Lighthouse All-Stars Collection XXV ★ with Gerry Mulligan

Gerry Mulligan

Swing House

Gerry Mulligan On The West Coast 

Rare Ands Unissued Recordings • 1952

✤✤

More Mulligan at The Lighthouse

At the end of 1951, fleeing police pressure in New York, Gerry Mulligan embarked on a journey to the West Coast that would permanently reshape his career and the sound of modern jazz. Freshly arrived in Los Angeles, the saxophonist split his creative focus between commercial discipline—crafting dance arrangements for the Stan Kenton Orchestra—and the absolute freedom of the local club scene. It was in these informal settings that the passion and tape recorder of Bob Andrews captured, on an amateur yet historically invaluable basis, the very jam sessions that document Mulligan's transition toward worldwide acclaim and the birth of his legendary piano-less quartet. This crucial historical testament is beautifully captured by Ken Poston in the original liner notes:

At the end of 1951 Gerry Mulligan decided to leave New York and head west to Los Angeles. The vice squad had started putting heavy pressure on jazz musicians and Gerry didn’t want to put up with it any longer. His girlfriend, Gale Madden, had paved the way for Gerry to write arrangements for Stan Kenton once they got to Los Angeles. In the middle of the winter they left Manhattan and hitchhiked all the way to the west coast.

Once there they moved into the Harvey Hotel and Gerry fulfilled his writing assignment for Kenton. He also began sitting in around town at whatever jam sessions he could find. There were three places in particular that he frequented; the Showtime, in the San Fernando Valley, the Lighthouse in Hermosa Beach and the Haig in the mid-Wilshire district.

Most of the recordings on this collection were made by Bob Andrews, jazz fan, record store owner and amateur recording engineer. In 1952 he had just started to take his tape recorder to local jazz clubs and although nothing has materialized from the Showtime he did capture Gerry Mulligan several times at the Lighthouse and the Haig. In addition to the jam session recordings we’ve included a few of the lesser heard dance arrangements he wrote for Kenton in 1952.

This is an important historical document because it captures Gerry just a few months after his arrival in Los Angeles and follows his progress up to the point he forms the piano-less quartet. Although he had many accomplishments by the time he came to Los Angeles, he was far from a household name in the jazz world. By the end of the year he had gained world wide attention and was instrumental in establishing the west coast jazz phenomenon.

*Ken Poston (from the liner notes)*

1 - Indiana

(James F. Hanley, Ballard MacDonald)

This is the earliest of the Bob Andrews recordings that captured Gerry Mulligan sitting in around Los Angeles. This was actually recorded on a Saturday night and features Mulligan joining the Lighthouse rhythm section.

Gerry Mulligan (baritone sax), Frank Patchen (piano)

Howard Rumsey (bass), Shelly Manne (drums).

Recorded live at the Lighthouse, Hermosa Beach, May 10, 1952

2 - Robbins' Nest

(Illinois Jacquet, Sir Charles Thompson)

"Robbins' Nest" features Mulligan sitting in with the Lighthouse All Stars at one of the legendary Sunday sessions at the Lighthouse.

Gerry Mulligan (baritone sax); Shorty Rogers (trumpet);

Jimmy Giuffre, Bob Cooper (tenor saxes); Frank Patchen (piano);

Howard Rumsey (bass); Shelly Manne (drums).

Recorded live at the Lighthouse, Hermosa Beach, June 1, 1952

3 - Tiny's Blues

(Tiny Kahn)

Two nights later Mulligan was running the off-night jam session at the Haig and on this occasion Gerry played the tenor as opposed to the baritone. Tiny's Blues has been issued a few times over the years but always with the incorrect date. This recording comes from Bob Andrews original reel which has the recording date documented on the box.

Gerry Mulligan, Dave Pell (tenor saxes), Ted Ottison (trumpet);

Paul Smith (piano); Joe Mondragon (bass); Billy Wilson (drums).

Recorded live at The Haig, Los Angeles, June 3, 1952

4 - Rose Room

(Art Hickman, Harry Williams)

Bob Andrews captured Gerry once again the following week at the Haig. Gerry ran things from the bandstand but it was an open session for anyone who wanted to play. On this particular occasion both Conrad Gozzo and Gene Roland dropped by.

Gerry Mulligan (baritone sax); Conrad Gozzo, Gene Roland (trumpets);

Jimmy Rowles (piano); Howard Roberts (guitar); Joe Mondragon (bass); Unknown (drums).

Recorded live at The Haig, Los Angeles, June 10, 1952

5 - It's Sand Man

(Ed Lewis)

The jam sessions at the Lighthouse worked a little different than those at the Haig. Howard Rumsey invited specific guests although he did allow others to sit in throughout the day. This is the working Lighthouse All Stars with Andy Lambert subbing for Rumsey.

Gerry Mulligan (baritone sax), Shorty Rogers (trumpet),

Jimmy Giuffre (tenor sax), Milt Bernhart (trombone),

Frank Patchen (piano), Andy Lambert (bass), Shelly Manne (drums).

Recorded live at the Lighthouse, Hermosa Beach, June 14, 1952

6 - Between The Devil And The Deep Blue Sea

(Harold Arlen, Ted Koehler)

More from the June 14 session. Aaron Sachs and Tommy Potter were both in town with Earl Hines band and Howard recruited them to come down for the session.

Gerry Mulligan (baritone sax), Aaron Sachs (clarinet),

Jimmy Giuffre (tenor sax), Frank Patchen (piano),

Tommy Potter (bass), Shelly Manne (drums).

Recorded live at the Lighthouse, Hermosa Beach, June 14, 1952

7 - Get Happy / Utter Chaos

(Harold Arlen, Ted Koehler / Gerry Mulligan)

Red Norvo came in as the featured attraction and the house piano was put into storage. Instead of continuing the jam session format on Tuesday nights Gerry formed his own group and the "piano-less quartet" was born. Gerry handpicked the group from musicians he had played with around town and included Chet Baker at the suggestion of Bob Whitlock. This recording was not made by Bob Andrews, but by another fan that sent the tape to Mulligan many years later. August 1952 is the date written on the tape box although it's possible it comes from a bit later. If it is August of 1952 it would be right at the beginning of the quartet.

Gerry Mulligan Quartet:

Gerry Mulligan (baritone sax), Chet Baker (trumpet),

Bob Whitlock (bass), Chico Hamilton (drums).

Recorded live at The Haig, Los Angeles, August, 1952

8 - Bweebida Bobbida

(Gerry Mulligan)

In October of 1952 Shorty Rogers had been a regular member of the Lighthouse All Stars for a year. Shorty had recorded under his own name, separate from the All Stars, and was really beginning to make a name for himself. Howard Rumsey used to allow him to take nights off from the Lighthouse so he could lead his own band for special engagements. During the fall Shorty formed a super group that included both Mulligan and Chet Baker as well as Art Pepper and Wardell Gray. The Mulligan group had completed their first engagement at the Haig and recorded their first sides for the new Pacific Jazz label. This Shorty Rogers group did at least two engagements. The first was a Gene Norman concert at The Rendezvous Ballroom, which was released on two LAJI members only CDs. This engagement took place at the 5-4 Ballroom in south central Los Angeles.

Shorty Rogers and His Giants:

Shorty Rogers, Chet Baker (trumpets); Art Pepper (alto sax);

Wardell Gray (tenor sax); Gerry Mulligan (baritone sax);

John Graas (french horn); Hampton Hawes (p);

Joe Mondragon (bass); Lawrence Marable (drums).

Recorded live at 5-4 Ballroom, Los Angeles, October 10, 1952

9 - Too Marvelous For Words

(Richard A. Whiting, Johnny Mercer)

"Too Marvelous for Words" was featured a few times by the Kenton Orchestra including this 1952 broadcast of the Bob Snydor Show. The original handwritten score is dated February 4, 1952.

Stan Kenton Orchestra:

Buddy Childers, Maynard Ferguson, Conte Candoli, Don Dennis, Ruben McFall (trumpets);

Bob Burgess, Frank Rosolino, Keith Moon, Bill Russo (trombones);

George Roberts (bass trombone);  Dick Meldonian, Vinnie Dean (alto saxes);

Lee Elliott, Bill Holman (tenor saxes); Bob Gioga (baritone sax);

Stan Kenton (piano); Sal Salvador (guitar) Don Bagley (bass) Stan Levey (drums).

Bob Snydor Show, Bristol, Connecticut, July 13, 1952

10 - All The Things You Are

(Jerome Kern, Oscar Hammerstein II)

"All the Things You Are" was featured regularly during the New Concepts of Artistry in Rhythm period and was a feature for Buddy Childers. This recording comes from a Concert in Miniature broadcast from September of 1952. The original score is dated March 9, 1952.

Stan Kenton Orchestra:

Buddy Childers, Maynard Ferguson, Conte Candoli, Don Dennis, Ruben McFall (trumpets);

Bob Burgess, Frank Rosolino, Keith Moon, Bill Russo (trombones);

George Roberts (bass trombone); Lee Konitz, Vinnie Dean (alto saxes);

Bill Holman, Richie Kamuca (tenor saxes); Bob Gioga (baritone sax);

Stan Kenton (piano); Sal Salvador (guitar); Don Bagley (bass); Stan Levey (drums).

Concert in Miniature, Fort Sheridan, Illinois, September 2, 1952

11 - Dancing In The Dark

(Arthur Schwartz, Howard Dietz)

"Dancing in the Dark" wasn't played often but had stayed in the book for many years. It was one of the earliest arrangements Gerry wrote not long after his arrival in Los Angeles. The original score is dated January 19, 1952.

Stan Kenton Orchestra:

Jack Sheldon, Frank Higgins, Billy Catalano, Bob Ojeda, Bud Brisbois (trumpets);

Billy Smiley, Archie LeCoque, Kurt Larsen, Jim Amlotte, Bob Olson (trombones);

Steve Perlow, Bill Perkins, Lennie Niehaus, Bill Trujillo, Bill Robinson (reeds);

Stan Kenton (piano); Red Kelly (bass); Jerry McKenzie (drums).

Holiday Ballroom, Chicago, Illinois, October 10, 1958

12 - Where Or When

(Richard Rodgers, Lorenz Hart)

"Where or When" is another dance arrangement that stayed in the book for a long time. The original score is dated January 19, 1952.

Stan Kenton Orchestra:

Frank Huggins, Bud Brisbois, Rolf Ericson, Joe Burnett, Roger Middleton (trumpets);

Archie LeCoque, Kent Larsen, Jimmy Knepper (trombones);

Jim Amlotte, Bill Smiley (bass trombones); Lennie Niehaus (alto sax);

Bill Trujillo, John Bonnie (tenor saxes); Billy Root, Sture Swenson (baritone saxes);

Stan Kenton (piano); Scott LaFaro (bass); Jerry McKenzie (drums).

County Fair Building, Ukiah, California, February 26, 1959

13 - Begin The Beguine

(Cole Porter)

The original score to "Begin the Beguine" is dated March 1952. Gerry never said much about his dance charts for Kenton other than joking he was given "dogs work." He did however make special note of Begin the Beguine since Artie Shaw was one of his early idols.

Stan Kenton Orchestra:

Bud Brisbois, Dalton Smith, Bill Chase, Danny Nolan, Rolf Ericson (trumpets);

Bob Fitzpatrick, Kent Larsen, Bill Smiley (trombones);

Jim Amlotte, Bob Knight (bass trombones); Lennie Niehaus (alto sax);

Bill Trujillo, Ronnie Rubin (tenor saxes); Jack Nimitz, Marvin Holladay (baritone saxes);

Stan Kenton (piano); Peter Chivily (bass); Jimmy Campbell (drums); Mike Pacheco (percussion).

Enlisted Mens Club, Barstow, California, January 30, 1960

Five-Star Collection... Stan Kenton

Stan Kenton And His Orchestra

New Concepts Of Artistry In Rhythm

The format for this album was sketched by Kenton himself, and his staff arrangers have developed and interpreted his ideas with rare skill and understanding. New Concepts of Artistry in Rhythm is a tribute to these men of the modern school whose stature is ever increasing. It is their ingenuity and creative ability that is directing the course of tomorrow's music.

The intense imagination of Stan Kenton gave pulsing life to Artistry in Rhythm more than ten years ago, and today the freshest and most stimulating ideas of modern music are still in his work — in his New Concepts of Artistry in Rhythm.

Throughout the ten years of the Kenton Orchestra's life its music has gradually changed — with accumulated knowledge, experimentation, and association — to bring the listener an ever fresh approach.

This album discloses even more exciting developments in the orchestra's brilliant sound. Masterful musicians like first trumpeter Buddy Childers, first trombonist Bob Burgess, first saxophonist Vinnie Dean, and drummer Stan Levey give it the mark of their personalities; and above all stands the dynamic quality of Stan Kenton, inspiring his orchestra and, indeed, a whole profession — carrying the vibrant message of his music to hosts of eager listeners everywhere. *(from the liner notes)*

This is the New Concepts LP, and it might well have been called Artistry in Russo, for Bill wrote five of these seven originals. First title, which your atlas will show you means Havana, starts with a startling and highly entertaining piece of writing for the trombones, with the Latin rhythm and the unison reeds easing in, followed by unison trumpets. Blood, the swingingest side of the whole set, was penned by Gerry Mulligan, indicates that Stan needs bigger doses of Mulligan in his books.

The Count (Conte Candoli) is well framed in his portrait; the Invention for Sal Salvador and Maynard Ferguson was written by tenor man Bill Holman. Improvisation, the longest and most ambitious number of the set, has some of the most brilliant Russo writing as he used it is the one we enjoyed the least, for its qualities are neurotic and depressing.

The Frank who speaks is trombonist Rosolino, and although he doesn't speak as freely and happily as he used to with Georgie Auld's quintet, this is an effective jazz horn concerto and swings more than the other Russo items. My Lady is addressed by Lee Konitz' alto in attractively melancholy tones. *(Down Beat, Chicago, May 6, 1953 [5 stars])*

1 - 23° N — 82° W

(Bill Russo)

2 - Portait Of A Count

(Bill Russo)

3 - Improvisation

(Bill Russo)

4 - Invention For Guitar And Trumpet

(Bill Holman)

5 - My Lady

(Bill Russo)

6 - Young Blood

(Gerry Mulligan)

7 - Frank Speaking

(Bill Russo)

Buddy Childers, Maynard Ferguson, Conte Candoli, Don Dennis, Ruben McFall (trumpets); 

Bob Burgess, Frank Rosolino, Keith Moon, Bill Russo (trombones); 

George Roberts (bass trombone); Vinnie Dean, Lee Konitz (alto saxes); 

Richie Kamuca, Bill Holman (tenor saxes); Bob Gioga (baritone sax);

Sal Salvador (guitar); Stan Kenton (piano);  Don Bagley (bass); 

Stan Levey (drums), Denon Kenneth Walton (bongos [#1]).

Recorded at Universal Studios "A", Chicago, Illinois, September 10 (#2, #6, #7),

September 11 (#1), September 15 (#4, #5) and September 16 (#3), 1952

Chet Baker - Big Band

It would be pleasant to be able to write that Rickard Bock, the chief panjandrum of  Pacific Jazz Enterprizes, heard Chet Baker playing with a big band years ago and thereupon resolved to some day record him in this context —as he has done so felicitiously in the present album. The fact is, however, that when Chet was part of the big band scene not a single recording company was setting up mikes and tape machines to impound his blowing for posterity. This is understandable when you consider that the groups with which the young hornman was associated were such as a junior high school orchestra and U.S. Army military bands.

Chet, who got his start in Yale (Oklahoma, that is) on December 23, 1929, became a Californian in 1940 when his family moved to the Los Angeles area. He began playing in junior high and within only a few years came to national attention of sorts. That was when the draft board pulled his number from the barrel. This stroke of good fortune eventually landed Baker in Berlin with the 298th Army Band. He is reputed to have been better than adequate as a member of the brass ensemble on "Stars and Stripes Forever" and "When the Caissons Go Rolling Along". And his solo work on that rousing selection, "Reveille", was so respected by those who heard it that literally hundreds rose to their feet.

In September, 1955 Chet began a European tour which was scheduled for four months but which was stretched to eight, so responsive was Baker's reception.  During this tour, the longest yet made by an American jazzman, Chet made some radio appearances with Kurt Edelhagan's Orchestra. Several air checks of these performances subsequently came to the attention of Bock and Woody Woodward, general manager of Pacific Jazz Enterprises. Both immediately noted that Chet was playing in a much more aggressive manner than they ever had heard him employ. Out of this came the idea of recording Chet with groups which, while relatively small, still would produce a big band sound and provide a suitable showcase for Baker’s lustier blowing. 

Herewith you have the result, and I believe you will find it one of the most intriguing albums Chet yet has made. Three of the tracks are done by an eleven-piece group. On the five other sides Chet leads a nontet.

The arrangements not only capture the big band sound which was sought but, even more importantly, provide a variety of tonal textures, rhythmic patterns and tempos, along with ample solo space, which the top jazz artists who made this date exploit to the fullest.

Adding everything up, there’s only one answer: a most listenable album. *Russ Wilson (liner notes)*

These tracks — essentially by two different sized groups, one of nine and one of 11 musicians — presented Chet to an American record-buying public in an unfamiliar setting, given that hitherto his producer Richard Bock had unstintingly promoted Baker's small group persona. But Chet's lengthy 1955-56 stint in Europe had teamed him up with Kurt Edelhagen's orchestra and more tellingly with a Parisian octet for Barclay Records. Hearing these discs, and realising he had missed a trick, Bock celebrated the trumpeter's return to the West Coast with this pair of sessions, that put his uncharacteristically aggressive trumpet at the head of these larger ensembles. Some of the charts are by Baker's regular small group colleague Phil Urso, some by Jimmy Heath, and some —the least conventional— by the French bassist Pierre Michelot, who had played on the Barclay sessions.

Not surprisingly, Michelot's composition "Chet" makes much of Bond's skilled bass playing, but there are also fine moments crafted to show off Bob Burgess's trombone in this and Michelot's other piece, "Mythe". *Alyn Shipton*

Releasing an entire album under the moniker Chet Baker Big Band is a bit of a misnomer, as only the first four sides actually incorporate an 11-person configuration. The remaining tracks from the long-player feature a slightly smaller nonet configuration. Among the luminaries joining Baker (trumpet) and participating in the big-band arrangements are Art Pepper (alto sax), Bud Shank (alto sax), Phil Urso (tenor sax), and Bobby Timmons (piano). The critical argument proposing that Baker's style is more akin to bop —and the residual post-bop— than the West Coast cool that he is often connected with gets tremendous validation throughout not only the four big-band tracks, but also the remainder of the album. The band bops with tremendous verve behind Baker's unmistakable leads. Jimmy Heath's ultrahip arrangements —especially of "Tenderly" and "A Foggy Day"— allow the soloists to improvise fluidly from within the context of the larger unit. The Pierre Michelot composition "Mythe" is notable for some outstanding soloing from Baker and Timmons. It is a shame that poor master tape editing —a motif that haunts many Dick Bock productions— mars the overall aesthetic. Of the nonet sides, the band really jumps and responds best to the original compositions such as Phil Urso's "Phil's Blues" and "V-Line". The horn blend on these recordings is likewise striking. *Lindsay Planer*

Side 1

1 - A Foggy Day

(George and  Ira Gershwin)

2 - Mythe

(C. H. Chevallier)

3 - Worrying The Life Out Of Me

(Mole, Signorelli, Russell)

4 - Chet

(Pierre Michelot)

5 - Not Too Slow

(C. H. Chevallier)

Side 2

6 - Phil's Blues

(Phil Urso)

7 - Darn That Dream

(DeLange, Van Heusen)

8 - Dinah

(Lewis, Young, Akst)

9 - V-Line

(C. H. Chevallier)

10 - Tenderly

(Gross, Lawrence)

#2, #4, #5, #6, #8, #9:

Chet Baker (trumpet), Bob Burgess (trombone), Phil Urso (alto and tenor saxes), Bob Graf (tenor sax), Fred Waters (alto sax), Bill Hood (baritone sax), Bobby Timmons (piano), Jimmy Bond (bass), Peter Littman (drums).

Recorded in Los Angeles, California, October 18, 1956.

#3:

Chet Baker (trumpet), Bob Burgess (trombone), Phil Urso (alto and tenor saxes), Bob Graf (tenor sax), Fred Waters (alto sax), Bill Hood (baritone sax), Bobby Timmons (piano), Jimmy Bond (bass), James McKean (drums).

Recorded in Los Angeles, California, October 19, 1956.

#1, #7, #10:

Chet Baker, Conte Candoli, Norman Faye (trumpets); Frank Rosolino (trombone); Art Pepper, Bud Shank (alto saxes); Bill Perkins, Phil Urso (tenor saxes); Bobby Timmons (piano); Jimmy Bond (bass); Lawrence Marable (drums).

Recorded in Los Angeles, California, October 26, 1956.

Billy Usselton Sextet - Complete Recordings

Billy Usselton (1926-1994), was a modern, controlled, articulate, swinging tenor man, full of fresh ideas and surprises and rhythm and good taste. These recordings are the only ones he did as featured soloist of his own group.

George T. Simon wrote: This is jazz of pure sound and free spirit. The arrangements are bright and imaginative. They make elegant use of counterpoint and of the unusual sound afforded by the addition of bass clarinet to the leading tenor sax and trombone and by the piano, too. *Jordi Pujol*

This artist, proficient on enough reed instruments to fill the trunk of a midsize car, appeared on nearly 100 different recording sessions between 1946 and 1978, including every Coral or Capitol record cut by Les Brown's bands since 1954. Usselton went professional while still in high school, after lightweight bandleader Bubbles Becker heard the young man blowing at a local nightclub jam session. Following his stint with the Becker band, Usselton played with Sonny Dunham for several years, then joined trumpeter Ray Anthony for a pair of two-year stretches from 1948 through 1949 and 1951 through 1952. In between, Usselton brought his tenor, clarinet, and oboe chops to the Tommy Dorsey band to close out the '40s.

In the early '50s, Usselton and the fine trombonist Bill Harris started their own band, based out of Florida. Usselton would eventually record only one album under his own name, quite accurately entitled His First Album and released in 1957 on the jazz-savvy Kapp imprint. In 1954 he joined Brown, with whom he was affiliated for most of the balance of his career, with the Brown band's busy schedule including tours of Europe, Africa, and the Far East. The group's vocalist, Lauri Johnson, became Usselton's bride in 1958, obviously ignoring the potential for dementia in even a part-time oboe player. In his younger years with Anthony, the reed player's features included numbers such as "Idaho". Although the later years with Brown could hardly be considered rich in jazz content, Usselton remained a swinger to the end with a particular fondness for the playing of Stan Getz. If this ever became a problem with Brown, he never indicated it; there are no reports of the bandleader ordering Usselton to "Getz out of here". *Eugene Chadbourne*

Billy Usselton Sextet

Complete Recordings

1 - Tangerine

(V. Schertzinger, J. Mercer)

2 - Delilah

(Horatio Nicholls)

3 - Sweet Sue

(W. J. Harris, V. Young)

4 - Dinah

(S. M. Lewis, J.Young, H. Akst)

5 - Coquette

(G. Kahn, J. Green, C. Lombardo)

6 - Georgia On My Mind

(H. Carmichael, S. Gorrell)

7 - Miss Annabelle Lee

(S. Clare, L. Pollack)

8 - Liza

(G. and I. Gerswin, G. Kahn)

9 - Cleone

(Alyson Skypp Hoyland)

10 - Jill

(Billy Usselton)

11 - Margot

(R. Webb, R. Carter)

12 - Smokey

(M. Flory, B. Usselton)

13 - There Will Never Be Another You

(H. Warren, M. Gordon)

14 - Blooz

(Paul Moer)

15 - Angel

(S. Rogers, S. Robbins)

16 - In From Somewhere

(Wes Hensel)

#1 to #12:

(Originally "His First Album" [Kapp (KL-1051)])

#1 to #4:

Billy Usselton (tenor sax), Bob Burgess (trombone), Abe Aaron (bass clarinet), Paul Moer (piano), Mel Pollan (bass), Lloyd Morales (drums).

Recorded in Hollywood, June 22, 1956.

#5 to #8:

Billy Usselton (tenor sax), Bob Burgess (trombone), Abe Aaron (bass clarinet), Paul Moer (piano), Buddy Clark (bass), Frank Capp (drums).

Recorded in Hollywood, July 13, 1956.

#9 to #12:

Billy Usselton (tenor sax), Bob Burgess (trombone), Abe Aaron (bass clarinet), Paul Moer (piano), Buddy Clark (bass), Larry Bunker (drums).

Recorded in Hollywood, July 17, 1956.

#13 to #16:

(Originally as part of "Modern Jazz Gallery" [Kapp (KXL 5001)])

Billy Usselton (tenor sax), Bob Burgess (trombone), Abe Aaron (bass clarinet), Paul Moer (piano), Buddy Clark (bass), Mel Lewis (drums).

Recorded in Hollywood, October 17, 1956.