This anthology celebrates the recorded legacy of clarinetist Jimmie Noone, from his earliest recordings until his final studio session. During that time, jazz evolved and Noone proved equal to the challenge. Yet throughout, he remained true to the musical values that formed during a boyhood in New Orleans. Born in the suburb of Cut Off, in April 1895, Noone moved to the Crescent City in 1910. Proficient on guitar, he switched to clarinet. His first professional gig was deputizing for Sidney Bechet. Before he reached his mid-teens he had established his reputation. He worked with cornetist Freddie Keppard and with the bands of Kid Ory and Oscar Celestin. When the City's Red Light district started a clampdown, Noone, like many others, moved to Chicago. There he worked again with Freddie Keppard. Noone then worked alongside King Oliver in Bill Johnson's Band at The Royal Garden. Oliver would take over the band and the venue. Noone may have deputized for Johnny Dodds on a King Oliver Creole Jazz Band recording date, in October 1923. He is definitely present on the opening number here, Play That Thing, recorded under the leadership of drummer Ollie Powers. This version finds Noone's mellow, reflective lines being contrasted by the powerful muted trumpet of Tommy Ladnier. The recording here are a testament to a man who never stopped working, or developing his ability. In 1943, he settled in California. He led his own quartet at the Hollywood Club. Through the band's weekly spot on Orson Welles' radio show, he reached audiences across the US. The final item, I'm Sorry I Made You Cry, was hastily convened. Jack Teagarden, Billy May, Joe Sullivan and Zutty Singleton happened to be passing through LA that December day. Noone's glorious obbligato to the Big Tea vocal and his sonorous solo on this jazz-friendly evergreen brlngs his recording career to a conclusion. He succumbed to a heart attack on l9th April 1944, four days short of his 49th birthday.