Bernstein was a prolific recording artist, and this chapter considers his vast recorded legacy, from his earliest recordings made in the 1940s to later ventures, including several important opera sets as well as a large swathe of orchestral repertoire, with the symphonies of some composers (notably Beethoven, Schumann, and Mahler) recorded more than once. As well as mainstream European repertoire, Bernstein never lost his enthusiasm for recording music by American composers, including outstanding discs of Copland, Foss, Harris and Ives. While Bernstein was usually pleased with the results of his sessions – whether in the studio or recorded live in concert – he also felt the need at times to return to composing. These creative phases were intermittent (Bernstein was usually at his happiest when working with other musicians), but the consequence was a healthy output of new work, most of which Bernstein himself subsequently recorded, including two cycles of his symphonies and recordings of his major stage works.

This chapter explores the world of Count Basie, starting in the early days with Buddy Tate and Sweets Edison, looking at the mid-period octet with Clark Terry and Buddy Rich, and continuing to the 'New Testament' band. Shipton's interviews cover many Basie alumni, including Al Grey, Bennie Powell and Grover Mitchell from the trombone section, Joe Wilder from the trumpets, and Butch Miles and Louie Bellson from the rhythm team. Singer Carmen Bradford tells the story of how she joined the band, and the experience of singing with Basie.