{ "d" : { 
  "results": [ 
    { "__metadata": { "uri": "nodeID://b138267522" }, 
      "http://schema.org/alternateName": "Benny Goodman His Trio", 
      "http://purl.org/ontology/mo/musicbrainz_guid": "815fc2fe-4ec7-4a9a-995a-3a7f5d64eb17", 
      "http://purl.org/ontology/mo/discogs": { "__deferred": { "uri": "https://www.discogs.com/artist/311733" } }, 
      "http://schema.org/alternateName": "Trio Benny Goodman", 
      "http://schema.org/alternateName": "Das Benny-Goodman-Trio", 
      "http://schema.org/alternateName": "Das Benny Goodman Trio", 
      "http://xmlns.com/foaf/0.1/name": "The Benny Goodman Trio", 
      "http://schema.org/alternateName": "The Benny Goodman Trio", 
      "http://schema.org/alternateName": "Benny Goodman And His Trio", 
      "http://schema.org/alternateName": "El Trío De Benny Goodman", 
      "http://purl.org/dc/terms/abstract": "The Benny Goodman Trio created a style of 'chamber jazz' that emphasized highly developed ensemble playing and technically brilliant solos. The Trio took the ensemble sound of the small jazz band to a new level of precision and excitement that attracted a new audience to jazz. In July 1935, after playing together in a jam session, Goodman asked Teddy Wilson to record with Krupa and himself. That summer, as the Benny Goodman Trio, they recorded four classic sides of jazz chamber music. Vibraphonist Lionel Hampton and guitarist Charlie Christian later joined Goodman to form quartets and sextets.", 
      "http://ns.inria.fr/wasabi/ontology/discogs_id": "311733", 
      "http://schema.org/alternateName": "ベニー・グッドマン・トリオ", 
      "http://schema.org/alternateName": "Trio"
     } 
 ], "__count": "1"
 } }