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When Benny Goodman died in 1986, he left the bulk of his musically related possessions to the Yale University Music Library. This included hundreds of tapes from virtually every phase of his career, and the Library began issuing the highlights, starting with volumes 1 & 2 in 1988. This CD is a reissue of those first two volumes as 1 new volume from the UK label Nimbus, and contains a variety of big band and small group sessions.
CD 1 (the original Volume 1) is different from other entries in the series in that it gathers various recordings without any specific theme. This has no effect on the quality of the disc, as everything on it is top-drawer listening. Although big band numbers such as "Batunga Train" and "Macedonia Lullaby" are probably new to most listeners, they are great melodies with equally enjoyable arrangements and solos. Most of the material is standard Goodman repertoire, but the groups that accompany the King of Swing range in size and personnel considerably. The smallest group was captured playing at the Rainbow Grill in 1967 and features sax great Zoot Sims and underrated guitarist Attila Zoller among others. Many of the tracks were recorded at Goodman's own Park Recording Studio during 1955-1959 and feature luminaries such as pianists Roland Hanna, Russ Freeman and Dave McKenna, sax players Zoot Sims and Flip Phillips and trombonist Urbie Green among others. The disc concludes with a January 1986 big band "Blue Room" that might be Goodman's final recording, although you'd never know from his playing.
While CD 1 features a heated "Slipped Disc" from a 1955 engagement at Basin Street, CD 2 (the original Volume 2) is completely given over to that appearance. The setlist is full of Goodman's "greatest hits", and was played right before Goodman recorded music for the 1956 movie of his life. A young Ruby Braff joins Urbie Green, saxophonist Paul Quinichette, Perry Lopez (another underrated guitarist) and longtime Goodman sideman Teddy Wilson in helping Benny in an hour of spirited renditions of familiar themes.
In all, this is essential music for any ardent fan of Goodman or swing in general. I can't comment on the sound quality of this CD, but if they use the same masterings that were used in the late 80's (and those issues had no equalization and minimal changes during the transfers), they should sound great; proof of how good recording technology was by the late 50s (the 1955 sessions seem less "open" but still sound remarkably natural).
