Big BandThe Columbia and OKeh Benny Goodman Orchestra Sessions (#240
Mosaic Records Limited Edition Box Set
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"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. |
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.
Read More About Benny Goodman:
Born To Be A Leader »
Track Listing, Personnel & Recording Dates »
- Booklet
- Audio Quality
- Photography
- Sample Session Notes
The liner notes for our Benny Goodman Orchestra sessions were compiled by one of the foremost authorities on Goodman: Loren Schoenberg. Not only did Loren work with Benny for five years in a number of different roles assisting the King of Swing with his daily activities, but Loren's big band became the last unit Goodman would lead. Loren's in-depth study and analysis of these sessions come from the perspective of both a passionate saxophonist, band leader, collector and historian of classic jazz. Chalk up another magnificent insight into a Mosaic listening experience through the ears and mind of Loren Schoenberg.
The sources for this set came from the original metal mothers, lacquer discs and reel to reel tapes made available to us from SonyBMG. The lacquers in particular gave us 28 previously unissued alternates and the reels gave us 2 previously unissued alternates plus 1 never before documented tune ("Swanee River" from the "Swing Into Spring" session).
Having these first generation sources gave us the best sound possible with transfers done by Matt Cavaluzzo, Michael Brooks, Andreas Meyer, Mark Wilder and sound restoration and mastering by Malcolm Addey.
Photo Copyright © Protected
Benny Goodman
The photographs used came from the collections of Frank Driggs, the Institute of Jazz Studies and radio personality and close friend of Benny's - Jack Ellsworth. However, a real cache came from some never before seen images from Charles Peterson (taken at a New Years Eve dance at the Waldorf Astoria in 1938); Don Hunstein's studio photos from the 1958 "Swing Into Spring" session; and last but not least, from Benny's own private collection which is now housed at Yale University.
August 10, 1939
"Jumpin At The Woodside" is taken quite faster than the Count Basie version and to their credit, the Goodman band finds their own way around its riffy exterior. Goodman's slight squeak in his opening bridge is probably what relegated the alternate -B take to the scrap heap. Other than that, it is a superb rendition and in some ways superior to the issued one. Fatool is at the root of the band's tremendous beat. These are his first recordings and few drummers made such a startling debut on disc. The Columbia engineers clearly set out to give the rhythm section a definition and depth that was startlingly new at the time. You can not only hear but feel the throb of the guitar, bass, and bass drum. Fatool starts out on a ride cymbal (unusual for 1939) and stays there, peppering the solos and backgrounds with occasional accents. The hit with the brass behind Toots Mondello's alto solo is exciting; it's missing on the issued take. Fatool also swirls around on the other cymbals for emphasis in a manner reminiscent of Dave Tough.
Mondello was a superb lead alto player, with a large, singing tone, and exceptional technique. As a composer himself (not just of tunes but of symphonies and chamber music), he knew how the saxophone section fit into the various arrangements, continually shifting between the background and foreground. Mondello's solos have a floridity that can be something of an acquired taste, but they wear well. Chris Griffin was a first-rate trumpeter who excelled in section work, playing lead on occasion, and as we hear here, a slightly mannered soloist. After playing solos on a handful of Goodman Victor recordings in 1936, he disappeared into the section after the advent of Elman and James in 1936/37. Griffin's playing on a few classic small group dates in the mid-30's (Mildred Bailey, Teddy Wilson) doesn't leave a distinct stylistic impression beyond his seeming desire to sound "jazzy". Maybe it was nerves (not an unknown ailment in the Goodman band) but his trumpet solos on these sessions are not in a league with those of his peers Berigan, Kazebier, Elman and James. Corky Cornelius is not heard from at all, and that is too bad, for he was an aggressively spontaneous player.
Note the tremendous shift in rhythmic ease when Goodman follows with a worrying break. There was a new vitality in Goodman's playing during this period and the open-throated glee in his sound is something to treasure. He is on fire on both takes and throws in some special octave tricks during the bridge for good measure.
The shout choruses contain an eccentric upward trombone glissando which Goodman eventually extends in the stratosphere. As Lester Young was to put it, necessity is a motherf*****. On the issued take, the lead trumpeter makes a slight error on a high note in the closing riffs, and immediately converts it into the phrase followed in lock step by the other two trumpeters as though it was meant to have happened. In a sense, that's jazz.
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Happy Session |
| lets have a Mosaic Singles issue of a BG Columbia stereo LP called 'Happy Session' | |
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Helen Ward vocals not included? Why?! |
| The omission of the pop vocals dring the 1939-1946 period is unfortunate, but perfectly acceptable. However, I can't say the same for the 5 recordings featuring Helen Ward from 1953. These tracks are all solidly swinging Fletcher Henderson arrangements, with plenty of great solos, and a clear step above the earlier pop vocal numbers in their JAZZ value. These tracks deserve to be presented along with their instrumental counterparts. There is a great 2-CD set of all of Helen's Columbia Recordings, but it unfortunately does not include the master take of "What A Little Moonlight Can Do". Oddly enough, this master has NEVER been issued on CD, and will likely remain a persistant bugaboo for BG completists for some time to come, thanks to the omission of the Ward titles from this set. What a shame, since most everything else about it is so perfect. | |
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Great set, but not complete |
| I'll join the other reviewers. There is some great music here, but it would have been better if it had been more inclusive. | |
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Great Benny Goodman Set |
| This Benny Goodman set I recently bought is a must for all completists of Benny Goodman's works. I just wish there were fewer or no alternate takes (can get repititious after a while) and instead of focusing on just the orchestra instrumentals, could have focused on his small group instrumentals for Columbia, ones with great jazzmen such as Charlie Christian and Red Norvo. Otherwise, hats off to Mosaic for a job well done. | |
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Oh Baby! |
| This set is perfectly programmed. Hats off to Mosaic for doing a great job compiling and arranging this music for our enjoyment and analysis. This set rightly looks at both Benny's genius level clarinet work, and his outstanding performance as a conductor. I love the way the discs are arranged with all of the issued takes first, and then the available alternates at the end. This makes for the most convenient way to enjoy and analyze the music. The structure of the set is reminiscent of the outstanding Woody Herman Columbia set. I love being able to hear all the available alternates so I can see what Benny did to bring the band and individual soloists up to his exacting standards. Restoration quality is excellent, allowing us to hear detail that has been muffled or hidden by surface noise in other releases. On a personal note---hearing drummer Dave Tough in his best form ---on par with his work with Woody Herman---is a real treat. For me, bringing out such detail is an excellent marker of restoration quality. While I am sorry that the original metal parts were no longer available for some of the alternate takes, on balance, I am glad to have them here in the best available form. I guess it is impossible to issue a Benny Goodman set without having criticism. Benny elicts a powerful reaction in many listeners (including me), and we all have our opinions about him and what should or should not have been included in the set. The omission of the issued take of part one of "Oh Baby" and liner notes that go heavy on the editorial license ultimately constitute minor negatives in this A++ issue. | |
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Awesome music, awesome sound, awesome set |
| Mosaic hit it out of the ballpark! This set includes essential Goodman recordings with incredible sound. I love the recent releases with Malcolm Addey's work. He is a genius. Although I'm a completist nut, I have not second guessed anything that was included or not included. Mosaic did a yoeman's job with this set. The alternate takes of "Pound Ridge" and "The Count" alone are worth the price of the entire set. As for the break-down of "Oh, Babe" Part I, I think that was mistakenly included. The discography lists Part I as the version included on the Sony/BMG Essential Benny Goodman 2 cd set. Actually, if you think about it completist got a take they would not have if the correct take was included. Also, I don't believe the 1958 "Happy Session" takes are owned by Sony. They were done for Goodman's own Park Recording Company. And, one last point, I find the liner notes great. Loren Schoenberg is the best in the business. period. | |
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Missing takes, transfer quality? |
| Surely they could have included the numerous "good" takes of "Oh, Baby," one of the great Goodman numbers of the 40s. And I question some of the transfer quality on Mosaic of late. Compared to Phontastic's flawed but more natural, transparent transfers, I find Mosaic's digitization somewhat harsh and overly-filtered. I wish Mosaic would opt for a more liquid, analogue-like sound and less filtering. But there are some nice finds here, and I agree with limiting the scope to the instrumental numbers. The vocal alternates are usually flawed, and there are excellent commercial box sets available of all of the Helen Forrest and Peggy Lee recordings. | |
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Essential Goodman set - let's hear more |
| It's great to have all this material in one place, with such excellent sound, but I have to agree about "Oh Baby" (at least part one). What were the compilers thinking? If a choice had to be made due to issues of disc space, I think most purchasers would rather have an official, issued take in inferior quality than a horribly inferior take in superb quality. Plus, if this set goes up to 1958, what happened to BG's "Happy Session" big band sides from that year? The reservations are minor in the overall scheme of things. This is still a great, vital and important package and I'm glad Mosaic put it out (you know Sony wouldn't have done so on its own). Kudos for the reviewer who suggested the complete 1935-39 Victor BG sides (with vocals, please) as a future Mosaic project. BMG's "Birth of Swing 1935-36" CDs are ridiculously overprocessed and utterly unlistenable. Add the complete Goodman Thesaurus Rhythm Makers transcription recordings of 1935 into the mix (only half were officially issued on CD before BMG/Buddha "Stop Time" gave up the ghost) and this set would fly off the shelves! | |
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Can't wait for a complete RCA set! |
| I'm a little disappointed, like other reviewers, for the omission of the vocals. But the sound is terrific, the booklet extraordinary. A pure joy. Please, Mosaic, give us swing addicts a *complete* RCA Victor Goodman big band, with your usual wonderful mastering: the existent CDs are unlistenable. | |
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Schoenberg Rules! Incomplete Sessions Drools! |
| Loren Schoenberg’s notes are always wonderful! I wish he could be the liner note writer for every CD I purchase. They inform and excite you about the music. He’s Hip/Hep! But I join the throngs who are disappointed that this Goodman set is another incomplete round-up. The world would be a better place if Mosaic saw fit to release the entire Count Basie Columbia Sessions. If they had, when we feel in a Prez Mood (and who doesn’t?), you could program an evening of Lester Young without much hassle, and not have to lose Buddy Tate, Jimmy Rushing and Buck Clayton. On this set, when you miss out on the singing of Forrrest and Lee, you miss out on more. Some of the songs are Tin Pan Alley junk, but they have outstanding contributions by the instrumental soloists and sport superb arrangements by Mel Powell and particularly Eddie Sauter (whose work should fascinate big band aficionados and music theory students alike). The fact that some tracks have appeared on CD before, slightly misses the point of Mosaic’s appeal. A Star For Schoenberg. | |
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Notes on notes |
| Goodman and the band are thrilling on these records and I want to thank Mosaic for putting this material out. But I must take exception to the little slams at the liner notes. They don't seem to pontificate as one person put it, but express a passion for the music. You may agree or disagree with some aspects of Schonberg's opinions but they are quite an acheivment as is the booklet itself and the high production level of the whole package. Bravo, Mosaic! Can we hope to have a Claude Thornhill set sometime? There are many British fans like myself who would love that one. | |
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The right call |
| I agree with the positive comments and while I sympathise with the views of the completists I believe Mosaic made the right call. Making it a "complete" collection including all vocals regardless would have doubled the size of the box to 14 CDs, even without any alternates for the vocals, and while there are some classics, many of the vocals are best forgotten, despite the talents of Helen Forrest and Peggy Lee. The better efforts of these great singers are available in other collections. | |
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Benny Rides Again! |
| My copy arrived late last night and I immediately opened it. Four hours later I was still exploring the wonders of this set, still awed by the brilliance of Benny Goodman and his early 1940s orchestras. Virtually no other ensemble of the time - apart from Ellington's - managed to combine such a sense of adventure with respect for its own heritage. You hear the band go from the almost avant-garde Eddie Sauter arrangements to the familiar sound of the Fletcher Henderson charts with no loss of enthusiasm or conviction. When one thinks of the much simpler swing forms that were common in the competitive world of popular music circa 1941, it is nothing short of amazing that a top name like Benny Goodman was able to pull off such a balancing act between art and commerce. The sound restoration is often astonishing; I believe I'm hearing the true richness and warmth of BG's 1941 trumpet section for the first time. And the sheer presence of Dave Tough's drums is overwhelming, sonically surpassed only by the First Herd recordings of 1945. I don't share the annotator's distaste for Goodman's lower-flame improvisations on the string sessions; after all, the original 10" LP issue was clearly titled "Let's Hear the Melody." I wish Mosaic hadn't substituted the dreadful "rundown" on the first part of "Oh, Baby" for the missing lacquer originals (a transfer from a shellac 78 would have been preferable), and the new alternate take of "Henderson Stomp" used in place of the original 78, while quite good, remains inferior to the issued version. But these are minor quibbles. It's a remarkable collection (even for one who feels strongly that the vocal sides should have been included!) and it's worth every penny. Thanks again, Mosaic! | |
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I agree that Mosaic sets often present the music out of context |
| I agree with the previous reviewer. I have many Mosaic sets and love the sound quality and the documentation. But, given the scale of these projects, picking and choosing based on the compiler's personal jones is extremely annoying -- even arrogant. | |
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The Columbia and OKeh Benny Goodman Orchestra Sessions (#240 |
| Agree with first review (adamantly !) Considering who the liner note writer is, I take less value from him than I would Marsalis (and that is Not At All!) ....but, of course, the recordings are wonderful. I say we put these two people along with Turk Van Lake in a boat and send them out to sea. They can 'pontificate' to each other all they wish while the rest of us just enjoy the nice music. | |
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Please, please, PLEASE, complete sessions in the future! |
| Hate to be a sour noter…Mosaic sets are the gold standard in the small universe of jazz reissues. Their productions are second to none. The level of sound restoration by magicians such as Doug Pomeroy and Ted Kendall are revelatory, and their booklets unearth photographic marvels and always stimulating commentary. Which makes it THAT much more frustrating that Mosaic insists on piece-mealing these glorious sessions. Why can we not have the glorious non-Prez tracks from the Columbia Basie sessions? Would the immortal sounds of Jimmy Rushing, Buck Clayton, and Helen Humes be anathema to the same people who love Lester Young? And here with the Columbia Goodman sessions, the instrumentals are great, but so are the vocals by the Helen Forrest and the developing Peggy Lee. Inversely, with the earlier Mildred Bailey box set, the listener craves the instrumentals of the Red Norvo Orchestra, some of the most desirable sounds of the era. Focusing only on one aspect or individual from a jazz session only makes the music that much more out-of-focus. It seems a very non-completist approach to your hungry market of completists. | |
The Columbia and OKeh Benny Goodman Orchestra Sessions (#240
Limited Edition: 5000 copies
7 CDs - $119.00
