Big bands never die, they just wail away. Woody Herman is a prime example. For more than twenty-five years Woody has consistently reached into a seemingly bottomless well of musical ingenuity and come up with exciting, enthusiastic and powerfully driving units. His latest band, featured herein, is one of his best. It displays the authority and originality, the adventurous rhythms and the lifting, dynamic sense of swing which one immediately associates with Herman herds. The new group fairly bristles with youthful spontaneity and a propulsive ensemble sound under the unobtrusive whip-hand of the Ol' Woodchopper. Woody has the inborn traits of a great leader. He never allows his authority to overshadow the band, but rather, works with the musicians for a unified, invigorating session, thus earning their respect and appreciation. Here, Woody is ably abetted by the sinuous muscular vigor of Ellington alumnus Paul Gonsalves' tenor and the dramatic guitar artistry of Freddie Green, longtime bulwark of Count Basie's rhythm section. Along with such new-star soloists as Bill Chase, Phil Wilson and Paul Fontaine and the rest of the joyful sidemen, they add spirit and sustenance to 'The New World Of Woody Herman.' Woody and Paul mix it up right from the start in the cheerfully melodic That’s Where It Is, which features the fire-eating drums of Jake Hanna. Easy Walker moves with relaxed assurance paced by Woody's clarinet and rhythm. The free-flowing and vivid Draw Night introduces the breathtaking trombone prowess of Phil Wilson and Paul Fontaine's probing trumpet. The sparkling Freud's And Alice's needs no analysis, while the moody and provocative Aurora blends the Herman alto and Gonsalves tenor. The side closes with the finger-poppin' frenzy of Woodpecker's Ball. Two Bobby Hackett originals open Side Two. Golden Gate is a Dixie cooker spotlighting Paul's tenor, while the gospel-styled Way Up There features Woody's singing clarinet. Billy Hunt's trumpet and Phil Wilson's trombone join the rush hour traffic in Take The 'D' Train, a witty tribute to the Duke, and Phil returns in the crisp and reflective Reed Blues. The whole band waxes approval for the Pretty Little Girl, next, as Bill Chase's trumpet joins the reeds to communicate the tune's graceful warmth and infectious melody. The concluding track has Woody's high-spirited clarinet and the entire band wailing away in their accustomed manner, in a tune appropriately titled, Y' Know What I Mean.