Benny James 01 Birdsongs

The 1937 Benny Goodman & His Orchestra are still considered one of the top big bands ever. With a trumpet section featuring Harry James, Ziggy Elman, and Chris Griffin; pianist Jess Stacy and drummer Gene Krupa in the rhythm section; the leader's clarinet; and his trio and quartet with Teddy Wilson and Lionel Hampton, it is no wonder that Benny Goodman was so popular during this era. The main addition to the band during the second half of 1937 was singer Martha Tilton, who fit in quite well. Highlights of this often-stirring program include "Roll 'Em," the quartet on "Avalon" and "Handful of Keys," "Sugar Foot Stomp," and a swinging "Minnie the Moocher's Wedding Day."

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"…

The 1938 version of Benny Goodman & His Orchestra was still a strong ensemble, featuring Goodman, Harry James, Ziggy Elman, tenor saxophonist Bud Freeman, Jess Stacy, Martha Tilton, and Dave Tough on drums, plus in the trio/quartet Teddy Wilson and Lionel Hampton. Gene Krupa might have been missed, but the ensemble still swung hard. Highlights of this chronological study include "Lullaby in Rhythm," "I Let a Song Go out of My Heart" (featuring Tilton), "Big John's Special," "Wrappin' It Up," and the quartet version of "Dizzy Spells."

Renowned as a virtuoso jazz clarinetist and legendary bandleader, Benny Goodman is also remembered for the works he commissioned from leading composers of his day. Poulenc’s strikingly beautiful Clarinet Sonata was his last composition, while Bernstein’s was his first published piece. Both Gershwin and Stravinsky added their distinctive stamp to the swing vibe which was all the rage in the early 20th century. The jazz flavour of Morton Gould’s Benny’s Gig is heightened by the unusual coupling of clarinet and double bass, while pungent folk rhythms define Bartók’s virtuoso Contrasts.