A strong, jazz-centred selection of 16 original shellac 78 rpm records, charting the development of jazz from late-1920s orchestral and dance-band roots through swing-era big bands and into post-war modern jazz and boogie-woogie. The group places particular emphasis on American jazz artists in UK and European pressings, alongside key British recordings that reflect jazz’s assimilation into inter-war and post-war popular music. Highlights include swing and big-band landmarks by Benny Goodman, Stan Kenton, Paul Whiteman, and Harry James, early electric-guitar innovation from Les Paul, cool small-group jazz by the Johnny Pate Quintet, and driving boogie-woogie piano from Winifred Atwell. British dance-band sides are included where they intersect clearly with jazz rhythm and arrangement style, providing historical context rather than lightweight novelty. An attractive, well-balanced lot for collectors of jazz history, swing, and quality 78 rpm recordings from the classic shellac era. The records are in VG+ to EX condition. Benny Goodman and His Orchestra – Farewell Blues / Bach Goes to Town – HMV B 8819 – UK – c.1939 A landmark swing pairing, combining lyrical ensemble jazz with witty classical adaptation. Bach Goes to Town remains one of the clearest statements of Goodman’s role in bringing jazz sophistication to a mass audience. Stan Kenton and His Orchestra – Artistry in Boogie / Artistry in Rhythm – Capitol CL 13012 – UK – c.1946 Bold, modernist big-band jazz that signals a decisive break from swing convention. These sides announce Kenton’s post-war ambitions and his drive toward extended, structured jazz forms. Paul Whiteman and His Swinging Strings – Japanese Sandman / Ragging the Scale – Brunswick A 82047 – Germany – c.1930 Elegantly produced orchestral jazz, illustrating Whiteman’s role as a mediator between jazz rhythm and symphonic presentation. A classic example of early transatlantic commercial jazz. Harry James and His Orchestra – Trumpet Blues and Cantabile / Concerto for Trumpet – Parlophone R 2852 – UK – c.1942 Trumpet virtuosity framed in near-concerto form, reflecting wartime taste for heroic solo display. James’s tone and control are central, bridging jazz and popular orchestral spectacle. Winifred Atwell – Dixie Boogie / Britannia Rag – Decca F 10015 – UK – c.1952 Infectious boogie-woogie piano that helped popularise the style in Britain. Rhythmically unstoppable, these sides showcase Atwell’s technical brilliance and popular appeal. Les Paul – The World Is Waiting for the Sunrise / Whispering – Capitol C 748 – Netherlands – c.1948 Early electric-guitar innovation paired with dazzling speed and precision. Historically significant for both performance style and recording technique. Kay Starr with Chorus and Orchestra – I Waited a Little Too Long / Ocean of Tears – Capitol CL 13777 – UK – c.1948 Strong post-war vocal pop, balancing emotional directness with polished orchestration. Starr’s phrasing places her between swing-era discipline and emerging mainstream pop. Red Ingle & The Natural Seven – Cigarettes, Whiskey and Wild, Wild Women / Serutan Yob – Capitol CL 13015 – UK – c.1947 Deliberately anarchic jazz novelty, notable for its subversive humour and post-war irreverence. A cult favourite with enduring comic impact. Johnny Pate Quintet – Swinging Shepherd Blues / The Elder – Parlophone R 4404 – UK – 1957 Cool, compact modern jazz with flute-led colour. A refined example of late-1950s small-group style, marking a shift away from big-band dominance. Phil Harris with Orchestra – The Thing / Coofus – HMV B 10007 – UK – c.1950 Classic spoken-song novelty, expertly paced and theatrically delivered. A defining example of post-war comedy records framed by studio orchestration. Nat Shilkret and His Orchestra – Sometimes I’m Happy / Hallelujah! – HMV B 5312 – UK – c.1930 Smooth, confident dance-band performances blending Broadway melody with orchestral discipline. Representative of high-quality late-1920s studio production. Jay Whidden & His Band – I Lift Up My Finger and Say “Tweet Tweet” / It Goes Like This – Imperial 2054 – UK – c.1928 Polished London hotel-band jazz, light in touch and rhythmically controlled. A fine illustration of British dance music at its most urbane. Sid Phillips and His Band – Canadian Capers / Sweet Georgia Brown – HMV B 10015 – UK – c.1935 Lively, well-arranged British swing aimed squarely at the dance floor. Solid musicianship with clear American influence. Nat Gonella and His Georgians – Troublesome Trumpet / Dinah; Let Him Live – Parlophone R 1982 – UK – c.1937 Warmly humorous swing showcasing Gonella’s personality and trumpet style. Popular British jazz with charm and rhythmic ease. The Happy Six – Mystery – Medley Fox-Trot / “O” (Oh) – Columbia 2977 – UK – c.1926 Early British dance-band novelty, transitional between pre-jazz orchestration and emerging jazz rhythm. Historically interesting rather than musically radical. The Denza Dance Band – Susie’s “Feller” / That Night in Araby – Columbia 4206 – UK – c.1927 Cleanly executed fox-trots with fashionable exotic flavour. A representative domestic dance-floor release of the late 1920s.