt. The all-star group (which also includes Hawkins, altoist Phil Woods, Charlie Rouse on second tenor, pianist Dick Katz, guitarist John Collins, bassist Jimmy Garrison, and drummer Jo Jones) performs a particularly inspired repertoire. Carter's charts, which allow Hawkins to stretch out on "Body and Soul," give everyone a chance to shine. "Honeysuckle Rose" and "Crazy Rhythm" hold their own with the 1937 versions, and "Blue Star" and "Doozy" prove to be two of Carter's finest originals. Although Benny Carter was not actively playing much at the time (this was his only small-group recording during 1963-1975), he is heard in typically prime form. Very highly recommended.

In jazz, live recordings not only document an artist or group's sound in its purest form but, in rare cases, herald the arrival of a musical genre. That's the case with this invaluable, two-CD collection that captures clarinetist Benny Goodman's historic 1938 Carnegie Hall concert, which exemplified the so-called "swing era." Originally released in 1950, it contains rare commentary from Goodman and music from the entire event, which was a unique mix of formality and spontaneity. Goodman's perfect intonation and lyrical improvisation front the big band here, featuring the smooth solos of trumpeter Harry James, the percussive power of Gene Krupa - jumping the blues on "Don't Be That Way" - and the Fletcher Henderson - arranged "Sometimes I'm Happy" and "One O'Clock Jump"…

Rockstar Records present a twenty-nine song CD album entitled Benny Joy, Little Red Book with recordings from the years 1957 to 1963. There are two recordings which are dually credited to Benny Joy and "Big" John Taylor, and one solo "Big"John Taylor release. Their initial recording from the year 1957 "Hey"… High School Baby! b/w Spin The Bottle were released using only Benny Joy’s name, and they were recorded for the Haines City, Florida based Tri-Dec label. The CD album includes the Dixie version of Spin The Bottle which was the undubbed master leased to Shelby Singleton who added his name to the writing credits.

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.

Beautiful collection of "The King of Swing" with almost 5 hours of great early recordings between 1936 and 1945. In mid thirties, the "swing" new jazz style, became very popular mainly due to Goodman's success in Palomar, California (1935) and his legendary performance at the New York Paramount in 1937. The decade 1936-1945 was very creative for the amazing father of the Swing era. As with all releases in the "Hall of Fame" Past Perfect series, you will find included a nice 40p booklet, with extensive information on the artist and his work.