1. Honeysuckle Rose             play
2. That Midnight Sun Will Never Set 
3. Crazy Rhythm 
4. Blue Star 
5. Cotton Tail 
6. Body And Soul 
7. Cherry 
8. Doozy 
9. Fantastic, That's You 
10. Come On Back 
11. We Were In Love             play
12. If Dreams Come True 
13. Prohibido 
14. Doozy 
15. Rock Bottom 
16. Titmouse

Musicians:
Tracks 1 -8
Benny Carter; Phil Woods: Alto Sax
Coleman Hwkins; Charlie Rouse: Tenor Sax
John Collins: Guitar
Dick Katz: Piano
Jimmy Garrison: Bass
Jo Jones: Drums

Tracks 9 - 16
Benny Carter; Bud Shank: Alto Sax
Teddy Edwards: Tenor Sax
Bill Hood: Baritone Sax
Don Abney: Piano
Ray Brown: Bass
Alvin Stoller: Drums

"Further Definitions" is a serious contender for Benny Carter's most essential disc (though he churned out astounding amounts of high-quality work for more than 70 years). This 1961 album was a revisitation of a '37 session Carter cut with Coleman Hawkins, Django Reinhardt, and two European saxophonists Andre Ekyan and Alix Combelle. The set is, arguably, an improvement on the original, with its beautiful sound engineering, excellent arrangements (the four-horn line approximates a big band at times), and shining solo performances all around. The "Additions to Further Definitions" section (tracks 9-16), a 1966 session with different personnel and a batch of Carter originals, is an excellent bonus. Carter's trademark attention to superior musicianship and quality characterize both of these highly recommended sessions.- cduniverse.com -

...The all-star group...performs a particularly inspired repertoire. Carter's charts, which allow Hawkins to stretch out on "Body and Soul," give everyone a chance to shine. "Honeysuckle Rose" and "Crazy Rhythm" hold their own with the 1937 versions, and "Blue Star" and "Doozy" prove to be two of Carter's finest originals. ...To say that Benny Carter had a remarkable and productive career would be an extreme understatement. As an altoist, arranger, composer, bandleader, and occasional trumpeter, Carter was at the top of his field since at least 1928, and in the late '90s, Carter was as strong an altoist at the age of 90 as he was in 1936 (when he was merely 28). His gradually evolving style did not change much through the decades, but neither did it become at all stale or predictable except in its excellence. Benny Carter was a major figure in every decade of the 20th century since the 1920s, and his consistency and longevity were unprecedented. - Scott Yanow, All Music Guide –

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1	(Back Home Again In) Indiana			
2	Almost Like Being in Love	
3	Summer Serenade			
4	All That Jazz			
5	Blue Star			
6	When Lights Are Low		
7	Taking a Chance on Love 

Benny Carter – alto sax, trumpet
Kenny Drew – piano
Jesper Lundgaard – bass
Ed Thigpen – drums
Richard Boone - vocals

Benny Carter has recorded so many excellent swing sessions throughout his lengthy career that it is very difficult to pick out the best ones; there's too much competition. This quartet date for the Danish Storyville label matches his alto with pianist Kenny Drew, bassist Jesper Lundgaard and drummer Ed Thigpen for four of Carter's originals and three standards. As a bonus, Richard Boone sings the good-humored "All That Jazz." ---Scott Yanow, Rovi

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1 Melodrama in a V-Disc Record Room (Jump Call) (Brenner) 3:30 
2 I Can't Get Started (Duke, Gershwin) 2:54
3 He's Funny That Way (Moret, Whiting) 2:43 
4 Moonglow (DeLange, Hudson, Mills) 2:51 
5 Give Me Something to Remember You By (Dietz, Schwartz) 2:48 
6 Oh, Lady Be Good (Gershwin, Gershwin) 2:38
7 Deep Purple (DeRose, Parish) 3:11 
8 Back Bay Boogie (Carter) 5:17 
9 Prelude to a Kiss (Ellington, Gordon, Mills) 3:05 
10 Rebop Boogie (Carter) 3:00 
11 Twelve O'Clock Jump (Carter) 2:54 
12 Your Conscience Tells You So (Carter, Raye) 2:37 
13 Mexican Hat Dance (Traditional) 2:53 
14 Sweet Georgia Brown (Bernie, Casey, Pinkard) 2:36 
15 Out of My Way (Catlett, Grimes) 3:01 
16 What'll It Be (Webster) 3:16 
17 Cadillac Slim (Webster) 3:03 
18 Baby You're Mine for Keeps (Atwood, Herscher) 2:40 
19 You'll Never Break My Heart Again (Atwood, Herscher) 2:53 
20 Chilpanicingo (Atwood, Herscher) 2:54
21 An Old Love Story (Atwood, Herscher) 2:59 
22 Reina (My Lovely Queen) (Atwood, Herscher) 2:58 
23 Let Us Drink a Toast Together (Atwood, Herscher) 2:42 
24 June Comes Around Every Year (Arlen, Mercer) 3:07 
25 Forever Blue (Carter) 3:08

Benny Carter - Clarinet, Sax (Alto), Trumpet
Dallas Bartley - Bass
Emmett Berry - Trumpet
Percy Brice - Drums
Willard Brown - Sax (Alto), Sax (Baritone)
James Cannady - Guitar
Big Sid Catlett - Drums, Vocals
Harold Clark - Sax (Tenor)
Buck Clayton - Trumpet
Paul Cohen - Trumpet
Henry Coker - Trombone
Miles Davis - Trumpet
Robert Decker - Vocals
Charles Drayton - Bass
Lu Elliott - Vocals
The Enchanters - Vocals
Jewell L. Grant 	- Sax (Alto)
Louis Gray - Trumpet
Al Grey 	- Trombone
Charley Johnson - Trombone
Wallace Jones - Trumpet
Porter Kilbert - Sax (Alto)
Irving Lewis - Trumpet
Jack Marshall - Guitar
Herman Mitchell - Guitar
Alton Moore - Trombone
John Morris - Trombone
Thomas Moultrie - Bass
Hubert "Bumps" Myers - Sax (Tenor)
Ira Pettiford - Trumpet
Max Roach - Drums
Clarence "Candy" Ross - Trombone
John Simmons - Bass
Kay Starr - Vocals
Larry Stewart - Vocals
John Taylor - Sax (Baritone)
Louis Taylor - Trombone
Henry Tucker - Drums
George Washington - Trombone
Rufus Webster 	- Piano
Sonny White - Bass, Drums, Guitar, Piano
Walter Williams - Trumpet
Gerald Wilson - Trumpet

Benny Carter, like Coleman Hawkins, spent the '40s rubbing shoulders with bebop's young Turks, while mostly maintaining the style he forged during the early jazz and swing years. Possibly, like Hawkins again, Carter's '30s stay in Europe opened him up to the progressive nature of jazz and the necessity of always taking advantage of the music's complexities and malleability. And while Carter didn't ape Charlie Parker's alto flights or become a fixture at Minton's Playhouse, he did head up some fine big bands that featured the likes of Miles Davis, Dexter Gordon, J.J. Johnson, Max Roach, and Howard McGhee, to name a few bebop figures. This Classics discs takes in some of Carter's adventurous big band sides from 1946-1948, including a California outfit with Davis and Gerald Wilson. On the more traditional end, Carter is also heard with swing contemporaries like Buck Clayton and Ben Webster. A fine document of the fertile transition from swing to bebop. ---Stephen Cook, Rovi

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1. Sweet And Lovely 10:44 
2. Broadway 7:52 
3. The Courtship 6:35 
4. Constantinople 9:01 
5. Nobody Knows The Trouble I've Seen 9:12 
6. A Night In Tunisia 8:26                 play

Personnel:
Tommy Flanagan (Piano), 
Dizzy Gillespie (Trumpet), 
Joe Pass (Guitar), 
Al McKibbon (Bass), 
Benny Carter (Sax (Alto)), 
Norman Granz (Producer), 
Grover Helsley (Engineer), 
Mickey Roker (Drums), 
Mickey Roker (Vocals)

Dizzy Gillespie wrote his classic "A Night in Tunisia" in 1942 when he was working with Benny Carter. Thirty-four years later the two recorded it together for this album and gave it one of its most luminous performances. In this encounter, Carter, at 70, and Gillespie, at 60, were inspired to some of the best playing of what might be described as their later years if it weren't for the fact that, at this writing, both were going strong into the 1990s. This is an excellent album. The two giants really listen to each other and complement each other. The group achieves a real chemistry together. The playing and material are all first rate. To my ears, "The Courtship" is one of those rare recorded performances where magic invades the room and leads to something truly memorable.

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