Five-Star Collection... Gerry Mulligan

Gerry Mulligan

Gerry Mulligan And His Ten-Tette

Gerry Mulligan is one of the inventors of the contemporary jazz form, and his early promise experimenting with small forward-looking groups achieves fruition with this extensive exhibit of his art. Gerry is that rare phenomenon — a truly originative talent. Everything he does is unique and he has the unalterable courage to do as he "hears" fit. With it all, there is no restraining self-consciousness. Quite the contrary, Gerry is irresistibly "full of malarkey!" There’s an impishness about both him and his music that lends great charm.

He's a young composer who somehow combines the restless intensity of a serious and sensitive composer with the levity of a leprechaun. And it's all here in the music.

Gerry's early background in the music field is surprisingly orthodox. He even arranged for Tommy Tucker and Elliot Lawrence, but he quickly espoused the modern sounds and "gigged" around New York with the small coterie of musicians that spearheaded the search for new and interesting things to say in jazz. He helped to organize, write for, and play on one of the milestones of modern jazz, the Miles Davis "Move" record date for Capitol.

But here, perhaps for the first time, he has been given carte blanche — freedom to express himself without limitation. (...)

The moods and feelings captured here range all the way from something resembling a German Salvation Army Band playing on a Heidelberg street corner — with a beat — to the reckless abandon of a Deep South Revivalist meeting. But all the way, it's ingenious, challenging, and warm. This is what jazz is coming to. In fact, it's here! *Gene Norman (from the liner notes)*

Gerry's dectet (two trumpets, bone, French horn, alto, two baritones, tuba, bass, drums) eschews atonality, polytonality, polyphony, and pretension, goes in for strictly jazz sounds that begin where Miles Davis' famous Capitol sessions (also partly organized by Mulligan) left off.

The rich diversity of orchestrated tonal hues is what gives this set its fifth star. The solos, though secondary, are almost completely, and justifiably, monopolized by Mulligan and Chet Baker. Gerry switches to piano on three tunes, including the attractive Ontet. Latter is based on the last chorus of Godchild, which he scored for the Davis date.

Of the other originals Walking Shoes has the warmest flavor, a legit blues quality with a semisatirical end; Westwood has Gerry’s most eloquent baritone solo and Flash the most variety, with some great Bud Shank alto, and delightful ensemble accents in the last chorus. Simbah is a simple riff thing with a strangely Gershwin-esque quality in the first release.

If you're already bored by the Mulligan foursome, this set is the perfect restorative.

*Down Beat (Chicago, October 7, 1953 [5 stars])*

Side 1

1 - Rocker

(Gerry Mulligan)

2 - Walking Shoes

(Gerry Mulligan)

3 - Simbah

(Gerry Mulligan)

4 - Ontet

(Gerry Mulligan)

Side 2

5 - Westwood Walk

(Gerry Mulligan)

6 - A Ballad

(Gerry Mulligan)

7 - Taking A Chance On Love

(Vernon Duke, John La Touche, Ted Fetter)

8 - Flash

(Gerry Mulligan)

Gerry Mulligan (baritone sax, piano [#4, #7, #8]); Chet Baker, Pete Candoli (trumpets);

Bob Enevoldsen (valve trombone); John Graas (french horn);

Ray Siegel (tuba); Bud Shank (alto sax); Don Davidson (baritone sax); 

Joe Mondragon (bass); Chico Hamilton [#1, #2, #5, #6], Larry Bunker [#3, #4, #7, #8] (drums).

Recorded at Capitol Recording Studios, Hollywood, California,

January 29 (#1, #2, #5, #6) and January 31 (#3, #4, #7, #8), 1953

Five-Star Collection... John Graas (II)

In a previous post, we highlighted how producer Tom Mack, in the liner notes of Jazz Studio #3, underscored the pivotal role Jazz Studio #2 played in John Graas's career. This was the album that let listeners hear Graas in a completely new light — as a composer and arranger. His debut as an arranger on this project quickly drew the attention of jazz soloists and record labels, and it set the stage for larger commissions that would define the path of his career.

The story behind the album makes it even more fascinating. In 1954, as Decca expanded its catalog with new 12-inch LPs, Tom Mack turned to the West Coast's finest studio musicians. Graas, already known for his mastery of the French horn, took the lead, assembling an exceptional ensemble: Don Fagerquist, Milt Bernhart, Herb Geller, Jimmy Giuffre, Marty Paich, Howard Roberts, Curtis Counce, and Larry Bunker.

The result was a record that not only showcased impeccable musicianship but also captured the relaxed, sophisticated vibe of 1950s Los Angeles—a snapshot of an era in sound. Jazz Studio #2 became more than an album; it was a gateway for John Graas, opening doors to new opportunities and solidifying a group of musicians who would come to define the West Coast jazz scene.

Although Down Beat awarded it four stars in 1956, the 2004 CD reissue of From Hollywood received a five-star rating from AllMusic, earning it a rightful place in our Five-Star Collection — a recognition that ensures this landmark album continues to reach new listeners today.

John Graas

Jazz Studio #2 • From Hollywood

If there is one word that epitomizes the kind of jazz which has been developing on the West Coast during the past few years, probably that word is "organization". For although the swinging beat, once minimized by purists as a distraction, has happily returned to the scene, with the result that jazz on the Coast now swings with complete freedom, it has done so within the framework of individual patterns which have become organized to considerable degree.

A typical modern jazz group in Hollywood seems to follow nature's principle of tension-and-release, which in music is at least as old as the earliest symphonies, yet, being basic, seems fresh whenever applied to new forms and subjected to new interpretations. Usually the first chorus takes the formidable talents of the performers and constrains them lightly within the bounds of an arrangement which is actually a jumping-off place for what is to follow. During these initial choruses, which are characterized by an interdependence and mutual awareness of the performers, a tension builds to a point where a soloist derives a powerful send-off into his own improvisation. Often contrapuntal, harmonically interesting, these jump ensembles have come to replace almost entirely the unison riff of the early days of jazz. It is not considered bad form for one or more musicians (other than the rhythm section) to chime in with improvised backgrounds to another's solo, thus often giving unusual contrapuntal effects to the soloist's performance.

The word "modern", applied to any kind of music, sometimes makes people expect a preponderance of dissonances, atonality, and harsh sounds. Paradoxically enough, modern West Coast jazz is very melodic, possibly because the arrangers and composers in this medium are more apt to lean upon Bach than Schoenberg. The paradox extends to the basic sound, which is generally a quiet sound, seldom resorting to screaming high notes to achieve the excitement that is jazz. Excitement is generated by a swinging beat, good melodic form, and imaginative writing.

In JAZZ STUDIO 2 we are attempting to offer a representative picture of the kind of jazz which is pretty much indigenous to the West Coast, played by some of the musicians who have contributed notably to this development. It is not intended to set it apart from jazz everywhere, and of course the listener will find a great deal which is not regional. *Tom Mack (liner notes, 1954)*

An absorbing set recorded in Hollywood by Tom Mack. Personel included Herb Geller, Milt Bernhart, John Graas, Don Fagerquist, Marty Paich, Curtis Counce, Howard Roberts, Larry Bunker, and Jimmy Guiffre on tenor and baritone (and I think the tasty clarinet on Lions is his, too). How come, by the way, Jimmy just gets one credit line buried in the notes and no front cover billing?

Anyway, the playing of all involved is just fine. This record, for one thing, should firmly establish Herb Geller as one of the undeniably arrived alto stars. The man has it—ideas, beat, pungent tone, and above all, heart. Herb blows with everything he has; he doesn't try to fit himself into icily studied attitudes. John Graas' French horn comes through freer, more swinging and more inventive than on his Trend sides. Bernhart had a sweepingly relaxed ball on the date judging from his playing. Guiffre and Fagerquist are firstrate and the rhythm section is crisp, light and steady. Howard Roberts' guitar, imagination and tone are highly impressive and it's good to hear full-toned bassist Curtis Counce get some extended solo space.

Almost all of the writing is of better than average consistency and some contains real organic development. Graas wrote Lions and Graas Point and arranged Do It Again. Paich contributed Paicheck and arranged the other two songs. Graas Point has some especially intriguing contrapuntal intersections and there's a swingingly fresh feel to the lines of Lions that isn't as easy to attain as it may sound.

Footnote: Listen to the entrance of Fagerquist and Bernhart in Dream. It must have been a thoroughly sunny California day when this LP was made. This is a distinguished Decca debut for Mr. Mack. Give the man a raise and let him do some more sessions — even if he does think there's such a thing as "west coast jazz". *Nat Hentoff (Down Beat, October 6, 1954 [4 satrs])*

The Jazz Studio series recorded for Decca during the 1950s produced a lot of enjoyable sessions, though many of them were very hard to obtain.

Jazz Studio, Vol. 2, with French horn player John Graas as the leader of this cool-oriented West Coast session, with trumpeter Don Fagerquist, trombonist Milt Bernhart, alto saxophonist Herb Geller, Jimmy Giuffre (who plays clarinet, tenor, and baritone saxes), pianist Marty Paich, guitarist Howard Roberts, bassist Curtis Counce, and drummer Larry Bunker on hand. The mood is considerably more subdued than the bop material recorded by the East Coast musicians heard on Jazz Studio, Vol. 1, but the music has held up very well, with excellent solos and strong charts by Graas and Paich. Highlights include Graas' intricate "Here Come the Lions" and Paich's equally challenging "Paicheck" (note its equally witty title). *Ken Dryden (2004, allmusic.com [5 stars])*

Side 1

1 - Laura

(David Raksin, Johnny Mercer)

2 - Here Come The Lions

(John Graas)

3 - Paicheck

(Marty Paich)

Side 2

4 - Graas Point

(John Graas)

5 - Darn That Dream

(Jimmy Van Heusen, Eddie De Lange)

6 - Do It Again

(George Gershwin)

Don Fagerquist (trumpet), Milt Bernhart (trombone), John Graas (french horn), 

Herb Geller (alto sax), Jimmy Giuffre (clarinet, tenor sax, baritone sax),

Marty Paich (piano), Howard Roberts (guitar), Curtis Counce (bass), Larry Bunker (drums).

Recorded at Decca's Studio 55, Los Angeles, California, June 4, 1954

Five-Star Collection... John Graas (I)

John Graas

Jazz Studio #3

For some time, JOHN GRAAS, winner of the 1954 Metronome Poll, has been building a reputation as one of the most important modern jazz instrumentalists, and he has been doing it with an instrument usually found in the hallowed precincts of the symphony hall: the French Horn. For this he is to be congratulated, because he is welding one more link in the chain which binds all modern music, and helping to destroy the prejudices which have served no good purpose but to divide where there should be no division.

"JAZZ STUDIO 3: JOHN GRAAS" offers the listener the opportunity of witnessing the growth of the artist in other fields: those of composition and arranging. 

Since making his arranging debut in "JAZZ STUDIO 2", John's newly discovered writing talents have been much in demand. Many jazz soloists and recording companies 

have sought his product, but even more important, he has been commissioned, as a direct result of his work in "JAZZ STUDIO 2", to compose a Jazz Symphony. Portions 

of this work will appear here. "JAZZ STUDIO 3" is glad to show-case Graas' writing talent in a stage of its development which will be all the more apparent to those who 

were first impressed by his flair for contrapuntal invention as illustrated by "GRAAS POINT", considered by many the high point of "STUDIO 2". *Tom Mack (liner notes)*

Decca's third Jazz Studio set is devoted to the composition and arrangements of French horn expert John Graas. The selections are played by a septet, quartet, and ninetet. The overall personnel comprises Graas, Gerry Mulligan, Don Fagerquist, Red Mitchell, Larry Bunker, Marty Paich, Howard Roberts, Charlie Mariano, Conte Candoli, Zoot Sims, Jimmy Giuffre, Andre Previn, and Curtis Counce. The material covers a refreshingly wide range beginning with a briskly swinging tribute to Mulligan. My Buddy is resurrected from the land of bathos and turns up in a lyrically imaginative quartet arrangement marked by some excellent interlinear play by Mulligan and Graas. The 6/4 framework comes off jumping and the Charleston shakes off its age under Graas' deftly hip hand to end the first side.

Rogeresque is another bright and effective tribute. From Graas' forthcoming Symphony No. 1 in F Minor, commissioned by the Cincinnati Symphony, nine men play the sonata allegro and the atonal scherzo. I don’t know whether this will sound as free and idiomatic when scored for full symphony orchestra and jazz soloists, but as of the way it comes through here, these two sections indicate that Graas is constructing a largely fresh, vital work — one that, though somewhat eclectic, already carries much more individualized conviction than the overrated Liebermann Concerto for Jazz Band and Symphony Orchestra. The set closes with an incisive modernization of 12th Street Rag.

The playing by everyone on the date is excellent, and Graas gets the full rating because of the scope of his imagination and his ability to write modern jazz frameworks that, for the most part, challenge the soloists rather than constrict them. Not everything comes off wholly here, but so much of worth and individuality is going on that the set deserves a wide audience.

*Nat Hentoff (Down Beat, June 1, 1955 [5 stars])*

Side 1

1 - Mullinganesque

(John Graas)

2 - My Buddy

(Gus Kahn, Walter Donaldson)

3 - 6/4 And Even

(John Graas)

4 - Charleston

(Cecil Mack, Jimmy Johnson)

Side 2

5 - Rogeresque

(John Graas)

Jazz Sections From Symphony No.1 in F Minor

6 - a) Sonata Allegro

7 - b) Scherzo

(John Graas)

8 - 12th Street Rag

(Andy Razaf, Euday L. Bowman)

#1, #3:

John Graas (french horn), Gerry Mulligan (baritone sax), Don Fagerquist (trumpet),

Marty Paich (piano), Howard Roberts (guitar), Red Mitchell (bass), Larry Bunker (drums).

#2:

John Graas (french horn), Gerry Mulligan (baritone sax),

Red Mitchell (bass), Larry Bunker (drums).

#4, #6, #7:

John Graas (french horn), Conte Candoli (trumpet), Charlie Mariano (alto sax),

Zoot Sims (tenor sax), Jimmy Giuffre (baritone sax), André Previn (piano),

Howard Roberts (guitar), Curtis Counce (bass), Larry Bunker (drums). 

#5, #8:

John Graas (french horn), Conte Candoli (trumpet), Charlie Mariano (alto sax),

Marty Paich (piano), Howard Roberts (guitar), Curtis Counce (bass), Larry Bunker (drums). 

Recorded at Decca's Studio 55, Los Angeles, California,

December 16 (#1, #2, #3), 1954; January 6 (#4, #6, #7) and January 8 (#5, #8), 1955

Milt Bernhart Brass Ensemble - Modern Brass

Milt Bernhart grew up as a musician playing in the bands of Boyd Raeburn, Buddy Franklyn, Jimmy James and Teddy Powell. After that peculiar apprenticeship he joined Stan Kenton's band. The years with Kenton boosted Bernhardt to considerable popularity with jazz followers, and his solos won him repeated high placings in Down Beats readers poll. After that, he was a graduate of the Kenton school of higher learning. But, for the most part, musicians are born, not made, and the notes Milt blew, the phrasing and imagination he so vividly demonstrated, could not have been easily picked up in any learned institution. With this particular group, nucleus of the West Coast school of jazz, he contributed more than his share to its new sounds and seemingly fantastic thought processes. This album includes some of the most inspired trombone playing since the invention of that venerable instrument. *Jordi Pujol*

When RCA Victor decided to make an album showcasing the considerable talents of Milt Bernhart, they searched for an entirely new form of presentation employing not only his horn but a unique voicing and instrumentation in which to frame it. Milt came up with the idea of an all-brass setting, exclusive of the conventional rhythm section. After deciding upon the voicing — two trumpets, Milt's trombone, French horn, bass horn and tuba, along with guitar, string bass and drums — the arrangers were chosen. Certainly no single jazz album ever done has had such a roster of composers-arrangers: Shorty Rogers, Pete Rugolo, Andre Previn, Wes Hensel, Pete Candoli and Jimmy Guiffre — the individual approach of each further enhances their collective reputations as the vanguard of the West Coast school. That they solved any seeming problems should be very evident, for in none of the twelve selections could any lack of color or tonality be detected; in fact, the unique voicing and arranging, the inspired solos and warm feeling of the group as a whole are everywhere evident.

Thus this album features not only Milt Bernhart’s happy, brazen trombone along with other equally great soloists playing superb arrangements, but a fresh and unique — nonetheless valid and justifiable — approach to the problem of extending the horizons of jazz.

Listen then to Modern Brass played by Milt Bernhart and his brass ensemble.

*Paul Krupa (liner notes)*

This is an experimental album that clearly expands the frontiers of modern jazz. Giving a brass section, consisting of two trumpets, trombone, French horn, bass horn amd tuba the task of creating a well-balanced sound without the relieving colors of the usual band sections is practically an invitation to disaster. The success here, against heavy odds, is due chiefly to the skill of the fine arrangers employed for this remarkable set: Pete Rugolo, Shorty Rogers, Andre Previn, Jimmy Giuffre, Wes Hensel and Pete Candoli. The trombone of Bernhart is featured thruout, and in the richly varied fare offered here, his solos are consistently warm and imaginative.

*Billboard, October 15, 1955*

Side 1

1 - The Horns

(Jimmy Giuffre)

2 - Hooray For Hollywood

(Mercer, Whiting)

3 - What Is There To Say

(Harburg, Duke)

4 - Looking For A Boy

(G. and I. Gershwin)

5 - Amor Flamengo

(Laurindo Almeida)

6 - Southern Comfort

(Pete Candoli)

Side 2

7 - London In July

(Vernon Duke)

8 - Tangerine

(Mercer, Schertzinger)

9 - Lavender

(Jimmy Giuffre)

10 - Hillside

(Andre Previn)

11 - It's All Right With Me

(Cole Porter)

12 - Save Your Chops

(Pete Candoli)

Milt Bernhart (trombone) with:

#1, #3, #8, #9

Shorty Rogers [as Roger Milton], Ray Linn (tumpets); Maynard Ferguson (euphonium); John Graas (French horn); Ray Siegel (tuba); Jack Marshall (guitar); Red Mitchell [as Keith Mitchell] (bass); Irv Kluger (drums).

Recorded in Hollywood, California, March 4, 1955.

#5, #7, #12

Shorty Rogers, Pete Candoli (trumpets); Maynard Ferguson (euphonium); John Graas (French horn); Ray Siegel (tuba); Jack Marshall (guitar); Red Mitchell (bass); Irv Kluger (drums).

Recorded in Hollywood, California, March 6, 1955.

#2, #4, #6, #10, #11

Ray Linn, Pete Candoli (trumpets); Maynard Ferguson (euphonium); John Graas (French horn); Paul Sarmento (tuba); Jack Marshall (guitar); Red Mitchell (bass); Irving Cottler (drums).

Recorded in Hollywood, California, March 8, 1955.

Leonard Feather And Best From The West

Some of the finest West Coast jazz combo playing of late 1954 appears on Best From the West: Modern Sounds from California (Vols. 1 and 2). These albums were issued by Blue Note as a pair of 10-inch LPs. Frankly, there isn't a drop of filler here, and the playing and compositions, many of which are by Shorty Rogers, swing with a special richness and aggression. As Leonard Feather writes in the original album's liner notes, "this is a wailing set of performances". 

Volume 1 was released in early 1955 and marketed without the musicians' names. The plan was brilliant, actually. Several of the musicians on the date already had contractual commitments. Which presented Feather, the album's producer, with a problem. But rather than trying to thread a needle, Feather simply removed the needle. All of the artists' names were removed, and the record was positioned as a "blindfold test".

The goal was to put listeners through the same audio exam that Metronome magazine had been administering to jazz musicians since 1946 (and a nifty gimmick that continues in jazz publications today). Album-buyers were asked to guess who was playing. At the end of Volume 1's liner notes, Feather writes:

"We're curious to see which of Blue Note's customers, long noted for their astute jazz tastes and discernment, can come up with a complete or at least partially correct answer".

Listeners were urged to send their picks along to Blue Note's offices. Feather offered only six clues in his Volume 1 liner notes:

1. All the music on both LPs was recorded during the winter of 1954-55 in Hollywood, CA.

2. The music was recorded at three different sessions, using a total of 12 instruments, played by sixteen men and a girl (sic).

3. None of the musicians made his record debut on these sessions. In fact, most of them had recorded frequently before, and many are closely associated with the disarmingly amorphous entity known as "West Coast Jazz".

4. The musicians who composed the original material for these sessions did not necessarily take part as instrumentalists.

5. All 17 musicians can be heard if you listen to the three numbers entitled The Blindfold Test (actually three different themes based all based on the 12-bar blues format).

6. All the musicians can be heard on either side of either record.

Best From The West • Volume 1

Modern Sounds From California

1 - Santa Anita

(Shorty Rogers)

2 - Santa Monica

(Buddy Collette)

3 - The Blindfold Test No. 1

(Shorty Rogers)

4 - Culver City

(Shorty Rogers)

5 - The Blindfold Test No. 2

(Shorty Rogers)

6 - Hooray For Hollywood

(Whiting, Mercer)

#1 and #6:

Harry "Sweets" Edison (trumpet), Bob Enevoldsen (valve trombone, tenor sax), Herb Geller (alto sax), Lorraine Geller (piano), Joe Mondragon (bass), Larry Bunker (drums).

#2 and #5:

Conte Candoli (trumpet), Jimmy Giuffre (tenor sax, clarinet, baritone sax), Buddy Collette (alto sax, flute), Gerald Wiggins (piano), Howard Roberts (guitar), Curtis Counce (bass), Stan Levey (drums).

#3 and #4:

Conte Candoli (trumpet), John Graas (French horn), Charlie Mariano (alto sax), Marty Paich (piano), Monty Budwig (bass), Stan Levey (drums).

Recorded at Radio Recorders Studio, Hollywood, Los Angeles, California, December 31, 1954.

***

Volume 1 did not include the names of musicians on the date. But Volume 2, released soon afterward, did, thus revealing the mystery players. I have no idea why it was OK to announce the musicians' names in Volume 2 but not in Volume 1. My guess is that whatever releases Feather and Blue Note were seeking for the first album came through in time for the second album. If so, it's interesting how the Blue Note marketers positioned the inclusion of the names on a "blindfold test" album.

To keep the game interesting, the soloists on Blindfold Tests 1, 2 and 3 were not revealed. But since all of the musicians' names were listed on Volume 2, determining who was playing wasn't too much of a stretch-unless you were unfamiliar with the West Coast scene, which likely was the case for Blue Note's East Coast customer base.

While the two albums featured a wide range of musicians, the Conte Candoli sessions are particularly interesting. Recorded on December 31, 1954, the first group featured Conte Candoli (trumpet), John Graas (French horn), Charlie Mariano (alto sax), Marty Paich (piano), Monty Budwig (bass) and Stan Levey (drums).

The next group with Candoli featured Buddy Collette (flute and alto sax), Jimmy Giuffre (tenor sax, clarinet and baritone sax), Gerald Wiggins (piano), Howard Roberts (guitar), Curtis Counce (bass) and Stan Levey (drums).

The 10-inch albums featured yet another set of musicians recorded on the same day: Harry "Sweets" Edison (trumpet), Bob Enevoldsen (valve trombone and tenor sax), Herb Geller (alto sax), Lorraine Geller (piano), Joe Mondragon (bass) and Larry Bunker (drums).

Among the many delightful surprises on these recordings are the early flute of Buddy Collette, superb clarinet work by Jimmy Giuffre, the piano of Lorraine Geller and beautiful, full jazz guitar work by Howard Roberts.

Compositions were mostly by Shorty Rogers, with one by Pete Rugolo and originals by musicians on the dates as well as a few standards.

As you listen to the recordings without looking at the personnel, what's instantly clear is the influence that Roy Eldridge and Dizzy Gillespie had on Candoli's playing during this period, before Miles Davis and Kenny Dorham made a much deeper impression.

These albums are a must-own for anyone who appreciates West Coast jazz under the influence of East Coast sensibilities and the intensity of Candoli's horn. *Marc Myers*

Best From The West • Volume 2

Modern Sounds From California

1 - Van Nuys Indeed

(John Grass)

2 - Here's Pete

(Pete Rugolo)

3 - The Blindfold Test No. 3

(Feather, Rogers)

4 - Burbank Bounce

(Marty Paich)

5 - Arcadia

(Leonard Feather)

6 - No Love, No Nothing

(Warren, Robin)

#1 and #4:

Conte Candoli (trumpet), John Graas (French horn), Charlie Mariano (alto sax), Marty Paich (piano), Monty Budwig (bass), Stan Levey (drums).

#2 and #6:

Conte Candoli (trumpet), Jimmy Giuffre (tenor sax, clarinet, baritone sax), Buddy Collette (alto sax, flute), Gerald Wiggins (piano), Howard Roberts (guitar), Curtis Counce (bass), Stan Levey (drums).

#3 and #5:

Harry "Sweets" Edison (trumpet), Bob Enevoldsen (valve trombone, tenor sax), Herb Geller (alto sax), Lorraine Geller (piano), Joe Mondragon (bass), Larry Bunker (drums).

Recorded at Radio Recorders Studio, Hollywood, Los Angeles, California, December 31, 1954.