Bob Tulley and Hall Daniels

Bob Tulley

Quintet featuring Nash Maez

Recorded in Hollywood in 1954, this album captures the fresh, hard-driving sound of the Bob Tulley Quintet, featuring tenor saxophonist Nash Maez. Praised for its originality and strong musical personality, the group delivers eight tracks marked by energy, confidence, and a modern approach to jazz. Distinctive arrangements by Willie Maiden transform a classic quintet lineup — trumpet, tenor sax, piano, bass, and drums — into something strikingly new. Performed by a young yet seasoned group active on the Los Angeles jazz scene, this release stands as a vivid example of inventive mid-century jazz and a promising moment in the musicians' careers.

The Bob Tully Quintet comprised Bob Tulley on trumpet, Nash Maez on tenor sax, Hunky Page on piano, Paul Binning on bass, and Hank Milo on drums is a bit of a mystery group. Almost certainly recorded some time in 1954, it does not appear on the American Federation of Musicians (AFofM) logs for Skylark Records. The liner notes for the two EPs, Skylark EPs 106 and 107 credit most of the group's noteworthiness to the "arrangements" created by tenor sax man and arranger Willie Maiden, a name better known to most than any of the other members of the group.

In fact, the liner notes indicate that this group was working with Maynard Ferguson around Hollywood and Los Angeles at the time the recording date takes place. While this is possible, Maynard Ferguson was in Los Angeles during most of 1954, there are no recordings which feature any of these players with Maynard Ferguson at any time (with the exception of Willie Maiden, who does not actually play on this recording).

We know very little about Bob Tulley, himself. He is not credited on any other recordings. Bob Scherman, in his liner notes, uses many superlatives, so he was certainly impressed. The other members of the group are a tad less obscure. Nash Maez, after Willie Maiden, the best known musician on the date, had played and recorded with Perez Prado, both before and after this date, where he most likely came to know Willie Maiden. He also played with Rene Bloch's Orchestra after this date. He went on to play with various Latin groups and was on Danny Beher's 1992 California Salsa album released on his Sea Breeze label.

Paul Binning and Hank Milo are more obscure. They both appear on an Earl Hines date for Nocturne Records from July/August, 1954 which helps date this recording since it is referred to in the liner notes. Willie Maiden was the arranger for Hines' Los Angeles recording session. Binning and Milo also accompany Earl Hines on the trio portion of the Nocturne Records session that takes place in New York on August 21, 1954. However, apart from that session or group of sessions, nothing exists other than the instant recording as evidence of their musical history.

Hunky Page is a bit more famous, though he may not have recorded even as extensively as Paul Binning and Hank Milo. Hunky Page is best known for being the house pianist at the American Hotel for over 20 years in Sag Harbor, NY, and for teaching actor Chevy Chase how to play jazz piano. He seems to have had an outstanding reputation as a jazz pianist.

The original liner notes suggest that the leader in fact is Willie Maiden. He seems to have arranged all of the tunes and composed the originals. Most of the original liner notes are about him and he is described as a member of the group. His career included writing and playing for Perez Prado, an extensive career with Maynard Ferguson, a stint during the mid-60's with Charlie Barnet, and several years with Stan Kenton during the 1970's. He never recorded as leader.

The selections are all straight ahead, relatively short pieces, that do showcase the arrangements. The set includes four original compositions and four standards. All perform well, with some exuberance on the part of Bob Tulley leading to unintended turnarounds and minor clams. Nevertheless, this is a pretty nice set with some choice 1954 West Coast jazz similar in style and feel to other hi-fi recordings released by Skylark, Nocturne, Pacific Jazz and other small Hollywood labels. *magnebit.xeran.com*

Hall Daniels

Septet featuring Zoot Sims

Trumpeter Hall Daniels leads a finely balanced septet of top West Coast musicians on this 1955 session, recorded in Hollywood. Free of rigid "East Coast Vs. West Coast" labels, the music stands out for its clarity, swing, and solid musical substance. Daniels, an accomplished studio arranger known for his work with Les Baxter, contributes two original compositions alongside fresh arrangements of familiar standards. The ensemble features outstanding soloists including Dick Nash on trombone, Zoot Sims on tenor sax, and Bob Gordon on baritone, supported by a tight and experienced rhythm section. This recording captures a moment when Los Angeles studio musicians combined technical excellence with modern jazz expression, marking an early and confident step by JUMP Records into the modern jazz field.

You may have noticed that recently there has been much discussion and several articles have appeared concerning "East Coast" vs "West Coast" ideas in modern music. Since these sides were recorded in Hollywood, they must, of course, be in the West Coast idiom. We lean toward the theory that no matter where a recording is made, or which "school" it belongs to, that is bound to be interesting if it is good. We think that these efforts are very good.

It is fortunate that so much of the best recording equipment and so many of the best young modern musicians are concentrated in this area. That does create a problem — just which man to use on which instrument! This is the type of problem we should have more of. It's like looking at a tray of diamonds and picking seven to match.

The key diamond in this case is Hall Daniels, a top studio arranger and musician. Besides writing scores for motion pictures he is also noted for his work with Les Baxter. Hall composed two originals for this session, and then dressed up two familiar standards to showcase the wonderful artistry of the rest of the musicians in the group.

Hall is heard on trumpet on these sides, while on trombone is Dick Nash, brother of the famous Ted Nash and one of the most flawless artists we have ever heard. Zoot Sims is on tenor sax, and well known as a leader and as a side man with Woody Herman and Stan Kenton. The baritone sax is handled by Bob Gordon whom you have heard with Kenton, Pete Rugolo, Chet Baker and others. The piano man is Paul Atkerson, a Los Angeles Conservatory product better known for his solo work in the top night spots about Southern California. The rest of the rhythm section are ex-Les Brown men. In this small group you can really hear them and what they can do. Jack Sperling is on drums, Rolly Bundock on bass and Tony Rizzi on guitar.

This is a JUMP Record first venture into the Modern field, and it was a real pleasure for me to be entrusted with setting up the date. If you like this, there will be more, because there are lots of diamonds still on the tray out there. *Cliff Foottit (from the liner notes)

Bob Tulley and Hall Daniels

Rare And Obscure Jazz Albums

1 - Aladdin's Dilemma

(Bob Tulley)

2 - Jeepers Creepers

(Warren, Mercer)

3 - Imagination

(Van Heusen, Burke)

4 - Jazz Mambo

(Bob Tulley)

5 - Jaywalker

(Tulley, Maiden)

6 - Mood Indigo

(Ellington, Bigard, Mills)

7 - Skylark

(Carmichael, Mercer)

8 - Midnight Romp

(Tulley, Maiden)

9 - The Way You Look Tonight

(Jerome Kern)

10 - Nash-Ville

(Hall Daniels)

11 - You Don't Know What Love Is

(Raye, DePaul)

12 - Compatibility

(Hall Daniels)

13 - The Way You Look Tonight (alternate take)

(Jerome Kern)

14 - Nash-Ville (alternate take)

(Hall Daniels)

15 - You Don't Know What Love Is (alternate take)

(Raye, DePaul)

16 - Compatibility (alternate take)

(Hall Daniels)

#1 to #8:

from the 10-inch Bob Tulley Quintet (Skylark SKLP 16)

Bob Tulley Quintet Featuring. Nash Maez on Tenor Sax

Bob Tulley (trumpet), Nash Maez (tenor sax),

Hunky Page (piano), Paul Binnings (bass), Hank Millo (drums).

Recorded at Radio Recorders, Hollywood, California, August 1954

#9 to #16:

from the 10-inch Hall Daniels' Septet (Jump JL-9)

Hall Daniels’ Septet Feat. Zoot Sims on Tenor Sax

Hall Daniels (trumpet), Dick Nash (trombone),

Zoot Sims (tenor sax), Bob Gordon (baritone sax),

Paul Atkerson (piano), Tony Rizzi (guitar),

Rolly Bundock (bass), Jack Sperling (drums).

Recorded at Radio Recorders, Hollywood, California, February 14, 1955

Five-Star Collection... Art Pepper

Art Pepper

Art Pepper + Eleven

A Treasury Of Modern Jazz Classics

In a period when the qualifications for having one's own jazz album remains nebulous, it's been all the more astonishing that Art Pepper has been in charge of so few. Pepper has grown remarkably in imagination and emotional depth in the past few years as was hotly clear in Art Pepper Meets The Rhythm Section (Contemporary 3532, Stereo 7018). In this new, uniquely integrated set, Pepper receives a differently challenging framework from Marty Paich than he — or most other soloists — has yet received on records. And Art responds with consistent brilliance.

What Paich has done has been to provide more than just accompaniment for Art. He has integrated the resilient band backgrounds with Art's playing in a way that stimulates Pepper but doesn't obstruct the improvisatory flow of his ideas. Paich was able to accomplish this fusion because he knows Pepper's style well through several years of association, including dates on which Marty was pianist for Art. (...)

The programmatic concept of the album is also challenging to both Pepper and Paich. These are twelve established modern jazz standards — music directly out of the jazz experience, written by jazzmen. They're part of that growing body of thoroughly indigenous jazz material to which player-writers like Jelly Roll Morton, Kid Ory, Duke Ellington, and in more recent years, Horace Silver, Thelonious Monk, John Lewis and others have contributed.

Pepper and Paich collaborated on selecting these twelve songs. "We treated them with a great deal of respect", Paich emphasizes. "The tune itself is there all the time. Unlike, for example, doing jazz versions of Broadway shows, with these jazz standards you don't have to alter and extend the chords and make other changes for jazz purposes". (...)

In essence, Art Pepper + Eleven demonstrates, first of all, how mature a soloist Art Pepper has become. It also reemphasizes how much of their own material jazzmen have to work with, and helps considerably in making known Marty Paich's qualifications as a particularly knowledgeable and sensitive jazz arranger. *Nat Hentoff (from the liner notes)*

This is a highly satisfactory album for which Marty Paich, who conducts and did the arranging, deserves a full measure of credit.

The tunes read like a jazz hit parade of the '40s and '50s, and Paich has treated them with the reverence and seriousness they deserve while still retaining wit and a freshness of view. Pepper, in the context of this group, turns out one of his best performances on record. As an altoist, he immediately assumes his place again in the front rank with the added virtue of successfully escaping the tyranny of Charlie Parker’s spirit and still keeping that full-blown swing. He is surprisingly sensitive and moving on clarinet (Anthropology of all things!), and if he ever gets seriously down to work on that instrument as his major, there's room to believe he might be the one to bring it up to the point of development of the other solo horns.

On tenor he is a solidly swinging, tough-minded soloist, but it is on alto, still, that he shines. The whole album is in excellent taste, the solos by Freeman here and there are a gas, too, and Lewis provides a fine, swinging foundation. 

*Ralph J. Gleason (Down Beat, February 18, 1960 [5 stars])*

1 - Move

(Denzil Best)

2 - Groovin' High

(Dizzy Gillespie)

3 - Opus de Funk

(Horace Silver)

4 - 'Round Midnight

(Monk, Williams)

5 - Four Brothers

(Jimmy Giuffre)

6 - Shaw Nuff

(Gillespie, Parker)

7 - Bernie's Tune

(Leiber, Stoller, Miller)

8 - Walkin' Shoes

(Gerry Mulligan)

9 - Anthropology

(Gillespie, Parker)

10 - Airegin

(Sonny Rollins)

11 - Walkin' (original take)

(Richard Carpenter)

12 - Walkin' (alternate take 1)

(Richard Carpenter)

13 - Walkin' (alternate take 2)

 (Richard Carpenter)

14 - Donna Lee (original take)

(Charlie Parker)

15 - Donna Lee (alternate take)

(Charlie Parker)

Art Pepper (alto sax, tenor sax [#1, #5, #11], clarinet [#9, #12, #13]) with:

Pete Candoli [#3, #4, #8, #10], Jack Sheldon, Al Porcino [#1, #2, #5 to #7, #9, #11 to #15] (trumpets);

Herb Geller [#3, #4, #8, #10], Bud Shank [#2, #6, #9, #14, #15], Charlie Kennedy [#1, #5, #7, #11 to #13] (alto saxes);

Dick Nash (trombone); Bob Enevoldsen (tenor sax, valve trombone); Vincent DeRosa (French horn);

Bill Perkins [#2, #3, #4, #6, #8 to #10, #14, #15], Richie Kamuca [#1, #5, #7, #11 to #13] (tenor saxes);

Med Flory (baritone sax); Russ Freeman (piano); Joe Mondragon (bass); Mel Lewis (drums).

Recorded at Contemporary's Studio, Los Angeles, California, March 14 (#3, #4, #8, #10),

March 28 (#2, #6, #9, #14, #15) and May 12 (#1, #5, #7, #11, #12, #13), 1959.

Five-Star Collection... Power-Packed Trombones

The Trombones Inc.

Jazz has been the scene of a battle of sorts for some time now. Though semantics have generally been the weapons, musicians in the east have traveled their own route and have cast a disparaging eye on the goings on of their colleagues on the Pacific. The latter similarly have come to be identified with a movement sometimes known as "the west coast school of jazz", which they in turn consider superior to the work of musicians in the east. All to the travail of you the listener. This melange has somewhat been abated by various west coast and east coast albums, but no recorded panacea existed to settle the argument once and for all.

The idea of doing an album in which both schools of jazz were heard goes back to a part-time valve trombonist named Jim Conkling who, it might be added, had the idea once before. This reformed cornet player has been in the habit lately of doubling as president of large record companies, first Columbia Records and now Warner Bros., and having instigated the first homage to the seventh position — "Jai & Kai Plus Six" on Columbia — he thought it might be fun to have twenty trombonists do battle, coast-to-coast. The fact that only ten trombonists from each coast would blow at one time helped the mind cope with this proposition, and accordingly, plans were drafted to make this mad, mad project come true. Come true it did, but gloriously. *George Avakian (liner notes)*

If our arithmetic is correct, 27 trombonists participated in the making of this disc— divided into two groups, one on the west coast, the other on the east, and subdivided further by substitutions. The product is (a) a veritable Who’s Who of modern jazz trombone players, (b) a remarkable exercise in virtuosity for arrangers Johnson, Paich and Barker, (c) a revelation of the richness of trombone, and (d), some sort of apex in the career of the trombone itself.

There are 15th century paintings that show the instrument largely as it is today. But is wasn't until the early 19th century that composers, including Berlioz, began to explore its possibilities. And it remained for the jazz musicians of 20th century America to find out what trombones could really do. If you doubt that, listen to any average symphony trombonist struggling through the solo in Ravel's Bolero, even today.

This record is a great tribute to the skill and authority jazz musicians developed on the instrument. It is perhaps impossible to sort out the individual performances on this disc to cite them for merit, but solos and ensemble work are due for high praise. It is safe to say that no instrument but trombone has the variety of colors to permit a recording like this. So enormous are the possibilities of trombone, and so well have Paich, Barker and Johnson exploited them, that you rarely miss the other sections, rarely realize that you're hearing trombones, only trombones, and nothing but trombones (except for that tuba Paich snuck in for three tracks).

The Harvard Dictionary of Music says that "since the movement from position to position requires a certain amount of time, a true legato is not possible on the trombone". Its editor had better hear this disc before the next edition is prepared. *Down Beat, July 9, 1959 [5 stars]*

1 - Neckbones

(J. J. Johnson)

2 - Dues Blues

(J. J. Johnson)

3 - Long Before I Knew You

(Jule Styne, Sammy Cahn)

4 - Soft Winds

(Benny Goodman)

5 - Tee Jay

(J. J. Johnson)

6 - Lassus Trombone

(Henry Fillmore)

7 - It's All Right With Me

(Cole Porter)

8 - Polka Dots And Moonbeams

(Johnny Burke, Jimmy Van Heusen)

9 - Old Devil Moon

(Burton Lane, E.Y. Harburg)

10 - Impossible

(Steve Allen)

11 - Heat Wave

(Irving Berlin)

#1:

Frank Rehak, Jimmy Cleveland, Eddie Bert, Benny Powell,

Bob Brookmeyer, Melba Liston, Henry Coker, Benny Green (trombones);

Dick Hickson, Bart Varsalona (bass trombones);

Hank Jones (piano); Wendell Marshall (bass); Osie Johnson (drums).

Recorded in New York City, December 26, 1958

#2, #4:

Frank Rehak, Jimmy Cleveland, Eddie Bert, Benny Powell,

Bob Brookmeyer, Melba Liston, Bob Alexander, Benny Green (trombones);

Dick Hickson, Bart Varsalona (bass trombones);

Hank Jones (piano); Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, December 29, 1958

#3, #5:

Eddie Bert, Jimmy Cleveland, Henry Coker,

Melba Liston, Benny Powell, Frank Rehak (trombones);

Bob Brookmeyer (valve trombone); Dick Hixson, Bart Varsalona (bass trombones);

Hank Jones (piano); Milt Hinton (bass); Osie Johnson (drums).

Recorded in New York City, December 31, 1958

#6, #9, #10:

Joe Howard, Herbie Harper, Frank Rosolino, Dick Nash, Ed Kusby,

Tommy Pederson, Murray McEachern, Marshall Cram (trombones);

George Roberts, Kenny Shroyer (bass trombones); Marty Paich (piano); 

Barney Kessel (guitar); Red Mitchell (bass); Mel Lewis (drums); Mike Pacheco (bongos).

Recorded in Los Angeles, California, December 5, 1958

#7, #8, #11:

Bob Enevoldsen, Milt Bernhardt, Bob Fitzpatrick, Joe Howard,

Lewis McCreary, Frank Rosolino, Dave Wells (trombones);

George Roberts (bass trombone), Stu Williamson (valve trombone);

John Kitzmiller (tuba); Marty Paich (piano); Red Mitchell (bass); Mel Lewis (drums).

Recorded in Los Angeles, California, December 3, 1958

Arranged by J. J. Johnson (#1 to #5), Warren Barker (#6, #9, #10) and Marty Paich (#7, #8, #11)

Liberty Records • Jazz in Hollywood Series (XI)

Ted And Dick Nash

The Brothers Nash

✤Liberty (LJH 6011)✤

Ted Nash, birth name Theodore Malcolm Nash (October 31, 1922 – May 12, 2011) was a jazz musician who played saxophone, flute, and clarinet. He was a session musician in Hollywood studios. His brother is trombonist Dick Nash and his nephew is saxophonist Ted Nash, who is a member of the Jazz at Lincoln Center Orchestra led by Wynton Marsalis.

Nash was born in the Boston suburb of Somerville, Massachusetts. His goal was to become a classical flutist until he began playing saxophone in his early teens. His professional career began when he went on the road with a succession of dance bands. In 1944, he became tenor saxophonist for the Les Brown big band.With Brown he played on the number one hits "Sentimental Journey" and "My Dreams Are Getting Better All the Time", both sung by Doris Day.

In the late 1940s, after getting married, Nash settled in the Los Angeles and became active as a session musician in the Hollywood movie and television studios. In 1956, he recorded with Paul Weston's orchestra the album Day by Day, with vocals by his former colleague and close friend, Doris Day.

He was the featured soloist on The Music from Peter Gunn soundtrack, performing the alto saxophone solo on the theme and on the second bridge of "Dreamsville". He was known for his mastery of the extreme altissimo register of the saxophone. He wrote Ted Nash's Studies in High Harmonics for Tenor and Alto Saxophone published in 1946.

Through the 1950s and 1960s, he worked as a sideman for June Christy, Nat King Cole, Bing Crosby, Billy Eckstine, Ella Fitzgerald, Frank Sinatra, and Nancy Wilson. During the 1970s, he worked with Judy Collins and Quincy Jones. He retired in the 1980s.

Dick Nash, birth name Richard Taylor Nash (born January 26, 1928) is an American jazz trombonist most associated with the swing and big band genres.

He was born in Boston, Massachusetts and began playing brass instruments at ten. He became more interested in this after his parents died, and he was sent to Kurn Hattin Homes for Children in Vermont. At Kurn Hattin Homes, the first instruments he studied were the trumpet and bugle. His first professional work came in 1947 with bands like that of Tex Beneke. He served in the California National Guard from 1950 to 1952 and played for a band.

After his discharge from the military, he went back to Boston, where he attended Berklee College of Music. He then joined Billy May's band. Later he became a first-call studio musician in Los Angeles, California. He was composer, conductor Henry Mancini's favorite trombonist, and was featured soloist on several Mancini soundtracks, beginning with "Mr. Lucky" and "Peter Gunn". Nash's trombone is featured on the "Theme From Hatari!" from the soundtrack for the John Wayne film (1962), Breakfast at Tiffany's (1961), and Days of Wine and Roses. In 1959 he played bass trombone on Art Pepper + Eleven – Modern Jazz Classics.

His brother was the saxophonist Ted Nash and he has three children, Ted, also a saxophonist, Nikki, and Bill. *wikipedia.org*

This, [album] is in the nature of a new beginning for two brothers who have made names for themselves independently and are united at last in California with their music. 

Here, they have pooled their extreme musical talents and come up with an album of rare taste and quality. The music here is a pleasure to listen to. It combines clean, crisp sounds with good jazz. It is sometimes delicate, sometimes forceful. Often quiet — more often, exciting. And always conceived and executed with good taste.

The sound the group gets is amazing. Six men manage to sound like a group twice its size. They make it seem easy. Piano and guitar (Jimmy Rowles and Tony Rizzi) work first as a unit then as independent voices. Bass and drums (Harry Babasin and Roy Harte) are ever-present but never flambuoyant. Dick's trombone is joined by Ted, at one time or another, on alto, tenor, soprano, baritone, flute, alto flute, piccolo, clarinet, and bass clarinet to give a startling aural exhibition — and did I say only six in the total aggregation?

Much of the group's balance and continuity are due to the subtle arrangements of Frank Comstock, Chuck Kopley, Bob Harrington, and Jim Emerson.

The brothers Nash could hardly have picked a more swinging group of tunes for their Liberty Records' debut. *Don Nelson (liner notes)*

Side 1

1 - I Remember You

(Schertzinger, Mercer)

2 - We'll Be Together Again

(Carl Fisher, Frankie Laine)

3 - Juntos

(Frank Constock)

4 - Prelude To A Kiss

(Ellington)

5 - Theme From "The Bad And The Beautiful"

(Raskin)

6 - I Could Write A Book

(Rodgers, Hart)

Side 2

7 - Back In Your Own Backyard

(Jolson, Rose, Dreyer)

8 - For Heaven's Sake

(Meyer, Bretton, Edwards)

9 - Cuban Verandah

(Harrington)

10 - The Nearness Of You

(Washington, Carmichael)

11 - Night Soliloquy

(Kent Kennan)

12 - You Are Too Beautiful

(Rodgers, Hart)

Ted Nash (alto, tenor, soprano and baritone saxes, flute, alto flute, piccolo, clarinet, bass clarinet),

Dick Nash (trombone), Tony Rizzi (guitar), Jimmy Rowles (piano),

Harry Babasin (bass), Roy Harte (drums).

Recorded at Western Recorders, Hollywood, California, December 1, 1955 and April 6, 1956

Pete Rugolo - Rugolo Plays Kenton

In this period of the development of music, when many know how to orchestrate but few are gifted with the ability to also compose, Pete Rugolo stands as one of the rare. 

His thorough training in the technique of creating music has given him the knowledge to build music of rich harmonic content. The years spent in close association with Pete have been some of the most rewarding in my career. As well as contributing to my orchestra to a tremendous extent, in being able to work with him in collaboration, he also became my teacher. 

Today the Rugolo influence on music is heard everywhere. His voicings, phrasings, harmonic progressions, and technique in general are copied by all of us. 

In spite of all he has done, I feel his greatest is yet to come. I'm grateful and flattered that Pete Rugolo felt enough for some of my music to devote this album to it. *Stan Kenton (liner notes)*

Most of these fine 1958 recordings are re-creations of some of the great instrumentals made famous by the Stan Kenton orchestra of the Forties, with all writing done by Stans former chief arranger, Pete Rugolo. Describing Petes musical talents, Kenton declared: His thorough training in the technique of creating music has given him the knowledge to build music of rich harmonic content. The years spent in close association with Pete have been some of the most rewarding in my career. As well as contributing to my orchestra to a tremendous extent, in being able to work with him in collaboration, he also became my teacher. Its no surprise that The Pete Rugolo Orchestra plays compositions introduced by Stan Kenton is a challenging and stimulating album. *Jordi Pujol*

Since Pete Rugolo came to fame for his many arrangements for the Stan Kenton Orchestra and this was one of his last important jazz albums before he became largely a full-time writer for the studios, it seems only proper that the date finds Rugolo paying tribute to his former boss. Rugolo rearranged a dozen numbers originally recorded by Stan Kenton, including four —"Minor Riff", "Theme to the West", "Artistry in Boogie", and "Capitol Punishment"— he had co-written with Kenton. Using a big band that includes such Kenton alumni as trumpeter Buddy Childers, trombonists Milt Bernhart and Frank Rosolino, altoist Bud Shank, tenor saxophonist Bob Cooper, and drummer Shelly Manne, Rugolo does not merely re-create the past but instead comes up with fresh variations to such songs as "Eager Beaver", "Concerto to End All Concertos", "Artistry in Rhythm" and "Southern Scandal". *Scott Yanow* 

Side 1

1 - Eager Beaver

(Stan Kenton)

2 - Painted Rhythm

(Stan Kenton)

3 - Minor Riff

(Stan Kenton, Pete Rugolo)

4 - Concerto For Doghouse

(Stan Kenton)

5 - Sunset Tower

(Stan Kenton)

6 - Concerto To End All Concertos

(Stan Kenton)

Side 2

7 - Artistry In Rhythm

(Stan Kenton)

8 - Southern Scandal

(Stan Kenton)

9 - Opus In Pastels

(Stan Kenton)

10 - Theme To The West

(Stan Kenton, Pete Rugolo)

11 - Artistry In Boogie

(Stan Kenton, Pete Rugolo)

12 - Capitol Punishment

(Stan Kenton, Pete Rugolo)

#1, #7, #12:

Al Porcino, Ollie Mitchell, Buddy Childers, Don Fagerquist (trumpets); Milt Bernhart, Frank Rosolino, Harry Betts (trombones); Kenny Shroyer (bass trombone); Bud Shank, Harry Klee (flute, alto sax); Bob Cooper, Dave Pell (tenor saxes); Chuck Gentry (baritone sax); Claude Williamson (piano); Howard Roberts (guitar); Don Bagley (bass); Red Callender (tuba); Shelly Manne (drums).

Recorded at Capitol Studios, October 25, 1958.

#2 to #6 and #8 to #11:

Al Porcino, Ollie Mitchell, Buddy Childers, Don Fagerquist (trumpets); Milt Bernhart, Frank Rosolino, Dick Nash (trombones); Kenny Shroyer (bass trombone); Bud Shank, Harry Klee (flute, alto sax); Bob Cooper, Dave Pell (tenor saxes); Chuck Gentry (baritone sax); Claude Williamson (piano); Howard Roberts (guitar); Don Bagley (bass); Red Callender (tuba); Shelly Manne (drums).

Recorded at Capitol Studios, October 26, 1958.

Arranged and directed by Pete Rugolo