Teddy Wilson Although the physical brilliance of Art Tatum may ave eluded most pianists in the 1930s, the more tactical possibilities offered by Teddy Wilson made him le most influential pianist of the decade. Softening arl Hines' emphasis on the beat still further, Wilson's yle was centred almost wholly in his right hand, which tun smooth, bobbing, single-note lines and tranquil rpeggios, bringing him into perfect alignment with the eek aerodynamics of swing. This was evident in his rst recordings with Benny Carter (1933).
But Wilson found his ideal companionship l the clean rigour of the Benny Goodman Trio and Quartet, which brought him national fame in 1935 and a parallel recording career under his own name that produced a number of jazz classics, several with Billie Holiday. Wilson left Goodman in 1939, formed an excellent but short-lived big band and recorded prolifically during the 1940s, often with Goodman, Edmond Hall and Red Norvo; he continued to perform and record until the end of his life.
Jimmy Yancey (Piano) James Edward Yancey was born in Chicago and toured the vaudeville circuit as a dancer in his childhood. He learned piano from his brother Alonzo in 1915 and was soon working rent parties and small clubs around Chicago. He made his recording debut in 1939 for Solo Art and continued to record intermittently, often in the company of his wife, singer Estella Yancey. Yancey was especially adept at slow blues and had a unique ability to develop his own left-hand bass lines.