By 1939 not only had Benny Goodman fronted one of jazz's most popular big bands, but he'd also created highly influential "chamber jazz" with his legendary trio and quartet. Once he heard the young guitar pioneer Charlie Christian, Goodman immediately expanded his small group to a sextet to accommodate him (along with bassist Artie Bernstein). Goodman's recordings with Christian remain some of the genre's most significant work, largely because of the impact of Christian's revolutionary guitar. In fact, many of these original tunes are based on Christian's own "pet licks," showing us just how logical and well constructed his improvisations are. Christian's harmonically advanced single-note solos are a precursor to bebop, but even more importantly, he establishes the guitar as an equal partner to the horn soloists. No longer relegated to rhythm work, Christian's lines are every bit as awe-inspiring as those of the leading blowers of the day. Christian is simply inventing the vocabulary of modern jazz guitar. The sextet is fleshed out by the likes of Lionel Hampton, Fletcher Henderson, Count Basie, and Cootie Williams, and Goodman, never one to be outdone by his sidemen, plays with the vibrancy and the sort of "relaxed precision" that only he was capable of. --Marc Greilsamer