Hamp and Getz occupies the first five lengthy tracks here and in the day their collaboration earned fivestar reviews. Thought by many to be an unlikely combination, as in cool vs. hot, it turned out to be one that gelled straightaway. Made while both principals were in Hollywood filming for The Benny Goodman Story bio-pic, it oozes creativity, the opening nine-minute farrago on ‘Cherokee’ like a relay race in mental fecundity. An exhilarating display, each player thinks and executes in the minute, Lou Levy offering his own clever counterpoint while all the go-for-broke mayhem happens around him. Calmer thoughts follow on the ballad medley, Getz at his most measured on ‘Tenderly’ and ‘Autumn in New York’, Hamp similarly damped down on his two choices. They both handle ‘Louise’ with similar thoughtfulness, Levy tracking them ably before things get frantic again on ‘Jumpin’ at the Woodside', the level of invention from all parties quite remarkable, Getz clearly relishing the company and throwing caution to the winds ahead of Levy's torridly compelling solo. ‘Gladys’ a neatly harmonised blues named for the formidable Mrs Hampton is slower, with Hamp opening up while Getz is more reflective. Getz's session with Raney and Jordan, which fills out the album, is from three years earlier but no less worthwhile. Getz dominates and is in sinuous form, sometimes sotto voce, the overall effect one of unhurried linear exploration, the absence of a strong alternative voice like Hamp's necessarily limiting the excitement. Perfect music nonetheless.