Lighthouse All-Stars Collection VIII

Howard Rumsey

Howard Rumsey's Lighthouse All-Stars

Volume 7

★ Lighthouse At Laguna ★

Laguna Beach is a lovely, relaxed town on the Pacific two hours drive south of Los Angeles. On Monday night, June 20th, 1955, it became the center of modern jazz on the West Coast as Howard Rumsey brought his Lighthouse All Stars, Barney Kessel, and The Hampton Hawes Trio to the Irvine Bowl, an outdoor amphitheater, for an impressive concert before an impressed audience.

Rumsey and The All-Stars during 1955 found time to increase their influence by numerous concerts away from home base, The Lighthouse in Hermosa Beach, California. They played for schools and colleges throughout Southern California and Arizona, and succeeded in winning friends and influencing people wherever they went. Laguna was no exception; for the 1200 who turned out the concert was a highlight of the jazz year.

Jazz concert performances often lack the polish of those in the recording studio, but more often this is offset by a freer, more spontaneous, creative, and swinging feeling, generated in part by the interaction of audience and performers. So while there are defects in these forty-five of the best minutes of the night's music, defects which both the musicians and the recording engineer would have liked to remedy, there are moments of excitement here that cannot be duplicated.

Five of the eight performances in this set are by The All-Stars. During the five years Rumsey has held forth at The Lighthouse his groups have always included the very best musicians, and the present group is no exception. Each man is a prominent recording artist in his own right, and each finishes high in the annual polls conducted by the leading jazz magazines. The concert presentation put each man in the solo spotlight and there are many fine solos by Bud Shank, Bob Cooper, Frank Rosolino and Claude Williamson. Of course, equally important is the fact they work well together to create a swinging, balanced ensemble sound. (...)

Barney Kessel, one of the greatest of jazz guitarists, was accompanied by The All-Stars for his portion of the program. His sensitive arrangement and performance of Thelonious Monk's modern classic 'Round About Midnight was one of the best received of the evening. In Barney’s hands it became a lovely concerto for guitar and orchestra. (...)

As the weekly Laguna Beach Post reported June 23rd, the Thursday following: "...it was clear that this concert was manned by some of the most knowledgeable and talented musicians in the land and it was a pleasure to be there". *Lester Koenig, December 6, 1955 (from the liner notes)*

A distinguished crowd of West Coast modernists who ordinarily make headquarters at the Los Angeles jazz nitery, The Lighthouse, trekked South to Laguna Beach one night last June for a concert that must have been a real gasser for local fans. As recorded, most time is given to the Lighthouse All-Stars, which at that time consisted of Rumsey, Bud Shank, Bob Cooper, Frank Rosolino, Claude Williamson and Stan Levey. Barney Kessel, the guitarist, took the spotlight for a richly appealing set of his own. The third major attraction was a group by the Hampton Hawes Trio (backing the pianist were Shelly Manne on drums and Red Mitchell on bass). This is West Coast at its exciting best, and should be a great hit with jazz customers. *Billboard (February 25, 1956)*

A concert recorded at Laguna Beach Calif., last June. Tracks 1, 3, 5, 6 and 8 are played by Rumsey's All-Stars with Bud Shank, Bob Cooper, Frank Rosolino, Claude Williamson, and Stan Levey. Midnight is a Barney Kessel solo backed by the All-Stars, while Lady Jean is a Rosolino excursion on his own tune with All-Stars backing. Walkin' and The Champ are performed by the Hampton Hawes trio with Red Mitchell and Shelly Manne. The playing is proficient throughout with chief kicks from the trio tracks, Kessel's well conceived variations on the Monk melody, Williamson's work on all tracks he appears, and Shank's flute on Witch Doctor. The cover can best be described as the most nonabstract of the year. *Nat Hentoff (Down Beat, April 4, 1956)*

1 - Witch Doctor N° 2

(Bob Cooper)

2 - 'Round Midnight

(Monk, Williams, Hanighen)

3 - Mood For Lighthouse

(Bob Cooper)

4 - Walkin'

(Richard Carpenter)

5 - Blind Man's Bluff

(Claude Williamson)

6 - Lady Jean

(Frank Rosolino)

7 - The Champ

(Dizzy Gillespie)

8 - Casa De Luz

(Shorty Rogers)

#1, #2, #3, #5, #6, #8:

Frank Rosolino (trombone), Bud Shank (alto sax, flute), Bob Cooper (tenor sax),

Barney Kessel (guitar [#2]), Claude Williamson (piano),

Howard Rumsey (bass), Stan Levey (drums).

#4, #7:

Hampton Hawes (piano), Red Mitchell (bass), Shelly Manne (drums).

Recorded live at Irvine Bowl, Laguna Beach, California, June 20, 1955

Five-Star Collection... Young and Peterson

Saxophonists come and saxophonists go but Lester Young swings on forever. There may be other tenor men with more technique, some of them even with as much swing, but for what Lester does, no one has ever matched it.There is hardly a tenor saxophone player today who can play an entire chorus without playing some Lester Young. One of the least talkative of jazz musicians, in public that is, he has, to go back a few years in jazz slang, spoken a book every time he has played his horn. He is not called "The Pres" for nothing.

He is!

When he first made the jazz world conscious of his horn, sliding gently out of the Basie sax section and swinging and swinging and swinging in front of the band, he set the definitive style for tenors. He was "cool" long before the world even entered the jazz dictionary. In fact, he probably put it there, as he has made more than his share of contributions to jazz slang.

One of the things that makes Lester's music so valid is the fact that his playing experience goes all the way back to King Oliver, and his musical sources, therefore, include the whole range of jazz. Lester Young is closing his second decade as a major influence in jazz. You can tell, when you hear the sides in this LP, why he has remained on top so long.

On these sides, the Pres is backed by the Oscar Peterson Trio (Oscar, piano; Barney Kessel, guitar; Ray Brown, bass) and the drums of J. C. Heard. With musicians of this stature to complement his playing, he is allowed full rein for his creative talents. *Nat Hentoff, 1954 (from the liner notes)*

Lester is backed on all of these by Oscar Peterson, Barney Kessel, Ray Brown, and J. C. Heard. It looks as if the President may have decided to seek another term. These are Lester's most consistently exciting records. (Even with the few flaws) in months. Much credit is due the magnificent support given him by Oscar and his contingent, but Pres himself seems fully and vigorously interested in what's going on, something that's not always been so recently.

Fortunately, several of the tunes go beyond the three-minute limit, so there's plenty of room for building up to a wail, and that's what happens. And such a beat all the way!

*Nat Hentoff (Down Beat, May 19, 1954 [5 stars]*)

Lester Young • Oscar Peterson

Lester Young With The Oscar Peterson Trio

Lester Young With The Oscar Peterson Trio is a 1954 studio album by Lester Young, accompanied by Oscar Peterson's working trio of the time (featuring Ray Brown and Barney Kessel), plus drummer J. C. Heard. The music on this album was originally released as three separate albums: Lester Young with the Oscar Peterson Trio #1 and Lester Young with the Oscar Peterson Trio #2, both released in June 1954 (MGN 5 & 6), and The President (August 1954, MGN 1005). It was collated for this 1997 reissue by Verve Records.

Lester Young (1909-1959) was one of the all-time great tenor-saxophonists, a non-conformist whose floating cool-toned style was much different than that of the dominant influence of the 1920s and '30s, Coleman Hawkins. Young defied stereotypes in his life and his music. While it was once widely taken for granted that, after his horrific experiences in the Army during World War II, his playing was never as good again, that has been disproven by his best recordings of the 1950s.

Lester Young With The Oscar Peterson Trio is a real gem. Recorded in 1952, Young is joined by pianist Oscar Peterson, guitarist Barney Kessel, bassist Ray Brown, and drummer J.C. Heard on some of his favorite swing standards. Young, like Louis Armstrong, had the ability to slightly alter melodies for the better through his phrasing, and to make every note count.

Among the many highlights of this classic album are Lester Young's versions of "Just You, Just Me", "Almost Like Being In Love", "There Will Never Be Another You", "Star Dust", "I’m Confessin'" and "I Can’t Give You Anything But Love". An unusual bonus is hearing Young’s only recorded vocal, a witty if tentative "It Takes Two To Tango" that went unreleased for decades.

Lester Young and Oscar Peterson (who proves to be the perfect accompanist in addition to contributing many concise solos) brought out the best in each other throughout this essential release. *Scott Yanow (syncopatedtimes.com)*

1 - Ad Lib Blues

(Oscar Peterson, Lester Young)

2 - I Can't Get Started

(Vernon Duke, Ira Gershwin)

3 - Just You, Just Me

(Jesse Greer, Raymond Klages)

4 - Almost Like Being In Love

(Alan Jay Lerner, Frederick Loewe)

5 - Tea for Two

(Irving Caesar, Vincent Youmans)

6 - There Will Never Be Another You

(Mack Gordon, Harry Warren)

7 - (Back Home Again In) Indiana

(James F. Hanley, Ballard MacDonald)

8 - On The Sunny Side Of The Street

(Dorothy Fields, Jimmy McHugh)

9 - Stardust

(Hoagy Carmichael, Mitchell Parish)

10 - I'm Confessin'

(Doc Daugherty, Al J. Neiburg, Ellis Reynolds)

11 - I Can't Give You Anything But Love

(Fields, McHugh)

12 - These Foolish Things

(Harry Link, Holt Marvell, Jack Strachey)

13 - (It Takes) Two to Tango

[rehearsal, false start and chatter]

(Al Hoffman, Dick Manning) 

14 - I Can't Get Started

[false start]

Lester Young (tenor sax, vocals [#13]), Oscar Peterson (piano),

Barney Kessel (guitar), Ray Brown (bass), J. C. Heard (drums)

Recorded in New York City, November 28, 1952

Jack Montrose and Red Norvo : Another good pair

Tenor saxophonist and composer Jack Montrose was a premier exponent of the West Coast jazz movement. His terse phrasing and smooth tone remain the quintessence of California cool. Born December 30, 1928, in Detroit, Montrose spent the first several years of the Depression in Chicago until poverty forced his family to relocate to Chattanooga, Tennessee. Upon teaching himself saxophone he joined a local dance band at the age of 14, and after several tours of the South he relocated to Southern California, where in 1947 he joined the John Kirby Sextet, beginning a long and fertile collaboration with Kirby's baritone saxophonist, Bob Gordon. Montrose continued working with Kirby while studying at Los Angeles State College, and after the bandleader's 1952 death he supported Shorty Rogers and Art Pepper. Upon graduating in 1953, Montrose earned notoriety as a session musician and arranger, contributing to dates headlined by Chet Baker, Clifford Brown, and Dave Pell. After returning from a six-month tour with Stan Kenton in mid-1954, Montrose reunited with Gordon for the Pacific Jazz LP Meet Mr. Gordon.

In 1955, the saxophonists convened for an acclaimed Atlantic date, Arranged/Played/Composed by Jack Montrose, followed by a Pacific Jazz session headlined by the former. But by the time of both albums' commercial release, Gordon was dead, killed in a fatal auto accident on August 28, 1955, at the age of only 27.

Montrose resurfaced in 1957 with a pair of RCA releases, Blues and Vanilla and The Horn's Full.

Reviewing Jack Montrose's albums posted here, it can be seen that only these last two albums are missing to complete his main recordings as a leader between the mid-1950s. Let's make the completists happy...

Jack Montrose

Blues and Vanilla

And

The Horn's Full

The two LPs compiled here are among the best works by the late Jack Montrose (1926-2006), a fine tenor sax player, remarkable jazz composer and arranger, and a key figure in the 1950s West Coast jazz movement. The first includes Montrose's extended work Concertino da Camera (subtitled Blues and Vanilla), his most ambitious project, devised within an essentially contrapuntal structure. The quintet sides prove the cleverly conceived aspects of his compositional concepts, with their sense of symmetry in the use thematic material. Montrose is accompanied here by some strong voices with a high level of individual performance such as Joe Maini, Shelly Manne, Jim Hall, Barney Kessel, and Red Norvo. The interplay, sympathy and good feeling between them are something to hear and one that doesn’t pall with repeated hearings.

Blues and Vanilla

Jack Montrose's first LP for RCA is a long-out-of-print collectable that is fairly obscure due to the paucity of jazz recordings that he made in the decades that followed this 1957 release. The cool-toned nature of the tenor saxophonist's compositions and arrangements fits in with the so-called West Coast jazz genre, though like many of the musicians labeled as such, Montrose is not a native of the region. The first section of his extended piece "Concertino da Camera (Blues and Vanilla)" is built upon a swinging blues theme that utilizes a call-and-response between the rhythm section (anchored by vibraphonist Red Norvo) and the saxophonists (Montrose is joined by alto saxophonist Joe Maini); the second part gradually integrates three separate themes with some wild counterpoint. The second side of the disc includes a quintet with guitarist Jim Hall, bassist Max Bennett, and drummer Bill Dolney joining Montrose and Norvo for several more originals by the leader and an inventive arrangement of Duke Ellington's "Don't Get Around Much Anymore" that incorporates a counter-melody against the main theme. Montrose's approach to "Bernie's Tune" also adds new depth to this favorite of '50s-era jam sessions. *Ken Dryden -All Music Guide*

The Horn's Full

Although a somewhat obscure set which has not yet been reissued on CD, this outing by tenor saxophonist Jack Montrose was put out by Fresh Sound Records in the 1980s. Montrose, an excellent improviser who was also a talented arranger, teams up with vibraphonist Red Norvo, either Barney Kessel or Jim Hall on guitar, Lawrence Wooten or Max Bennett on bass and Mel Lewis or Bill Dolney on drums to perform six of his originals and five swing-era standards. The music is greatly uplifted by Montrose's inventive arrangements and has many concise solos. Despite the quality, Montrose would not have his next opportunity to lead a record date for 28 years.

*Scott Yanow -All Music Guide*

1 - Concertino Da Camera (Blues and Vanilla)

(Jack Montrose)

2 - Bockhanal

(Jack Montrose)

3 - Don't Get Around Much Anymore

(Ellington, Russell)

4 - A Dandy Line

(Jack Montrose)

5 - For The Fairest

(Jack Montrose)

6 - Crazy She Calls Me

(Sigman, Russell)

7 - Dark Angel

 (Jack Montrose)

8 - Bernie's Tune

(Bernie Miller)

9 - Headline

(Jack Montrose)

10 - Rosanne

(Osser-Osser)

11 - Polka Dots And Moonbeams

(Burke, Van Heusen)

12 - The Little House

(Jack Montrose)

13 - Solid Citizen

(Jack Montrose)

14 - Do Nothin' Till You Hear From Me

(Duke Ellington)

15 - True Blue

(Jack Montrose)

16 - The Horn's Full

(Jack Montrose)

17 - Goody Goody

(Malneck, Mercer)

#1 to #5 and #8 from the album Blues and Vanilla (RCA LPM-1451)

#6, #7 and #9 to #17 from the album The Horn's Full (RCA LPM-1572)

#1:

Jack Montrose (tenor sax), Joe Maini (alto sax),

Red Norvo (vibes), Buddy Clark (bass), Shelly Manne (drums).

Recorded at Radio Recorders, Hollywood, California, November 13, 1956

#2 to #9:

Jack Montrose (tenor sax), Red Norvo (vibes),

Jim Hall (guitar), Max Bennett (bass), Bill Dolney (drums).

Recorded at Radio Recorders, Hollywood, California,

December 24 (#2 to #5), and 26 (#6 to #9), 1956

#10 to #17:

Jack Montrose (tenor sax), Red Norvo (vibes),

Barney Kessel (guiotar), Lawrence "Red" Wooten (bass), Mel Lewis (drums).

Recorded at Radio Recorders, Hollywood, California,

September 10 (#10 to #13), and 11 (#14 to #17), 1957

Al Cohn and Shorty Rogers - Equal and Different

Al Cohn • Shorty Rogers

East Coast — West Coast Scene

This album is in no way a contest, but a sincere effort to bring about a comparison of East and West Coast styles. Everything was essayed on an equal footing — the same 

instrumentation was used, an outstanding arranger-soloist of each school was chosen as leader, individual members were allowed considerable latitude for an exhibition of their solo capacities. Consequently, most of the arrangements are of the loose variety, within which the leaders and sidemen are able to demonstrate their improvisational talents. That is why this album has two sets of notes, just as it has two absolutely distinct types of modern jazz. Each different in its own peculiar way, each offering a musical excitement of the highest order. *Jack Lewis (liner notes)*

⁂

About Al Cohn and His "Charlie's Tavern" Ensemble:

Take a group of top-flight jazz musicians, put them in a room to themselves — even in "Charlie's Tavern," the established oasis of New York jazzmen — and it's a safe bet that they'll come up with some pretty wild music. But take a group of East Coast instrumentalists, put them in a small, but wonderfully active recording studio, and  it's an equally sure thing that they'll "cut" just about anything anyone has to offer. For swinging jazz in a modern idiom I'll take the East — in Charlie's Tavern it's Al Cohn three to one.

In the final analysis, there may not be a great deal to choose from between jazz of these two coastal schools — each is obviously loaded with men of enormous invention and talent. But, as representative of what is happening in the environs of Manhattan, these sides are wonderfully expressive of what comparisons are being made. *Bill Zeitung (liner notes)*

⁂

About Shorty Rogers and His Augmented Giants:

The West Coast jazz scene has for some time been almost completely dominated by Shorty Rogers who has kept modern jazz alive when many despaired of anything but Dixieland living through the famine. In his writing and playing he has almost single-handedly created and nurtured a definite West Coast style. The loose, swinging beat, the complex harmonies that have more than ever before brought a rapport between classical music and jazz — above all, the constant experimenting for something new in voicing, instrumentation or phrasing — all these things help to define the West Coast style, the Shorty Rogers style. The two are inseparable.

This record is, I fell, a fine demonstration of the West Coast jazz scene. The best man in the area, truly great arrangements by Shorty, variety of tempos — the musicians could ask no more, nor could the listener. Here are some of the finest things happening in jazz today, played by the most articulate spokesmen — the West Coast jazzmen themselves. *Paul Krupa (liner notes)*

A classic session in the tried and true marketing style of "East Coast vs West Coast" jazz, with one side of tracks by a group led by Al Cohn, and featuring Gene Quill, Hal McKusick, and Joe Newman. The other side's got Shorty Rogers representin' on the West Coast, with Jimmy Giuffre, Zoot Sims, Bud Shank, and Shelly Manne. The album's a nice batch of tracks, in the tightly arranged style that characterizes many of these mid-50's RCA jazz sessions. However, since Cohn's measured playing could never really be taken for New York Hot, and since his longtime partner Zoot Sims is part of Rogers' West Coast group, it's hard to say that these sides are really any sort of true battle between the coasts. Instead, though, the tracks are nice and long, with more room for solos than usual, and titles that include "Loki", "Cool Sunshine", and "Inside Out". *Dusty Groove, Inc.*

Side 1

1 - Inside Out

(Al Cohn)

2 - Autumn Leaves

(Joseph Kosma)

3 - Serenade For Kathy

(Al Cohn)

Side 2

4 - Cool Sunshine

(Shorty Rogers)

5 - Loki

(Shorty Rogers)

6 - Elaine's Lullaby

(Shorty Rogers)

#1 to #3: Al Cohn And His Charlie's Tavern Ensemble

Joe Newman (trumpet); Eddie Bert, Billy Byers (trombones);

Hal McKusick, Gene Quill (alto saxes)

Al Cohn (tenor sax); Sol Schlinger (baritone sax); Sanford Gold (piano);

Billy Bauer (guitar); Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, October 26, 1954

#4 to #6: Shorty Rogers And His Augmented Giants

Shorty Rogers (trumpet); Milt Bernhart, Bob Enevoldsen (trombones); Zoot Sims (tenor sax);

Jimmy Giuffre (clarinet, tenor sax, baritone sax); Lennie Niehaus, Bud Shank (alto saxes);

Pete Jolly (piano); Barney Kessel (guitar); Curtis Counce (bass); Shelly Manne (drums).

Recorded in Los Angeles, California, September 11, 1954

The Oscar Peterson Quartet (Album#1, Album#2 and one more...)

Heretofore, one of the disadvantages of making jazz records has been the restrictions of the ten inch 78 r.p.m. record, because all that you could do was three and one-half minutes of music, and your musicians had to produce their best in that short period. As a result, many musicians felt inhibited, and the excitement that comes from improvisation and from building to a climax has pretty generally been lost in this type of recording. 

I thought it a good idea to utilize the Long-Play record with Peterson, and I told him to play as long as he chose, (up to fifteen minutes), and forget the time. "Just play the way you feel". 

I'm sure you'll agree that "The Astaire Blues"’ is some of the most exciting jazz of any type put on record, and certainly nothing like it has been done before with the piano. And, try to restrain your foot from tapping to "Stompin' At The Savoy". Impossible! the beat is just too much!! 

Oscar is complemented by Barney Kessel, his analogue on guitar, and both are assisted by Ray Brown, probably one of the two or three greatest bassists in the country, and Alvin Stoller, a drummer with a thorough background in jazz from Tommy Dorsey's big band to Oscar Peterson's Quartet. If you own a phonograph that plays good records, then this is a must for your collection. *Norman Granz (liner notes)*

Oscar Peterson

The Oscar Peterson Quartet

This 1952 studio session is one of a few recordings made during guitarist Barney Kessel's brief tenure working with Oscar Peterson and Ray Brown. Expanded to a quartet for this session by the addition of drummer Alvin Stoller, the group's extended workouts allow for a lot of showmanship, starting with Peterson's rapid-fire "The Astaire Blues", where the pianist's volcanic technique never fails to dazzle. The leader gives Kessel a bit more space in the subdued but swinging renditions of "Stompin' at the Savoy" and "Body and Soul." Brown provides his usual strong pulse, while Stoller's rather light touch is welcome. Although reissued as a Book-of-the-Month Club LP during the '70s, this enjoyable session has been strangely overlooked for reissue on CD. *Ken Dryden*

1 - The Astaire Blues

(Peterson)

2 - Stompin' At The Savoy

(Sampson, Webb, Razaf, Goodman)

3 - Body And Soul

(Green, Heyman, Sour, Eyton)

4 - Oh, Lady Be Good!

(G. and I. Gershwin)

5 - Tea For Two

(Youmans, Caesar)

Oscar Peterson (piano), Barney Kessel (guitar), Ray Brown (bass), Alvin Stoller (drums).

Recorded in Los Angeles, California, February 26, 1952.

Jack Millman And His All-Stars

Trumpet and flugelhorn player Jack Millman was just 17 when he "sat in" with Lionel Hampton and was then invited by Hamp to join the band for a 6-week stint at the Paramount Theatre in Los Angeles. Just before he was drafted in the Army he joined the Stan Kenton Orchestra for a West Coast Road Tour. When he completed his service he came out to form and manage his own jazz groups throughout the 50's that played the West Coast scene extensively. Presented here is Millman's classic 1955 recordings featuring some of the greatest West Coast jazz players of all time.

A rare session as a leader by trumpeter Jack Millman – one that's based around his own compositions, and which a large group of west coast players alongside some lesser-known 50s talents! Players include Fred Aguirre, Lin Halliday, Artie Anto, Mike Pacheco, Curtis Counce, Herb Geller, Jimmy Giuffre, Howard Roberts, and Don Friedman – playing arrangements of Millman tunes by Shorty Rogers, Jimmy Giuffre, Jack Montrose, and Pete Rugolo. Tracks are short, but have wonderfully constructed horn passages – as well as some very nice use of Latin percussion – and titles include "Tom & Jerry", "Bolero De Mendez", "Groove Juice", "Pink Lady", "The Turk", and "Bambi".  *dustygroove.com*

A stimulating presentation of the modern jazz compositions of an outstanding writer, Jack Millman. The wide range of his written work is amply outlined here, and given tremendous interest since each of the 12 compositions included in this album is arranged by different man. Shorty Rogers, Jimmy Giuffre, Jack Montrose and Pete Rugolo are some of the prominent names. The instrumentalists also vary from item to item, but are taken from the ranks of the West Coast's finest musicians. Most of the music is light and listenable, written with a delicate balance of construction and careful selection of instrumentation. The stature of the arrangers and participating musicians will automatically garner good initial sales. *Billboard, November 19, 1955*

Jack Millman

And His All-Stars

1 - Groove Juice

2 - Pink Lady

3 - Too Much

4 - Ballade For Jeannie

5 - The Turk

6 - When You're Near

7 - Tom And Jerry

8 - So Goes My Love

9 - Bolero De Mendez

10 - Just a Pretty Tune

11 - Cathy Goes South

12 - Bambi

(All compositions by Jack Millman)

#1:

Jack Millman (flugelhorn), Bob Enevoldsen (valve trombone), Herb Geller (alto sax), Jimmy Giuffre (tenor sax), Bob Gordon (baritone sax), Claude Williamson (piano), Red Mitchell (bass), Shelly Manne (drums).

Arrangements by Jimmy Giuffre

Recorded in Los Angeles, June 1, 1955

#2:

Jack Millman (flugelhorn), Buddy Collette (flute), Bob Gordon (bass clarinet), Claude Williamson (piano), Howard Roberts (guitar), Red Mitchell (bass), Shelly Manne (drums).

Arrangements by Shorty Rogers

Recorded in Los Angeles, June 1, 1955

#3:

Jack Millman (flugelhorn), Lin Halliday (tenor sax), Ray Vázquez (baritone sax), Don Friedman (piano), Ralph Peña (bass), Gary Frommer (drums).

Arrangements by Jack Montrose

Recorded in Los Angeles, May 25, 1955

#4:

Jack Millman (trumpet), Maynard Ferguson (valve trombone), Buddy Collette (alto sax), Jack Montrose (tenor sax), Bob Gordon (baritone sax), Gerald Wiggins (piano), Curtis Counce (bass), Chico Hamilton (drums).

Arrangements by Lyle Murphy

Recorded in Los Angeles, May 18, 1955

 #5:

Jack Millman, Conte Candoli (trumpets); Gerald Wiggins (piano); Frank Flynn (vibes); Curtis Counce (bass); Chico Hamilton (drums); Mike Pacheco, Artie Anton, Fred Aguirre (percussion).

Arrangements by Jack Millman

Recorded in Los Angeles, May 18, 1955

#6:

Jack Millman (flugelhorn), Lin Halliday (tenor sax), Don Anderson (vibes), Don Overberg (guitar), Ralph Peña (bass), Gary Frommer (drums).

Arrangements by Chico Álvarez

Recorded in Los Angeles, May 25, 1955

#7:

Jack Millman (flugelhorn), Lin Halliday (tenor sax), Don Friedman (piano), Don Anderson (vibes), Don Overberg (guitar), Ralph Peña (bass), Gary Frommer (drums).

Arrangements by Gerald Wiggins

Recorded in Los Angeles, May 25, 1955

#8:

Jack Millman (flugelhorn), Ray Vázquez (baritone sax), Don Friedman (piano), Don Anderson (vibes), Ralph Peña (bass), Gary Frommer (drums).

Arrangements by Bill Holman

Recorded in Los Angeles, May 25, 1955

#9:

Jack Millman (flugelhorn); Buddy Collette (flute); Herb Geller (alto sax); Jimmy Giuffre (clarinet); Bob Gordon (baritone sax); Howard Roberts (guitar); Red Mitchell (bass); Shelly Manne (drums); Mike Pacheco, Jack Costanzo, Bob Enevoldsen (percussion).

Arrangements by Pete Rugolo

Recorded in Los Angeles, June 1, 1955

#10:

Jack Millman (trumpet), Bob Enevoldsen (valve trombone), Buddy Collette (flute), Jimmy Giuffre (tenor sax), Bob Gordon (baritone sax), Claude Williamson (piano), Red Norvo (vibes), Red Mitchell (bass), Shelly Manne (drums).

Arrangements by Frank Erickson

Recorded in Los Angeles, June 1, 1955

#11:

Jack Millman (trumpet); Buddy Collette (flute, alto sax); Jack Montrose (tenor sax, clarinet); Bob Gordon (baritone sax); Frank Flynn (vibes); Curtis Counce (bass); Chico Hamilton (drums); Mike Pacheco, Artie Anton, Fred Aguirre, Maynard Ferguson (percussion).

Arrangements by Johnny Mandel

Recorded in Los Angeles, May 18, 1955

#12:

Jack Millman (trumpet), Maynard Ferguson (valve trombone), Buddy Collette (alto sax), Jack Montrose (tenor saxs), Barney Kessel (guitar), Frank Flynn (vibes), Chico Hamilton (drums).

Arrangements by Gene Roland

Recorded in Los Angeles, May 18, 1955

All sessions recorded at Decca Studios and United Western Recorders