01- China Boy 00:11
02- Dinah 02:48
03- Exactly Like You 05:34
04- Moonglow 09:11
05-My Melancholy Baby 12:48
06- Nobody’s Sweetheart 15:22
07- Oh Lady Be Good 18:15
08- Smiles 21:25
09- Someday Sweetheart 24:17
10- Sugar 27:10
11- Sweet Georgia Brown 30:49
12- Sweet Lorraine 33:59
13- Tiger Rag 37:04
14- Vieni Vieni 40:32
15- After you’ve gone 43:27
16- Body and soul 46:16
17- Too Good To Be True 49:43
18- More than you know 53:16
19- I Cried for you 56:24
20- Just You 58:55

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Benjamin David “Benny” Goodman (May 30, 1909 – June 13, 1986) was an American jazz and swing musician, clarinetist and bandleader, known as the “King of Swing”. In the mid-1930s, Goodman led one of the most popular musical groups in America. His concert at Carnegie Hall in New York City on January 16, 1938, is described by the critic Bruce Eder as “the single most important jazz or popular music concert in history: jazz’s ‘coming out’ party to the world of ‘respectable’ music.” Goodman’s bands launched the careers of many major jazz artists. During an era of racial segregation, he led one of the first well-known integrated jazz groups. Goodman performed nearly to the end of his life while exploring an interest in classical music. Goodman moved to New York City and became a successful session musician in the late 1920s and early 1930s, mostly with Ben Pollack’s band between 1926 and 1929. In a notable Victor recording session on March 21, 1928, Goodman played alongside Glenn Miller, Tommy Dorsey and Joe Venuti in the All-Star Orchestra, directed by Nathaniel Shilkret. He played with the nationally known studio and performing bands of Ben Selvin, Red Nichols, Ted Lewis and Isham Jones, although he is not on any of Jones’s records. He recorded sides for Brunswick under the name Benny Goodman’s Boys, a band that featured Glenn Miller. In 1928, Goodman and Miller wrote the instrumental tune “Room 1411”, which was released as a Brunswick 78. He also recorded musical soundtracks for movie shorts; fans believe that his clarinet can be heard on the soundtrack of One A.M., a Charlie Chaplin comedy re-released to theaters in 1934. While Goodman was a successful session musician, the record producer John Hammond arranged for a series of recordings of jazz sides for Columbia Records from 1933 to 1935, when Goodman signed a recording contract with RCA Victor, during his success on radio. The all-star Columbia sides featured Jack Teagarden, Joe Sullivan, Dick McDonough, Arthur Schutt, Gene Krupa, Teddy Wilson, Coleman Hawkins (for one session), the vocalists Jack Teagarden and Mildred Bailey, and the first two recorded vocals by a young Billie Holiday. A number of commercial studio sides were also recorded under Goodman’s name for Melotone Records between late 1930 and mid-1931. In 1934 Goodman auditioned for the NBC radio program Let’s Dance, a well-regarded three-hour weekly program featuring various styles of dance music. His familiar theme song by that title was based on Invitation to the Dance, by Carl Maria von Weber. Since he needed new arrangements every week for the show, Hammond suggested that he purchase “hot” (swing) arrangements from Fletcher Henderson, a black musician from Atlanta who had New York’s most popular African-American band in the 1920s and early 1930s. An experienced businessman, Goodman helped Henderson in 1934 when the Henderson orchestra disbanded. He let Henderson write arrangements, which Fletcher, his brother Horace and wife, Leora, usually copied from his own records, as Fletcher had almost no scores left. The Henderson method usually had been head arrangements. Goodman hired Henderson’s band members to teach his musicians how to play the music. In 1932, his career began with Fletcher Henderson. Although Henderson’s orchestra was at its height of creativity, it had not reached any peaks of popularity. During the Depression, Fletcher disbanded his orchestra because he was in debt.

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