I have a collection of 135 titles (142 CDs) issued by Goldmine/Soul Supply record company. This is not a box set but rather it is a collection of albums that are similar in that they all are rare soul compilations by the same company. There are some tracks that are on more than one album but considering the scope and magnitude of this collection, the number of duplicated tracks is small. Some CDs have good artwork, some have none, most have some artwork of varying quality. All are 320 CBR MP3 and are fully tagged. Original post now has added CDs.
Benny Goodman took some stylistic chances during his 11-year tenure with Capitol. He listened closely to, then flirted with, bebop during this time, not altering his own swing-based playing but inserting it into a bop framework. He also played traditional swing in various small groups. The sessions covered on this most recent Mosaic four-disc (six-album) set were originally issued on a number of 10" and 12" albums, as well as the CDs BG in Hi Fi and The Benny Goodman Story, a Japanese issue.
Tying in with his cameo appearance in Steven Spielberg's film The Terminal, saxophonist Benny Golson returns with Terminal 1. Featuring more of his sophisticated and swinging tunes, the album finds Golson in top form on some of his best compositions in years. Joining him on the front line here are esteemed trumpeter Eddie Henderson, deft pianist Mike LeDonne, bassist Buster Williams, and drummer Carl Allen. The title track is a mid-'60s-sounding angular piece designed to bring to mind the hustle of airports. Similarly engaging is the gorgeous ballad "Park Avenue Petite," which allows for some burnished melodicism from Henderson. It is also nice to hear Golson and company dig into the under-recorded standard "Cherry." Calling to mind the best Blue Note-era recordings, Terminal 1 is one flight of fancy not to be missed.
The Jazztet had been in existence for two years when they recorded what would be their final LPs, this date plus Another Git Together. The personnel (other than the two co-leaders flugelhornist Art Farmer and tenor-saxophonist Benny Golson) had completely changed since 1960 but the group sound was the same. The 1962 version of the Jazztet included trombonist Grachan Moncur III, pianist Harold Mabern, bassist Herbie Lewis and drummer Roy McCurdy and it is remarkable to think that this talent-filled group could not find enough jobs in order to stay together…
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The Language of Drumming provides a fascinating look into Benny Greb’s unique approach to making music on the drums—a complete and practical approach that is based on a concept familiar to everyone: learning a language.