Jazz For The Screen ★ Leith Stevens (II)

Leith Stevens

Private Hell 36

To continue our Jazz For The Screen series, here is another gem composed and conducted by Leith Stevens in 1954, following his pioneering work on The Wild One.

About the Music:

If there is one soundtrack that represents the refoundational landmark of jazz in film noir, it is Private Hell 36. This work is considered one of the first Hollywood orchestral scores written entirely in a modern jazz idiom, setting the standard for the 1950s crime and detective sound.

Originally released by Coral Records, the Private Hell 36 album is a masterly compendium of West Coast Jazz. Stevens dispensed with traditional romantic symphonism to create an oppressive, nocturnal, and urban atmosphere, utilizing small ensembles and a big band packed with stellar soloists from the Los Angeles scene.

The music stands out for its sharp brass motifs, melancholic cool-sax passages, and rhythmic figures that accentuate the paranoia and unbridled ambition of the characters. Tracks like "Private Hell 36", "Lilli", or "Joshua" showcase the perfect balance between sophisticated arrangements and the improvisational power of its soloists.

About the Film:

Directed by action cinema master Don Siegel and produced/co-written by pioneer Ida Lupino, Private Hell 36 is a tense film noir police drama. The plot follows two Los Angeles police detectives, Cal Bruner (Steve Cochran) and Jack Farnham (Howard Duff), who investigate a stolen money trail following a fatal shootout. During the pursuit of the suspect, they recover a substantial sum of uncounted cash.

Temptation strikes when Bruner, dazzled by Lizabeth (Ida Lupino)—a stunning nightclub singer with a voracious appetite for the high life—decides to keep a portion of the stolen money and drags along his partner Farnham, a family man tormented by guilt. From that moment on, mutual distrust, blackmail, and their own department's investigation turn cabin number 36 (the "Private Hell" of the title) into a claustrophobic setting where crime will exact its toll.

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Some things are expressed best by jazz music, but some music that is not jazz is played properly only by jazz musicians. Our definitions of "jazz" may differ. To some the term applies only to the primitive New Orleans product; to others, perhaps, it encompasses the "swing" and "bop" eras as well. More and more, in a world where the horizons of tolerance and knowledge push past old barriers, l’enfante terrible—bop—has, turned around and extended its hand to tradition, so to speak. The bop experimentalists in Minton’s Harlem Playhouse back in the early ’forties instinctively sought and arrived at many of the same devices with which the "serious" contemporary school was concerning itself. But the jazzman’s devices eventually demanded form to give them meaning and permanence, especially as larger ensembles became involved. The longhair harmonists and contrapuntalists came in for intense study, and Jazz’s own Duke Ellington was found to be not so old hat after all.

So-called "Progressive Jazz" developed from the incorporation of the new jazz or bop devices in definite architectural-musical structures, or in freer tone poems employing written and improvised jazz in logical, dramatic sequence and juxtaposition.

For some reason, the most intense creative activity in these directions has erupted on the West Coast. Perhaps it’s the clement climate, or the general youthful open-mindedness, or some sense of stability created by fruitful film employment, or perhaps it has been the proximity of such monumental influences as the schools of Schoenberg, Milhaud, and Toch. At any rate, technical skill as well as invention are flourishing as never before, and dozens of interesting provocative discs bear testimony to the talents of such jazz men as Shorty Rogers, John Graas, Milt Bernhardt, Jim Giuffre, and Bud Shank.

Now Leith Stevens—composer, conductor and perennial jazz pioneer—has successfully injected Progressive Jazz into an idiom never noted particularly for innovation. Suddenly, in a commercial, first-magnitude film, we have not the usual lush, soporific string backgrounds, but highly original jazz-based tone-painting that has singular meaning for the age in which the action transpires. PRIVATE HELL 36 is actually the second successful application of such material by the venturesome Stevens—the first having been his extremely appropriate scoring for THE WILD ONE in 1953, which, incidentally, employed several of the same musicians featured in these performances. *Bill Simon (from the liner notes)*

Off Note:

The music was originally released as a 10-inch Coral LP in 1954 (Coral CRL 56122). However, for a 1959 edition (Coral CRL 757283), the record label took the original 1954 mono recording of Private Hell 36, placed it in the center channel, and overdubbed it in stereo by adding vibraphone, bongo, and tambourine tracks (panned to the left and right).

This innovative approach was an ingenious way to preserve the original beauty of the music while technologically adapting it to the late-1950s stereo craze.

However, the 1959 Coral liner notes and official credits did not individually credit the session musicians who recorded those vibraphone and percussion overdubs.

Unlike the original 1954 track—where Shelly Manne handled the original drums and percussion—the names of the performers who added the skin drums, tambourine, and vibraphone to the 1959 stereo mix are omitted from both the album's personnel listings and the label's discographical archives.

This post presents both versions of the soundtrack for comparison: the original 1954 mono release (a vinyl rip of modest sound quality) alongside the 1959 stereo restoration featuring the added percussion and vibraphone overdubs.

Side 1

1 - Private Hell 36

2 - Havana Interlude

3 - Easy Mood

Side 2

4 - Daddy, Long Legs

5 - Joshua

6 - Lilli

7 - Dance Of The Lilliputian

8 - Private Blues

(All compositions by Leith Stevens)

Shorty Rogers, Pete Candoli, Charles Grifford, Carlton McBeath (trumpets);

John Graas (french horn); Paul Sarmento (tuba);

Milt Bernhart, Harry Betts (trombones); Bob Enevoldsen (valve trombone);

George Roberts (bass trombone); Sal Franzella (alto sax, clarinet);

Lennie Niehaus [as Leonard Niehaus] (alto sax); Bob Cooper, Jimmy Giuffre (tenor saxes);

Bob Gordon (bass clarinet, baritone sax); Bud Shank (bass sax);

Claude Williamson (piano); Joe Mondragon (bass); Shelly Manne (drums).

Recorded in Hollywood, California, September 3, 1954

Lighthouse All-Stars Collection XXIX ★ Jazz On Television (II)

The relationship between jazz and television enjoyed its golden age in the mid-fifties in Los Angeles. Far from the rushed pace of conventional variety shows, network KABC-TV launched Stars of Jazz in 1956, a pioneering program hosted by pianist and composer Bobby Troup. The show not only offered live performances with sound quality and lighting unprecedented for the time, but it also treated jazz with an almost pedagogical respect—explaining arrangements, introducing the musicians, and documenting the effervescence of the West Coast scene in real time.

However, those broadcasts ran the risk of being forgotten in the television network archives. It was in the mid-seventies when the label Calliope Records took on a fundamental task of sound archaeology: rescuing the audio tapes and transcriptions from the Stars of Jazz broadcasts to release them on vinyl for the first time under the Sessions, Live series.

Through Calliope's catalog, the sessions recorded between 1956 and 1958 on the Hollywood soundstages came to light officially, allowing fans to hear unique takes, exclusive arrangements for television, and reunions of musicians that were never captured on traditional studio albums.

In this second post dedicated to jazz on the small screen, the label's two albums featuring Howard Rumsey's Lighthouse All-Stars—the central leitmotif of this series—will be presented.

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Sessions, Live

Lighthouse All-Stars

Julie London

Bud Shank

and

Chris Connor

(Calliope CAL-3030)

THE LIGHTHOUSE ALL STARS were led by Howard Rumsey, a former member of the Stan Kenton organization.

In 1949, Howard walked into a nightclub in Hermosa Beach, Calif. and sold the management on booking his group for a trial basis.

The result was a fifty two week gig for the next nine years.

Former members of the Lighthouse All Stars have included Shelly Manne, Jimmy Giuffre, Gerry Mulligan, Shorty Rogers and Bud Shank.

Featured guest soloists on these sessions were Bob Cooper, oboe; and Bud Shank, flute on The Nearness of You.

Viva Zapata features the trumpet and pen of Shorty Rogers.

Here's the All Stars, a group that epitomized the sound of West Coast jazz during the fifties.

MISS JULIE LONDON is also featured on side one.

Julie made her first singing debut on local radio in California at the age of three. She impersonated Marlene Dietrich singing Falling In Love Again.

In 1947, Life magazine named Julie the most promising young acting find of that year. On February 18, 1957 she made the cover of Life, only this time she was Julie London, singing star.

Julie's biggest hit was Cry Me A River in 1955.

THE BUD SHANK QUARTET kick off side two.

Bud plays alto and baritone sax plus the flute. He was born in Dayton, Ohio on May 27, 1926, and was regarded as the most important West Coast flutist during the late fifties and sixties.

CHRIS CONNOR hails from Kansas City, Missouri and was a former vocalist with Stan Kenton during the fifties. *(original liner notes)*

Side 1

1 - All The Things You Are

(Jerome Kern, Oscar Hammerstein II)

2 - The Nearness Of You

(Hoagy Carmichael, Ned Washington)

3 - Free And Easy

(Henry Mancini, Bobby Troup)

4 - Midnight Sun

(Lionel Hampton, Sonny Burke, Johnny Mercer)

5 - Viva Zapata!

(Shorty Rogers)

#1, #2, #4, #5:

Howard Rumsey's Lighthouse All-Stars:

Conte Candoli (trumpet), Frank Rosolino (trombone), 

Bob Cooper (tenor sax, oboe [#2]), Bud Shank (alto sax, flute [#2])

Vince DeRosa (french horn), Victor Feldman (piano, vibes),

Howard Rumsey (bass), Stan Levey (drums), Jack Costanzo (bongós, percusión [#5])

#3, #4:

Julie London (vocals) with Howard Rumsey's Lighthouse All-Stars

Jimmy Rowles replaces Victor Feldman on piano.

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, May 19, 1958

Side 2

6 - Crazy Rhythm

(Irving Caesar, Joseph Meyer, Roger Wolfe Kahn)

7 - Lover Man

(Jimmy Davis, Ram Ramirez, James Sherman)

8 - 'S Wonderful

(George Gershwin, Ira Gershwin)

9 - Love Walked In

(George Gershwin, Ira Gershwin)

10 - The Lamp Is Low

(Peter DeRose, Bert Shefter, Maurice Ravel)

#6, #7, #10

Bud Shank Quartet:

Bud Shank (alto sax, flute), Claude Williamson (piano),

Don Prell (bass), Chuck Flores (drums).

#8, #9

Chris Connor (vocals) with The Bud Shank Quartet

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, November 26, 1956 (#6, #7, #10) and May 27, 1957 (#8, #9)

Off Note:

The dates printed on the original LP liner notes are incorrect. This type of chronological mismatch was very common among independent catalog and reissue labels during the 1970s, such as Calliope Records.

Working with magnetic tapes from television broadcasts and kinescope transcriptions salvaged nearly two decades after their original air date, the label frequently relied on imprecise handwritten notes on the master tape boxes or misplaced production indices from KABC-TV. Lacking the cross-referenced data from the Stars of Jazz production logs known today, Calliope lumped under the wrong date of November 5, 1956, what were actually two completely separate broadcasts recorded months apart (the Bud Shank Quartet set on November 26, 1956, and Chris Connor's set on May 27, 1957). An archival oversight that takes nothing away from the extraordinary historical value of these salvaged sessions.

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Sessions, Live

Lighthouse All-Stars

June Christy

and

Jimmy Giuffre

(Calliope CAL-3035)

THE LIGHTHOUSE ALL STARS were led by Howard Rumsey, a former member of the Stan Kenton organization.

In 1949 Howard walked into a nightclub in Hermosa Beach, California and sold the management on booking his group for a trial basis.

The result was a fifty two week gig for the next nine years.

Former members of the Lighthouse All Stars have included Shelly Manne, Jimmy Giuffre, Gerry Mulligan, Shorty Rogers and Bud Shank.

JUNE CHRISTY was the voice of Stan Kenton's band. She replaced Anita O'Day and became one of the most popular female vocalists during the late forties and fifties.

JIMMY GIUFFRE hails from Dallas, Texas and plays clarinet, tenor sax and flute.

He played a major role as clarinetist, saxophonist and personality in the groups of both Shorty Rogers and Shelly Manne during the fifties.

NELLIE LUTCHER started playing the piano around the middle of World War I.

She performed mostly on the West Coast and became a favorite at the Interlude Club on Sunset Strip. *(original liner notes)*

Side 1

1 - Somebody Loves Me

(George Gershwin, Ballard MacDonald, B.G. DeSylva)

2 - Sunday Mood

(Bob Cooper)

3 - I Want To Be Happy

(Vincent Youmans, Irving Caesar)

4 - That's All

(Bob Haymes, Alan Brandt)

5 - Witch Doctor

(Bob Cooper, Bob Gioga)

#1, #2, #5

Howard Rumsey's Lighthouse All-Stars:

Frank Rosolino (trombone), Bob Cooper (tenor sax, oboe [#2]),

Victor Feldman (piano, vibes, conga [#5]),

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

#3, #4

June Christy (vocals) with Howard Rumsey's Lighthouse All-Stars

Lou Levy replaces Victor Feldman on piano.

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, March 3, 1958

Side 2

6 - Gotta Dance

(Jimmy Giuffre)

7 - Four Brothers

(Jimmy Giuffre)

8 - Blue Skies

(Irving Berlin)

9 - The Nearness Of You

(Hoagy Carmichael, Ned Washington)

10 - Two Kinds of Blues

(Jimmy Giuffre)

#6, #7, #10

The Jimmy Giuffre Three:

Jimmy Giuffre (tenor sax, clarinet), Jim Hall (guitar), Ralph Peña (bass).

#8, #9

Nellie Lutcher (piano, vocals), Ray Brown (bass), Alvin Stoller (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, January 7, 1957 (#6, #7, #10) and March 18, 1957 (#8, #9)

Off Note:

Once again, the documentation printed on the original Calliope Records cover presents notable discrepancies with the actual content on the tapes. For labels dedicated to rescuing radio and television material during the 1970s, it was common practice to work with broadcast tape duplicates that lacked accurate technical logs or carried confusing handwritten notes on the master boxes.

While Side 1 accurately places the Lighthouse All-Stars and June Christy performance on the March 3, 1958 broadcast, Side 2 suffers from an obvious cataloging oversight. The printed date of February 18, 1957 actually corresponds to an episode of Stars of Jazz featuring James Clay, Toni Harper, and Lorraine Geller—none of whom appear on this LP. Calliope mistakenly lumped under that single date two shows recorded more than two months apart: The Jimmy Giuffre Three session from January 7, 1957, and Nellie Lutcher’s vocal set from March 18, 1957 (backed by the station’s rhythm section rather than Giuffre's trio). An editorial slip that, while requiring historical clarification, does not lessen the magnificent audio testimony of these broadcasts.

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Lighthouse All-Stars Collection XXVIII ★ Jazz On Television (I)

Los Angeles Jazz Institute presents

Rare And Unissued Audio of

West Coast Jazz On Television

From the 1950s

Following the "historical route" of existing recordings by the Lighthouse All-Stars, including their mentor Howard Rumsey, we come across hard-to-find recordings covering the group's appearances on the television circuit. These will be two very special posts.

This first post rescues a collection of rare and unissued broadcast recordings made between 1953 and 1957. The core of the album consists of performances from the celebrated TV show Stars of Jazz (broadcast on ABC/KABC-TV starting in June 1956 and hosted by Bobby Troup), alongside invaluable television gems: from the Lighthouse All-Stars' historic appearance on the premiere broadcast of NBC's Monitor in 1955, to a newly discovered 12" acetate featuring Chet Baker on The Today Show, as well as the 1953 charity telethon with the Sonny Burke Orchestra and an appearance by the Dave Brubeck Quartet on Steve Allen's show.

Although very few kinescopes with the original video footage survived over the years, the audio archive has been meticulously preserved thanks to the work of the Los Angeles Jazz Institute—sourced from the collections of key figures like Jimmie Baker and Bob Andrews, as well as transcription discs recorded for the Armed Forces Radio Service (AFRS) and material later issued by Calliope Records—. Much of the historical rigor surrounding these broadcasts is owed to James Harrod's exhaustive research across his platforms (Jazz Profiles, Stars of Jazz blog, and Calliope Records blog), an essential reference for understanding this era.

A unique opportunity to experience the vibrancy of the Los Angeles scene live on television, preserved in a truly indispensable archival release.

1 - Anybody Hurt / Hey Bellboy

(Sonny Burke, Paul Francis Webster / Sonny Burke)

Gloria Wood and Pete Candoli with Sonny Burke Orchestra:

Gloria Wood (vocals), Pete Candoli (trumpet), Sonny Burke (piano, conductor).

[other personnel unidentified]

Recorded at KECA-TV (Channel 7), Cerebral Palsy Telethon,

Los Angeles, California, June 6, 1953

2 - Goodbye / I Get Along Without You Very Well

(Gordon Jenkins / Hoagy Carmichael)

Chet Baker

Chet Baker (trumpet, vocal), Russ Freeman (celeste).

[unidentified percussionist]

Recorded live on "The Today Show",

NBC Television Network, May 13, 1955

3 - Happy Town / Jazz Invention

(Bob Cooper / Bob Cooper)

Howard Rumsey's Lighthouse All-Stars:

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

Claude Williamson (piano), Howard Rumsey (bass), Stan Levey (drums).

Recorded live at The Lighthouse, Hermosa Beach, California,

"NBC Monitor Premiere", NBC Network, June 12, 1955

4 - All The Things You Are

(Jerome Kern, Oscar Hammerstein II)

Dave Brubeck Quartet:

Dave Brubeck (piano), Paul Desmond (alto sax), Norman Bates (bass), Joe Dodge (drums).

Recorded live on "The Tonight Show hosted by Steve Allen",

NBC Television Network, February 22, 1956

5 - Doxy

(Sonny Rollins)

Shelly Manne and His Men:

Stu Williamson (trumpet), Charlie Mariano (alto sax),

Russ Freeman (piano), Leroy Vinnegar (bass), Shelly Manne (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, July 16, 1956

6 - Sweet Georgia Brown

(Ben Bernie, Maceo Pinkard, Kenneth Casey)

Red Norvo Ensemble:

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

Robert Drasnin (reeds), Bill Kosinski (french horn),

Jimmy Wyble (guitar), Buddy Clark (bass), Bill Douglass (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, August 27, 1956

7 - Coolin' The Blues

(Hampton Hawes)

Hampton Hawes Trio:

Hampton Hawes (piano), Red Mitchell (bass), Leroy McCray (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, September 10, 1956

8 - Modus Operani

(Jack Montrose)

Jack Montrose Quintet:

Jack Montrose (tenor sax), Fred Waters (baritone sax),

Paul Moer (piano), Ralph Peña (bass), William Donley (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, December 10, 1956

9 -I Can't Believe That You're In Love With Me

(Jimmy McHugh, Clarence Gaskill)

Lennie Niehaus Quintet:

Lennie Niehaus (alto sax), Bill Perkins (tenor sax),

Paul Moer (piano), Buddy Clark (bass), Mel Lewis (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, January 14, 1957

10 - Short Stop

(Shorty Rogers)

Shorty Rogers Big Band:

Shorty Rogers (flugelhorn); Ollie Mitchell, Conte Candoli, Al Porcino,

Harry "Sweets" Edison (trumpets); Sam Rice (tuba);

Milt Bernhart, Frank Rosolino, Frank Strong Jr., Harry Betts (trombones); 

Herb Geller, Jack Montrose, Bill Holman, Bill Perkins, Pepper Adams (reeds);

Pete Jolly (piano); Red Mitchell (bass); Stan Levey (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, February 4, 1957

11 - Wow

(Shorty Rogers)

Kay Brown with Shorty Rogers Big Band:

Kay Brown (vocal) with

Shorty Rogers (flugelhorn); Ollie Mitchell, Conte Candoli, Al Porcino,

Harry "Sweets" Edison (trumpets); Sam Rice (tuba);

Milt Bernhart, Frank Rosolino, Frank Strong Jr., Harry Betts (trombones); 

Herb Geller, Jack Montrose, Bill Holman, Bill Perkins, Pepper Adams (reeds);

Pete Jolly (piano); Red Mitchell (bass); Stan Levey (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, February 4, 1957

12 - Popo

(Shorty Rogers)

Shorty Rogers Big Band:

Shorty Rogers (flugelhorn); Ollie Mitchell, Conte Candoli, Al Porcino,

Harry "Sweets" Edison (trumpets); Sam Rice (tuba);

Milt Bernhart, Frank Rosolino, Frank Strong Jr., Harry Betts (trombones); 

Herb Geller, Jack Montrose, Bill Holman, Bill Perkins, Pepper Adams (reeds);

Pete Jolly (piano); Red Mitchell (bass); Stan Levey (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, February 4, 1957

13 - Infra Rae

(Hank Mobley)

Claude Williamson Trio:

Claude Williamson (piano), Willfred Middlebrooks (bass),Billy Higgins (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, June 24, 1957

14 - Westlake Bounce

(John Graas)

John Graas Quintet:

John Graas (french horn), Sam Firmature (tenor sax),

Dick Grove (piano), Dick Fritz (bass), Ray Roten (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, August 5, 1957

15 - Makin' Whoopee

(Walter Donaldson, Gus Kahn)

Lucy Ann Polk with the Marty Paich Septet:

Lucy Ann Polk (vocal) with

Jack Sheldon, Don Fagerquist (trumpets);

Stu Williamson, Bob Enevoldsen (valve trombones);

Marty Paich (piano); Buddy Clark (bass); Mel Lewis (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, November 11, 1957

16 - Blue Lou

(Edgar Sampson, Irving Mills)

Marty Paich Septet:

Jack Sheldon, Don Fagerquist (trumpets);

Stu Williamson, Bob Enevoldsen (valve trombones);

Marty Paich (piano); Buddy Clark (bass); Mel Lewis (drums).

Recorded live on "Stars of Jazz", KABC-TV (Channel 7),

Los Angeles, California, November 11, 1957

Lighthouse All-Stars Collection XXIV ★ Rarities at The Lighthouse

Los Angeles Jazz Institute 

Presents

West Coast Rarities

✤✤

Gerry Mulligan, Lennie Niehaus and Bud Shank at The Lighthouse

Apart from the unitary and official recordings that have been presented within the Lighthouse All-Stars collection, there are many stray private recordings that are gradually becoming known. One of them is this compendium with unreleased recordings compiled from original sources from the Los Angeles Jazz Institute archive.

Specifically, there are only three live recordings at the Lighthouse Cafe, although the others are of equal importance as they involve equally famous settings related to the West Coast Jazz movement of the 1950s.

Through this valuable material, which spans from 1952 to 1958, we witness the birth and consolidation of a vibrant musical scene in Southern California. The audio testimonies show us the inner history of its protagonists at key moments, such as a Gerry Mulligan newly arrived in the city and about to revolutionize the genre with his pianoless quartet, or the debut of Shorty Rogers' Big Band during an early morning television charity telethon.

The album also functions as a cartographic journey through the night spots that defined the era, taking the listener beyond the Lighthouse to enter jazz temples as legendary as The Haig, the Rendezvous Ballroom in Balboa, Zardi's, or the Peacock Lane, and even singular events like the grand opening of a record store. Likewise, the document highlights the close camaraderie and spirit of collaboration among West Coast musicians, fostering spontaneous summits where figures of the stature of Stan Getz joined established groups.

It is also worth noting the enormous logistical and historical value of some of these tracks, which document the famous off-nights at the Lighthouse, when on Mondays and Tuesdays the club opened its doors to guest ensembles such as the Lennie Niehaus Quintet. It should be noted that the recordings contained on this compact disc come from a variety of sources, some of which were recorded under non-professional conditions; however, the editors have rightly considered that the extreme rarity and unique character of these performances preclude and compensate for any flaws that the quality of the original sound may present.

1 - Elevation

(Gerry Mulligan)

At the time of this recording, Gerry Mulligan had been in Los Angeles for about five months but had yet to find regular work. He wrote some arrangements for Stan Kenton and participated in jam sessions all over town. This rare recording finds Mulligan, prior to the formation of his "pianoless" quartet, sitting in on one of the Sunday sessions at The Lighthouse.

Howard Rumsey's Lighthouse All-Stars:

Shorty Rogers (trumpet), Jimmy Giuffre (tenor sax), Bob Cooper (tenor sax),

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

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

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

2 - Move

(Denzil Best)

"Move" was recorded live at The Haig during one of the first appearances of the new Gerry Mulligan Quartet. The group played the four Tuesdays in August while the Red Norvo Trio was the featured attraction throughout the week. It was during these first Tuesday nights that the Quartet became a sensation prompting the formation of Pacific Jazz Records. Before long both Mulligan and Chet Baker would become major jazz stars.

The 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

3 - Short Snort

(Shorty Rogers)

This live concert, recorded at the Rendezvous Ballroom in Balboa, features a dream line-up put together by Shorty Rogers specifically for this date. A true summit meeting of the giants of West Coast jazz.

Shorty Rogers and His Giants:

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

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

Bob Enevoldsen (valve trombone); Hampton Hawes (piano);

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

Recorded live at the Rendezvous Ballroom, Balboa Beach, September 28, 1952

4 - Short Stop

(Shorty Rogers)

This television broadcast from 1953 marked the debut of Shorty Rogers Big Band. It comes from a 25 hour Cerebral Palsy telethon hosted by Jack Webb. The show began at 11pm on Friday night and continued until midnight Saturday. Jazz fans had to stay up late if they wanted to see Shorty's new big band. The jazz segment didn't get underway until 3 o'clock in the morning.

Shorty Rogers Big Band:

Shorty Rogers, Conrad Gozzo, Tommy Reeves, Reuben McFall (trumpets);

Jack Dulong, Bud Shank, Bill Perkins, Don Davidson (reeds);

Herbie Harper, Harry Betts, Bob Enevoldsen (trombones);

John Graas (french horn); Paul Sarmento (tuba);

Marty Paich (piano); Joe Mondragon (bass); Shelly Manne (drums)

Cerebral Palsy Telethon, KBCA Channel 7, Los Angeles, June 6, 1953

5 - The Goof and I

(Al Cohn)

"The Goof and I " was recorded live at the Grand Opening of Larsen's Record Room in El Segundo and features the swinging 1955 version of the All-Stars with that great front line of Candoli, Shank, Cooper and Rosolino.

Howard Rumsey's Lighthouse All-Stars:

Conte Candoli (trumpet), Bud Shank (alto sax),

Bob Cooper (tenor sax), Frank Rosolino (trombone),

Claude Williamson (piano), Howard Rumsey (bass), Stan Levey (drums).

Recorded live at Larsen's Record Room, El Segundo, March 4, 1955

6 - Topsy

(Edgar Battle, Eddie Durham)

By 1955, Shorty Rogers was a very busy man. In addition to his ever growing studio work, the Giants had recently started recording for Atlantic Records and had also begun a long engagement at Zardi's Jazz Club on Hollywood Blvd. Shorty's boyhood friend from the Bronx, Stan Getz, was in Los Angeles at the time and is found here sitting in with the Giants.

Shorty Rogers and His Giants with Stan Getz:

Shorty Rogers (trumpet), Jimmy Giuffre (clarinet), Stan Getz (tenor sax),

Pete Jolly (piano), Ralph Pena (bass), Shelly Manne (drums).

Recorded live at Zardi's, Hollywood, August 4, 1955

7 - Everybody Moan

(Ernie Wilkins)

Maynard Ferguson had spent the latter part of 1956 in New York with his Birdland Dream Band. After the Birdland engagement and subsequent recordings for Vik records he returned to Los Angeles and re-formed the West Coast Dream Band. That band was booked for the holidays at the Peacock Lane Club which was located at Hollywood Blvd. and Western Ave.

Maynard Ferguson and His Orchestra:

Maynard Ferguson, Ed Leddy, Joe Burnett, Tom Slaney (trumpets);

Herb Geller, Richie Kamuca, Nino Tempo, Willie Maiden (reeds);

Bob Fitzpatrick, Bob Burgess (trombones);

Paul Moer (piano); Red Kelly (bass); Mel Lewis (drums).

Recorded live at Peacock Lane, Hollywood, January 4, 1957

8 - Just Friends

(John Klenner, Sam M. Lewis)

By the late 1950s, The Lighthouse All-Stars worked Wednesday - Saturday plus the Sunday Concerts. Mondays and Tuesdays featured groups booked specifically for the off-nights. During the summer of 1957, the off night group was The Lennie Niehaus Quintet. This rare recording was made from the audience on one of those Monday or Tuesday nights.

The Lennie Niehaus Quintet:

Lennie Niehaus (alto sax), Bill Perkins (tenor sax),

Paul Moer (piano), Buddy Clark (bass), Mel Lewis (drums).

Recorded live at the Lighthouse, Hermosa Beach, July, 1957

9 - Do Nothin' Till You Hear From Me / Theme

(Duke Ellington / Bud Shank)

During the holiday season of 1957-58 Bud Shank returned to the familiar surroundings of the Lighthouse this time leading his own successful Quartet. The quartet was captured here for the KMLA "Nightlife" program.

Bud Shank Quartet:

Bud Shank (alto sax), Claude Williamson (piano),

Don Prell (bass), Chuck Flores (drums).

KMLA "Nightlife" Broadcast

Recorded live at the Lighthouse, Hermosa Beach, January 1, 1958

Lighthouse All-Stars Collection XXIII ★ with Zoot Sims (II)

Zoot Sims

Lover Man

Zoot Sims On The West Coast • 1954

The tireless search for recordings that complete the historical puzzle of the Lighthouse All-Stars occasionally yields major surprises. Although the bulk of this volume takes us to an intimate and domestic setting, its inclusion in our Lighthouse All-Stars Collection series is fully justified by an exceptional historical rescue: the presence of Zoot Sims, as a stellar guest, on the stage of the mythical club in Hermosa Beach.

Once again, the miracle is due to Bob Andrews, who, equipped with his now-famous home recorder and a single microphone, managed to record a unique moment in the history of West Coast Jazz. We find ourselves specifically on the night of March 9, 1954. That evening already possessed a historical character for the group itself, as it marked the debut of the legendary drummer Stan Levey in the lineup, occupying the seat just vacated by Max Roach. The All-Stars performed with one of their most powerful incarnations: the horn section aligned Bob Cooper, Bud Shank, Frank Rosolino, and Stu Williamson, complemented by Claude Williamson on piano and the indefatigable Howard Rumsey on double bass.

Andrews set up his microphone and recorded the session. In fact, our previous blog post covered the album Zoot Sims with The Lighthouse All-Stars • 1954, which captured the official session recorded the very next day. Toward the end of the night, Zoot Sims took the stage with his tenor sax to join the band.

Regarding this valuable piece, which appears in this edition under the title "Lighthouse Days," the producer of the release, Toshinari Shiroshita, offers us a fascinating chronicle of its nature and execution in the liner notes:

The titles of the songs performed changed depending on the occasion at the jam session, adopting names like "Groovy Eyes" or "Goof and I". For this edition, we preferred to use the title "Lighthouse Days", just as Andrews originally noted it in his personal memorandum.

The structure of the piece treats us to an impressive succession of solos in a strict order: it begins with Zoot Sims himself, followed by Stu Williamson, Bud Shank, Frank Rosolino, Bob Cooper, and finally, Claude Williamson on piano. The dynamism of the performance reaches its peak in the final chorus, where an extremely interesting exchange of bars breaks out between the drums and each of the soloists, preventing the piece from falling into a simple improvisation routine. Stan Levey's intervention, with a short but highly sharp and precise drum solo, is irrefutable proof that we are dealing with a first-rate instrumentist.

In terms of the five pieces that complete this album, while the Lighthouse recording is the magnet for completists of the series, the rest of the tracks that round out this volume do not envy its historical importance at all. These five instrumental tracks take us to a much more exclusive setting whose exact date remains a mystery, cataloged simply on an unknown day of that same year, 1954: the intimacy of the home.

As Toshinari Shiroshita himself comments in the insert notes:

This is a valuable record of a very unusual rehearsal session, recorded when Zoot Sims (1925–1985), whose activities took place mainly on the East Coast, returned to his parents' home in California (a town near the Los Angeles International Airport). This rehearsal session was released on LP in 1991 by the Norma label under the title Pinky and Zoot, but the 5 tracks with the addition of vocalist Pinky Winters were released on CD in 2010 as "Pinky +12". This Lover Man being released now is composed of the purely instrumental tracks (without Pinky's vocals) from that session, and includes an unreleased track that was not included in the Norma LP.

Regarding the musicians participating in tracks #1 to #5 at Zoot's house, isn't it true that, except for Zoot, they are musicians who have hardly been heard of? For Zoot, whose activities took place mainly on the East Coast, a session on the West Coast in the mid-1950s like this one is extremely rare, but the reality of the L.A. scene runs deep. It is said that musicians like Heale and Inosencio played in top-tier big bands such as those of Benny Goodman or Woody Herman... His tenor sax style is in the line of Lester Young, and his talent was not only recognized by West Coast musicians but also enjoyed high popularity in Europe.

Pianist Timmy Inosencio was a music teacher at an L.A. high school in his later years and, according to Pinky Winters, was the band instructor at the high school Pinky's eldest daughter attended around 1970. He was a talented jazz musician who, since his high school days, aspired to be a professional jazz pianist and had acquired a solid technique and a great sense of swing. It seems he was a gifted musician who confirmed early on that 'you can't make a living from jazz' and chose that path. Trumpeter Marvin 'Tricky' Heale was Zoot's cousin. John Dorman was erroneously credited on the Norma LP as a trombonist, but Pinky testifies that he was a bass trumpet player and had no blood relation to Irving. Bassist Jim Wolf was Pinky's husband at the time.

1 - Dancing On The Ceiling

(Richard Rodgers, Lorenz Hart)

2- Popo

(Shorty Rogers)

3 - These Foolish Things (Remind Me Of You)

(Jack Strachey, Harry Link)

4 - I'll Remember April

(Don Raye, Gene DePaul, Pat Johnston)

5 - Lover Man

(Jimmy Davis, Roger Ramirez, Jimmy Sherman)

6 - Lighthouse Days

(Frank Patchen)

#1 to #5:

Zoot Sims (tenor sax), Marvin "Tootie" Hale (trumpet), John Dorman (bass trumpet),

Timothy "Timmy" Inocencio (piano), Jim Wolf (bass), Gary Hale (drums).

Recorded during a rehearsal at Zoot Sims' home, Inglewood, California, 1954

#6:

Zoot Sims, Bob Cooper (tenor saxes); Bud Shank (alto sax); 

Stu Williamson (trumpet); Frank Rosolino (trombone);

Claude Williamson (piano); Howard Rumsey (bass);  Stan Levey (drums).

Recorded live at The Lighthouse, Hermosa Beach, California, March 9, 1954

Lighthouse All-Stars Collection XXII ★ with Zoot Sims (I)

Zoot Sims

With

The Lighthouse All-Stars • 1954

As we near the end of our "Lighthouse All-Stars Collection" jazz series, which brings together official albums and exclusive private recordings of the emblematic ensembles led by Howard Rumsey, it is now the turn of Zoot Sims, the absolute protagonist of this album.

Although musical historiography frequently links him to the West Coast jazz movement, Sims developed the bulk of his activity in New York during the 1950s. In those years, the jazz environment humorously ironized that he only traveled to the West Coast when he ran out of money in New York. Regardless of these anecdotes, his figure consolidated an exceptional respect and affection among the public and jazz fans in Japan. This discographic record constitutes a magnificent testimony of one of his most successful historic collaborations alongside the Lighthouse All-Stars.

Released on February 25, 2009, this album represents the world premiere CD release of a precious and previously unreleased documentary document. The Lighthouse All-Stars comprised the musicians who had established themselves as regulars at the long-running California jazz club, centered around bassist Howard Rumsey. The recording captures a brilliant improvisation session (jam session) in which Zoot Sims intervenes as a special guest, integrating with the regular lineup. It is an indispensable sound document that preserves with absolute fidelity the vibrant energy, spontaneity, and swing characteristic of a golden era for jazz, standing out as a rare West Coast performance where the special guest takes the first solo on every single track. The album's track list is integrated by three tracks: Frank Patchen's original composition "Goofy Eyes", an impeccable reading of the standard "All The Things You Are", and Milt Jackson's iconic "Bags Groove".

1 - Goofy Eyes

(Frank Patchen)

2 - All The Things You Are

(Oscar Hammerstein II, Jerome Kern) 

3 - Bags Groove

(Milt Jackson)

Zoot Sims, Bob Cooper (tenor saxes); Bud Shank (alto sax);

Stu Williamson (trumpet [#2]); Frank Rosolino (trombone);

Claude Williamson (piano); Howard Rumsey (bass); Stan Levey (drums).

Recorded live at The Lighthouse, Hermosa Beach, California, March 10, 1954

Lighthouse All-Stars Collection XVII ★ September 13, 1953

Based on Witch Doctor and At Last!, presented in previous posts, it is possible to begin reconstructing the historical significance of what took place on September 13, 1953 at the Lighthouse Café: a Sunday that would later be recognized as one of the most extensively documented in the club’s history, even if those initial releases only captured fragments of the day’s activity.

What follows here comes closer than any previous release to that full picture: a near-complete document of the Lighthouse's activity from opening to closing time.

First, it marked the only known attempt to record an entire day at the Lighthouse. Significantly, the day had not even been planned as a recording session: according to producer Ed Michel, the documentation came about largely by chance. The tapes made by Cecil Charles Spiller —labeled "Crazy Sunday"— together with the parallel recordings by Donald Dean, preserve nearly seven hours of non-overlapping material, covering the full span from 2:00 pm to 2:00 am. Spiller, a jazz enthusiast and photographer who frequently brought his monaural tape machine to the club, was responsible for the primary location recordings. Rather than a conventional session, it captured the continuous flow of a typical Sunday: shifting lineups, guest appearances, and evolving repertoire.

This particular Sunday also marked the debut of a new Lighthouse All-Stars lineup, led by Howard Rumsey, following the departure of key figures such as Shorty Rogers, Jimmy Giuffre, Frank Patchen, and Shelly Manne. The new group featured Rolf Ericson, Bud Shank, Bob Cooper, Claude Williamson, and Max Roach, and was still working through largely unrehearsed material.

A decisive factor was the presence of guests, including Miles Davis and Chet Baker. Their meeting —later framed through the lens of a supposed rivalry— has become one of the most frequently cited aspects of the day. Yet, according to Howard Rumsey, the atmosphere was far more relaxed than legend would suggest.

The alleged tension had a concrete background. In 1953, Davis had not yet reached the stature he would soon attain, while Baker was enjoying heightened visibility following his work with Gerry Mulligan and his emergence as a "new star" in Down Beat polls. Reports circulated —never fully verifiable— suggesting that Davis viewed Baker as an imitator of his style and resented the attention he was receiving. Over time, this narrative solidified into a widely accepted account of friction between the two. Still, the available evidence remains fragmentary, and it is impossible to determine with certainty what actually transpired between them that day.

What can be established is that they did share the bandstand, albeit briefly and only partially documented: the surviving fragment of "Get Happy" captures Baker beginning a solo immediately after Davis. Baker then departs, and the set continues. This detail challenges the long-standing claim that the two never played together that day.

LA Jazz Institute Presents

The Complete Crazy Sunday At The Lighthouse

September 13, 1953

The new All-Stars made their Sunday debut on September 13, 1953, and a packed house showed up to hear the new group.

By this time the Sunday Jazz Concert hours had expanded with a start time of 2:00pm and an end time of 2:00am, with an hour break for dinner at 6:00.

The special guests hired by Rumsey for this occasion were Miles Davis, Chet Baker, Herb Geller and Lorraine Geller. Jimmy Giuffre, Russ Freeman and Shelly Manne all came back to appear in somewhat of a ceremonial transition from the old group to the new. Howard remembered Mingus being there and playing some intermission piano.

Contemporary Records decided to try another live recording, and sent Cecil Charles (Spiller) back once again to capture the days proceedings. On the original tape boxes he wrote the phrase "Crazy Sunday" which is how he perceived the events of the day.

In reality it wasn't all that crazy. It was just a typical Sunday in a long line of Sunday concerts at the Lighthouse.

Howard Rumsey recalled "To me it was a nervous day trying to do business and record at the same time. Plus it was a new band and we were playing lots of unrehearsed material which was new to them." (...)

The original recordings were planned for Contemporary Records but were shelved soon after and not released. There are a variety of factors that led to that, which included the fact that Miles was under contract with Prestige, Chet was under contract with Pacific, and Howard thought it was too soon to be recording the new group. They were not familiar with the music yet and needed more time to gel.

Some of these recordings finally saw the light of day in the 1980's when a few of the tracks were released on two LP's. Everything else has remained un-issued. 

Luckily Howard Rumsey had a set of nine reels that were the original Cecil Charles (Spiller) recordings made that day and now reside in the Howard Rumsey Collection at the Los Angeles Jazz Institute. There is roughly about five hours of material on the Charles reels. (...)

All in all it's pretty close to the entire Sunday session, and as close as we will ever get to being able to experience what happened each and every Sunday at the Lighthouse. You will notice that there are several titles played more than once. They are all different. (...)

There are three bonus tracks at the end of disc 4 that feature the new All-Stars with Chet Baker as the added guest. The personnel matches disc 1 and 2 of this collection. These are three orphan tracks that only have the date listed as September 1953. It's a reasonable assumption that these are more tracks recorded on September 13. The group is the same, the ambiance is the same, and they were recorded by Cecil Charles. It's unlikely Chet and Charles both returned the next week, so I would guess they are probably from the same date. Since we don't know for sure we are treating them as bonus tracks.

The first four discs are the Cecil Charles Spiller recordings in the order they exist on each tape reel.

Discs five and six are the Donald Dean tapes in the order they were recorded.

The Complete Crazy Sunday is a very important historical document and we are happy to be able to share it with you. *Ken Poston (from the liner notes)*

Although the presence of major guest artists undoubtedly contributed to the energy of the performances, the sheer quantity and overall quality of the music produced that day remain remarkable. It would be misleading to assume that every Sunday reached this level, yet these recordings clearly reflect the consistency of the band. In fact, the solos documented on September 13, 1953 rank among the most creative and compelling preserved in the All-Stars’ recorded output.

Now, at last, what was recorded on that September 13 —for decades scattered, partially issued, or simply unavailable— can be heard in near-complete form thanks to one of the most ambitious restorations of this material: the 6-CD collection The Complete Crazy Sunday at the Lighthouse – September 13, 1953, released in 2023 by the Los Angeles Jazz Institute.

Carefully assembled from fragmentary sources, it offers an unprecedented opportunity to experience a full Sunday at the Lighthouse as it actually unfolded—continuous, imperfect, and ultimately irreproducible.

*CD 1*

1 - Funnyfied

(Giuffre)

2 - Bean Bag (a.k.a. Beau Boy = a.k.a. Loki)

(Rogers)

3 - Out Of Somewhere

(Giuffre)

4 - Loaded

(Miller)

5 - I'll Remember April

(de Paul, Johnston, Raye)

6 - My Funny Valentine

(Rodgers, Hart)

7 - Maid In Mexico

(Freeman)

8 - At Last

(Gordon, Warren)

9 - Winter Wonderland

(Bernard, Smith)

10 - Pirouette

(Rogers)

#1, #2:

Rolf Ericson, Chet Baker (trumpets); Bud Shank (alto sax);

Bob Cooper (tenor sax); Claude Williamson (piano);

Howard Rumsey (bass); Max Roach (drums).

#3, #4, #5:

Rolf Ericson, Chet Baker (trumpets); Bud Shank (alto sax);

Jimmy Giuffre (tenor sax); Russ Freeman (piano);

Howard Rumsey (bass); Max Roach (drums).

#6:

Jimmy Giuffre (tenor sax), Russ Freeman (piano),

Howard Rumsey (bass), Max Roach (drums).

#7:

Rolf Ericson, Chet Baker (trumpets); Bud Shank (alto sax);

Jimmy Giuffre (tenor sax); Russ Freeman (piano);

Howard Rumsey (bass); Max Roach (drums).

#8, #9:

Chet Baker (trumpet), Russ Freeman (piano),

Howard Rumsey (bass), Max Roach (drums).

#10:

Rolf Ericson, Chet Baker (trumpets); Bud Shank (alto sax);

Bob Cooper (tenor sax); Claude Williamson (piano);

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

✤✤✤✤

*CD 2*

1 - Jazz Invention

(Cooper)

2 - Which Doctor

(Cooper)

3 - Get Happy (incomplete)

(Arlen, Koehler)

4 - Infinity Promenade

(Rogers)

5 - Night In Tunisia

(Gillespie)

6 - 'Round Midnight

(Monk)

7 - Drum Conversation

(Roach)

8 - Down For Double

(Green)

9 - Maid In Mexico

(Freeman)

#1, #2:

Rolf Ericson, Chet Baker (trumpets); Bud Shank (alto sax);

Bob Cooper (tenor sax); Claude Williamson (piano);

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

#3:

Rolf Ericson, Miles Davis, Chet Baker (trumpets); Bud Shank (alto sax);

Bob Cooper (tenor sax); Lorraine Geller (piano);

Howard Rumsey (bass); Max Roach (drums).

#4, #5:

Rolf Ericson, Miles Davis (trumpets); Bud Shank (alto sax);

Bob Cooper (tenor sax); Lorraine Geller (piano);

Howard Rumsey (bass); Max Roach (drums).

#6:

Miles Davis (trumpet), Lorraine Geller (piano),

Howard Rumsey (bass), Max Roach (drums).

#7:

Max Roach (drums).

#8, #9:

Rolf Ericson (trumpet), Herb Geller (alto sax), Bud Shank (alto sax),

Bob Cooper (tenor sax), Claude Williamson (piano),

Howard Rumsey (bass), Max Roach (drums).

✤✤✤✤

*CD 3*

1 - Love Letters

(Young, Herman)

2 - Dickie's Dream

(Basie, Young)

3 - Adios

(Madriguera, Woods)

4 - Fascinatin' Rhythm

(Gershwin, Gershwin)

5 - Love Letters

(Young, Herman)

6 - Limehouse Blues

(Braham, Furber)

7 - Solitaire

(Russo)

8 - Just A Few

(Rogers)

9 - Lover Man

(Ramirez, Davis, Sherman)

10 - It's Only A Paper Moon

(Arlen, Harburg, Rose)

11 - Canonade

(Cooper)

12 - Lullaby Of The Leaves

(Petkere, Young)

13 - Strike Up The Band

(Gershwin, Gershwin)

14 - Witch Doctor

(Cooper)

#1, #2:

Rolf Ericson (trumpet), Herb Geller (alto sax), Bud Shank (alto sax),

Bob Cooper (tenor sax), Claude Williamson (piano),

Howard Rumsey (bass); Max Roach (drums).

#3, #4, #5, #6:

Rolf Ericson (trumpet), Bud Shank (alto sax),

Bob Cooper (tenor sax), Milt Bernhart (trombone),

Claude Williamson (piano), Howard Rumsey (bass), Max Roach (drums).

#7:

Milt Bernhart (trombone),Claude Williamson (piano),

Howard Rumsey (bass), Max Roach (drums).

#8:

Rolf Ericson (trumpet), Bud Shank (alto sax),

Bob Cooper (tenor sax), Milt Bernhart (trombone),

Claude Williamson (piano), Howard Rumsey (bass), Max Roach (drums).

#9, #10:

Bud Shank (alto sax), Claude Williamson (piano),

Howard Rumsey (bass), Max Roach (drums).

#11:

Rolf Ericson (trumpet), Bud Shank (alto sax),

Bob Cooper (tenor sax), Milt Bernhart (trombone),

Claude Williamson (piano), Howard Rumsey (bass), Max Roach (drums).

#12, #13:

Bob Cooper (tenor sax), Claude Williamson (piano),

Howard Rumsey (bass), Max Roach (drums).

#14:

Rolf Ericson (trumpet), Bud Shank (alto sax),

Bob Cooper (tenor sax), Milt Bernhart (trombone),

Claude Williamson (piano), Howard Rumsey (bass), Max Roach (drums).

✤✤✤✤

*CD 4*

1 - The Nearness Of You

(Carmichael, Washington)

2 - Tickle Toe

(Young)

3 - Funnyfied

(Giuffre)

4 - Cool Fool

(Cooper)

5 - Dickie's Dream

(Basie, Young)

6 - Out Of Nowhere

(Green, Heytman)

7 - Glidin' Along

(Giuffre)

8 - Beau Boy (a.k.a. Bean Bag = a.k.a. Loki)

(Rogers)

9 - Four Others

(Giuffre)

#1, #2:

Rolf Ericson (trumpet), Claude Williamson (piano),

Howard Rumsey (bass), Max Roach (drums).

#3, #4, #5:

Rolf Ericson (trumpet), Bud Shank (alto sax, baritone sax),

Bob Cooper (tenor sax), Milt Bernhart (trombone),

Claude Williamson (piano), Howard Rumsey (bass), Max Roach (drums).

#6:

Bob Cooper (tenor sax), Claude Williamson (piano),

Howard Rumsey (bass), Max Roach (drums).

#7, #8, #9:

Rolf Ericson (trumpet), Chet Baker (trumpet), Bud Shank (alto sax),

Bob Cooper (tenor sax), Claude Williamson (piano),

Howard Rumsey (bass), Max Roach (drums).

✤✤✤✤

*CD 5*

1 - Down For Double

(Green)

2 - Funnyfied

(Giuffre)

3 - Lullaby Of The Leaves

(Petkere, Young)

4 -Coming Through The Rye Bread

(Rogers)

5 - I May Be Wrong

(Sullivan, Ruskin)

6 - April In Paris

(Duke, Hayburg)

7 - After You've Gone

(Layton, Creamer)

8 - I'll Remember April

(de Paul, Johnston, Raye)

9 - Morgan Davis

(Rogers)

#1, #2:

Rolf Ericson (trumpet), Herb Geller (alto sax),

Bob Cooper (tenor sax), Claude Williamson (piano),

Howard Rumsey (bass), Max Roach (drums).

#3:

Bob Cooper (tenor sax), Claude Williamson (piano),

Howard Rumsey (bass), Max Roach (drums).

#4, #5:

Rolf Ericson (trumpet), Herb Geller (alto sax),

Bob Cooper (tenor sax), Claude Williamson (piano),

Howard Rumsey (bass), Max Roach (drums).

#6, #7:

Herb Geller (alto sax), Claude Williamson (piano),

Howard Rumsey (bass), Max Roach (drums).

#8, #9:

Rolf Ericson (trumpet), Herb Geller (alto sax),

Bob Cooper (tenor sax), Claude Williamson (piano),

Howard Rumsey (bass), Max Roach (drums).

✤✤✤✤

*CD 6*

1 - Strike Up The Band

(Gershwin, Gershwin)

2 - Woody 'N You

(Gillespie)

3 - The Nearness Of You

(Carmichael, Washington)

4 - Drum Conversation

(Roach)

5 - Cool Fool

(Cooper)

6 - Afrodesia

(Rogers)

7 - Dickie's Dream

(Basie, Young)

8 - These Foolish Things

(Strachey, Maschwitz)

9 - Taking A Chance On Love

(Duke, La Touche, Fetter)

#1:

Bob Cooper (tenor sax), Claude Williamson (piano),

Howard Rumsey (bass), Max Roach (drums).

#2:

Rolf Ericson (trumpet), Herb Geller (alto sax),

Bob Cooper (tenor sax), Claude Williamson (piano),

Howard Rumsey (bass), Max Roach (drums).

#3:

Rolf Ericson (trumpet), Claude Williamson (piano),

Howard Rumsey (bass), Max Roach (drums).

#4:

Max Roach (drums).

#5 to #9:

Rolf Ericson (trumpet), Herb Geller (alto sax),

Bud Shank (alto sax, baritone sax), Bob Cooper (tenor sax),

Lorraine Geller (piano), Howard Rumsey (bass), Max Roach (drums).

✤✤✤✤