George Gershwin as seen through the eyes of Benny Goodman is vividly captured on this impressive recording of arrangements by talented clarinettist Julian Bliss and his excellent septet. Goodman played Gershwin’s best-known song, ‘I got rhythm’, in his early twenties while in the orchestra pit for the first Broadway production of Girl Crazy. Later performances of the tune by his quintet would invariably bring audiences to their feet with its infectious blend of showmanship and virtuosity.

For Goodman and Lionel Hampton, read Bliss and the superb Lewis Wright on vibraphone. In ‘I got rhythm’, Bliss’s quick-fire clarinet starts weaving free-flowing improvisational lines around the tune from the very outset. This is followed by a jaw-dropping, side-stepping vibes solo by Wright. By the time Martin Shaw’s penetrating trumpet and Ed Richardson’s propulsive drums engage in punchy exchanges, the whole ensemble is on fire. One only has time to catch one’s breath when the final note is left hanging in the air.

At the height of Goodmania, ‘I got rhythm’ was frequently performed by the legendary clarinettist and bandleader, including his famous concert at New York’s Carnegie Hall in January 1938. By then, Gershwin had died, aged 38. Nevertheless, Goodman did much in the years following the composer’s death to promote his music by regularly performing arrangements and medleys of his and Ira Gershwin’s songs.

Bliss’s ensemble offer a lighter touch than Goodman’s more muscular terraced big-band textures in ‘Fascinating rhythm’ but there’s no let-up here in terms of forward momentum, with Tim Thornton’s driving bass providing firm foundations for some neat passagework. Some of the septet’s most striking contributions are heard during the album’s quieter tracks, however. ‘Soon’ is a picture-perfect expression of balance and restraint – Wright’s shimmering solo shining through once more, matched by the warm glow of Shaw’s trumpet.

Another mainstay in Goodman’s repertoire, Hickman and Williams’s ‘Rose Room’ benefits from some great soloing from pianist Neal Thornton and guitarist Colin Oxley. The King of Swing’s signature tune, Louis Prima’s ‘Sing, Sing, Sing (With a Swing)’ also gains from Bliss’s more focused rendering, which clocks in at around half the length of Goodman’s arrangement.

Bliss may not command the same star attraction as Goodman once did but his ability to bring out the very best in his ensemble makes the performances on this album just as timeless as the music that’s preserved on it.