Jazz For The Screen ★ Leith Stevens (III)

Leith Stevens

"Jazz in the Movies" Collection

The Interns

Hell To Eternity

Late in the 1950s and early in the 1960s, jazz ceased to be merely background music in movie theaters and became the dramatic pulse of urban, wartime, and psychologically charged narratives.

For this new chapter of Jazz For The Screen, we once again turn to the music of the distinguished film and television composer Leith Stevens, a child prodigy who was already performing professionally at the age of 11, accompanying vocalists in the Kansas City area, and who made his debut as an orchestra leader at 16.

For this third installment, we delve into a compilation that brings together on a single disc two original soundtracks from the early 1960s: The Interns (1962) and Hell To Eternity (1960).

The great appeal of this album lies not only in the compositions, but also in its extraordinary roster of performers. The sessions brought together some of Hollywood's finest studio musicians and West Coast jazz luminaries, including Pete Candoli, Milt Bernhart, Bob Enevoldsen, Ted Nash, Lou Levy, Barney Kessel, Joe Mondragon, and Shelly Manne, among others. The result is a work that moves between exuberant swing, sophisticated cool jazz, and passages of high dramatic tension, demonstrating how a first-rate roster of jazz musicians could elevate any motion picture production.

The Interns follows the professional and personal lives of a group of young medical interns at a busy urban hospital during their first year of training. Throughout the year, the interns must face complex ethical dilemmas, personal anguish, furtive romances, and the extreme pressures of the medical profession. The soundtrack perfectly reflects this emotional roller coaster, alternating festive moments and urban jazz with tense passages accompanying emergencies in the operating room.

Hell To Eternity tells the remarkable true story of Guy Gabaldon, a young American of Hispanic descent who was adopted, before World War II, by a family of Japanese immigrants in Los Angeles. When war breaks out in the Pacific, Gabaldon enlists in the Marines and is sent to the bloody Battle of Saipan. Drawing on his command of the Japanese language and his understanding of Japanese culture, he accomplishes a legendary feat: persuading more than a thousand Japanese soldiers and civilians to surrender, thereby preventing a massacre. Leith Stevens' score uses jazz and martial orchestration to underscore the tension of combat, the clash of cultures, and the protagonist's psychological drama.

The Interns

Music by Leith Stevens and Stu Phillips

(Originally issued on Colpix SCP-427)

1 - Plasma, Scotch And?

 (Leith Stevens)

2 - Toss Me A Scalpel

(Leith Stevens)

3 - I'm Inhibited

(Leith Stevens)

4 - Lovely Lora

(Leith Stevens)

5 - Doctor, Doctor!

(Stu Phillips)

6 - Sugar Bush Cha Cha

(Leith Stevens)

7 - Wild Party

(Stu Phillips)

8 - Yah, Yah, Yah

(Leith Stevens)

9 - Intern Fever

(Stu Phillips)

10 - Pitcher Of Martinis

(Leith Stevens)

11 - Intern Bash

(Stu Phillips)

12 - Happy New Year

(Leith Stevens)

Leith Stevens and his Orchestra including jazz soloists:

Conrad Gozzo, Pete Candoli (rumpets); Milt Bernhart (trombone);

Bob Enevoldsen (valve trombone);

Ted Nash (alto sax); Ronny Lang (flute, alto sax);

Gene Cipriano (tenor sax); Barney Kessel (guitar). 

Organ, piano, vibes, bass and drums (unidentified).

Recorded in Hollywood, California, 1962

Hell To Eternity

Music by Leith Stevens

(Originally issued on Warwick W 2030)

13 - Iron Petticoat

14 - Bright Boot

15 - Last Leave

16 - Hey, Honey, Go! Go! Go!

17 - Here, Chick Chick Chick

18 - Two Down And One To Go

19 - Three Quarts

20 - On the Double

21 - This Is The Place

22 - Famika

23 - Petes Theme

24 - Little Girl

(All compositions by Leith Stevens)

Orchestra conducted by Leith Stevens, including jazz soloists: 

Conrad Gozzo, Cappy Lewis, Pete Candoli (trumpets); Milt Bernhart (trombone);

Ted Nash (alto sax); Heinie Beau (clarinet, alto sax); Plas Johnson (tenor sax);

Lou Levy (piano); Joe Mondragon (bass); Shelly Manne (drums).

String ensemble (unidentified).

Recorded in Hollywood, California, 1960

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.

◈◈◈

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

Jazz For The Screen ★ Leith Stevens Or Lighthouse All-Stars?

Leith Stevens' All Stars

Jazz Themes

From

The Wild One

No picture — and no music — could have a more appropriate title than "The Wild One", for this is the story of hot blooded youth — particularly of the wild, half-inarticulate and violent leader of the Black Rebels Motorcycle Club. This leader, Johnny, played by Marlon Brando, lives, it seems only to get his gang into trouble. (...)

Decca is fortunate to be able to present the pulsing music which emphasizes the action of "The Wild One". It is written, arranged, and played by Leith Stevens and his All Stars. Leith Stevens was one of the first leaders and arranger-composers to foster jazz music over the air on radio. He led the orchestra on the original CBS Saturday Night Swing Show. This was the time of the revival of jazz music. Raymond Scott's Quintet started on that show, and, curiously enough, one of the performers in the house band — a trombone player — was the now famous comedian, Jerry Colonna. Although not generally known as one of the "fathers" of Jazz, Leith Stevens has always had a great fondness for it. This is exemplified by the brilliant performance and the equally brilliant ensemble heard on these recordings. *(from the liner notes)*

A missing link in the Lighthouse All-Stars collection?

Although conceived as a soundtrack recording for the motion picture The Wild One, this LP does not officially appear within the discography of the Lighthouse All-Stars; nevertheless, this recording belongs, in both spirit and execution, to the same musical nucleus that defined the Lighthouse sound in the early 1950s. Issued under the name "Leith Stevens' All Stars", the album reflects a logic typical of the Hollywood film industry: the music is credited to the composer responsible for the soundtrack—in this case, Leith Stevens—even when the actual musical realization is carried out by a clearly identifiable group of jazz musicians. It is now also known that, in reality, all the arrangements were done by Shorty Rogers.

Leith Stevens (1909–1970), a central figure in mid-century Hollywood film scoring, developed a distinctive approach that incorporated elements of modern jazz into dramatic cinema. His work includes scores for films such as Destination Moon (1950), Private Hell 36 (1954), The James Dean Story (1957), and Julie (1956), among many others. Stevens' use of progressive jazz created an innovation in film-music history, and he was particularly attentive in selecting the right musicians for his projects. For The Wild One, he turned to the interpretative skill of the outstanding young trumpeter and conductor Shorty Rogers. Shorty's collaboration with Stevens on film scores produced some of the most compelling background music of the era, representing one of the earliest instances of this approach in cinema and marking the beginning of a jazz trend in dramatic film scoring.

As Shorty Rogers recalls in Roy Carr's The Hip: Hipsters, Jazz and the Beat Generation (p. 91), his involvement in The Wild One originated through the direct intervention of Marlon Brando, who had heard his album  Modern Sounds:

"For a long time, the Lighthouse was the focal point for jazz in LA, the West Coast equivalent of Birdland, except that a lot of movie people were always dropping by. Composer Leith Stevens was a regular and through him I got to work on "The Wild One".

Brando had control over the soundtrack and he asked Stevens for suggestions. Stevens gave him some current LPs including my "Modern Sounds" ten-inch for Capitol. ‘I want that guy,’ Brando told Stevens after he'd heard the album. So Stevens composed the themes and I arranged them in exactly the same way I would have done for Stan Kenton's orchestra or my own Giants".

From another perspective, trombonist Milt Bernhart's testimony, from a telephone interview conducted on November 12, 1999, indicates that, through Shorty Rogers' connection with the Lighthouse, most of the musicians were hired to play for the score of Marlon Brando's film The Wild One:

"…We got our first chance to work in a studio playing all of the score for a motion picture because no one less than Marlon Brando had heard an album of Shorty's, The Giants, not the Lighthouse group but heard Shorty's album, on Capitol, and when they were talking about music for a picture called 'The Wild One', they had already assigned a man to do the score, Leith Stevens, who was a staff writer, a good one, but no background in jazz per-se and Brando opened up in a meeting and said listen to this. So they listened to it and I don't think any of the music department knew anything about Shorty, nor did they intend to. Before it was over he was assigned to the picture and then because of that the door opened to the rest of us. So that was the first time I worked on a movie out of the Lighthouse".

In this way, Jazz Themes From The Wild One can be understood as a natural extension of the Lighthouse universe: a recording conceived under external conditions—contracts, credits, and production requirements—but performed by the same group of musicians who, night after night, shaped one of the most active centers of jazz in Los Angeles. 

Hence the question and the reasonable doubt posed at the beginning… Wouldn't this be one of the Lighthouse All-Stars masterpieces that wasn't? 

It is also worth noting that, in the original Decca release credits, some of these musicians appear under slightly altered names—Shorty Rogers as "Roger Short" and Shelly Manne as "Manny Shell"—a common practice at the time, likely reflecting contractual constraints rather than artistic choices.

Heard in this context, the album reveals itself not merely as a soundtrack, but as a peripheral—yet fully authentic—document of the Lighthouse sound in its transition into the Hollywood studio system.

It is fitting, then, that Jazz Themes From The Wild One should also mark the beginning of a new series, Jazz For The Screen, a collection of film and television soundtracks, dedicated to exploring the many ways in which jazz musicians, arrangers, and composers brought their music to the world of film and television. From feature films to television productions, the series will trace a broader history of jazz composed and recorded for the screen, and the often fascinating encounters between the world of jazz and the demands of the studio.

Side 1

1- The Wild One

2 - Lonely Way

3 - Beetle

4 - Blues For Brando

Side 2

5 - Hotshoe

6 - Windswept

7 - Scramble

8 - Chino

(All compositions by Leith Stevens)

#1, #3, #7, #8

Shorty Rogers [as Roger Short], Maynard Ferguson (trumpets);

Bob Cooper (tenor sax); Bud Shank (alto sax); Jimmy Giuffre (baritone sax); 

Russ Freeman (piano); Carson Smith (bass); Shelly Manne [as Manny Shell] (drums). 

#2, #4, #5, #6

Shorty Rogers [as Roger Short] (trumpet); Bob Cooper (tenor sax); Bud Shank (alto sax, tenor sax), 

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

Russ Freeman (piano), Carson Smith (bass); Shelly Manne [as Manny Shell] (drums). 

Recorded in Hollywood, California, October 2, 1953

Lighthouse All-Stars Collection XXVII ★ Hampton Hawes║Sonny Clark

The Lighthouse All-Stars with 

Hampton Hawes 

and

Sonny Clark

The Pianoman

For this new chapter in the series, more recordings of immense historical value, rescued by Bob Andrews.

Since we already know how Andrews worked with his portable equipment back then, the technical quality of the tracks becomes secondary. What really matters here are the moments captured in the recorded concerts: the music in its purest and most direct form, exactly as it sounded at the time. An archival gem that deserves to be preserved.

Below are the album liner notes written by Keisuke Okada to delve into all the details of these sessions:

Sonny Clark and Hampton Hawes on the West Coast:

Sonny Clark, born and raised in eastern Pennsylvania, moved to Los Angeles with his brother upon the death of his mother when he was 20 years old. As a child, Sonny preferred to play boogie-woogie and stride piano using both hands, but upon reaching adulthood he awakened to modern jazz, and while being adopted by the boppers of L.A., he changed to a style where he used almost no left hand.

His first recording was in 1953 on the album "Wardell Gray Memorial Vol. 1" by Teddy Charles's West Coasters (Prestige), but at that time he played in a very marked (marcato) manner, a style identical to that of Hampton Hawes. It is not difficult to imagine from his execution that Hawes, his predecessor whom he met shortly after arriving in L.A., was an absolute influence on him.

It was the following year that rivalry emerged in Sonny. In just half a year, his touch became legato and he began to show such a change that the notes seemed to leap in staccato, almost as if he were a different person. It is likely that being recruited by Buddy DeFranco was a great stimulus. In 1955 he resided in San Francisco, and by that time his phrasing had completely broken away from Hawes's, establishing his own style. He returned to L.A. and was active as a member of Howard Rumsey's Lighthouse All-Stars until the end of 1956. This work captures his figure at that moment. After 1957 he moved to New York and made recordings for Blue Note with great momentum as a hard bopper. 

On the other hand, Hampton Hawes was born and raised in L.A., and since the 1940s he was a promising existence as a prodigy of bebop. His crisp style was already established since his first recording in 1947, and during the 20 years until he adopted modal techniques in the late 60s, he maintained this crisp and elegant style. Despite being black, he showed no heavy or muddy parts; his bright and cheerful style fit perfectly with the ideals of the Kenton musicians. As a result, his recordings from the first half of the 1950s were concentrated mainly on white bands.

The recordings included in this album are from when both were in top form before being drafted, and one can sense a performance full of energy. After this, Clark served in the army and remained in Japan along with bassist Nobby Totah, leaving a great influence on the jazz world of our country, but unfortunately he was repatriated due to drug problems. What he recorded after leaving prison is Contemporary's masterpiece, "The Trio Vol. 1".

In 1957, when Clark said goodbye to L.A., Hampton Hawes also decided to go on an Eastern tour. However, because he had run out of travel money, his fees were depleted and his physical condition was a disaster. With his body battered, he took refuge at Sonny Clark's house, but it is said that when he recovered his spirits, he spent his days begging for money from other musicians along with Clark. Charles Mingus, feeling sorry, hired them to record the album "Mingus Three" on Jubilee, and of course, Clark also stuck to that studio. Even the fearsome Mingus, in the middle of a solo and possibly due to the effects of drugs, stood up to go to the bathroom. During that time, it is said that Clark sat on the piano stool in his place. It is said that what Clark played were the "last 2 chords" of "I Can't Get Started," but from what I have been able to deduce, I imagine it was not just 2 chords. In any case, for Clark, who once had an identical style, it must have been easy to pass himself off as Hawes on the record. 

Highlights of this album:

Among the many recordings left by the Lighthouse All-Stars, these two sessions are among the best in terms of intensity and sense of swing. The liveliness and perfect control that Hawes shows in "Cherokee" surpass any performance after his discharge from the army. And there is no doubt that fans will crack a smile at the citation of "Body and Soul" in the piano solo of "Dickie's Dream," a piece from the Basie band's repertoire.

In the 1956 session on Side 2, it is also worth listening to Clark masterfully accompanying June Christy on tracks like "Now You Say Me Down To Dream" with arrangements by Bill Holman and the refreshing "Mambo Las Vegas," showing a facet that hard bop fans could not imagine. 

*Keisuke Okada (from the japanese liner notes)*

Side 1

1 - Cherokee

(Ray Noble)

2 - Dickie's Dream

(Count Basie, Lester Young)

3 - Solitude

(Duke Ellington, Eddie DeLange, Irving Mills)

4 - Body And Soul

(Johnny Green, Edward Heyman, Robert Sour)

Side 2

5 - Now I Lay Me Down To Dream

(Ted Fiorito, Eddy Howard)

6 - That's All

(Alan Brandt, Bob Haymes)

7 - Isn't This A Lovely Way To Spend An Evening

(Jimmy McHugh, Harold Adamson)

8 - 'Round Midnight

(Thelonious Monk)

9 - Mambo Las Vegas

(Bill Holman)

10 - When Sonny Gets Blue

(Bob Cooper)

Side 1:

Shorty Rogers (trumpet); Bob Cooper, Jimmy Giuffre (tenor saxes);

Milt Bernhart (trombone); Hampton Hawes (piano);

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

Recorded live at The Lighthouse, Hermosa Beach, California, August 31, 1952

Side 2:

Bob Cooper (tenor sax, oboe [#6, #7]), Frank Rosolino (trombone), Sonny Clark (piano),

Howard Rumsey (bass), Stan Levey (drums), June Christy (vocals [#7, #8]).

Recorded live at The Lighthouse, Hermosa Beach, California, September 3, 1956

Lighthouse All-Stars Collection XXV ★ with Gerry Mulligan

Gerry Mulligan

Swing House

Gerry Mulligan On The West Coast 

Rare Ands Unissued Recordings • 1952

✤✤

More Mulligan at The Lighthouse

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

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

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

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

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

*Ken Poston (from the liner notes)*

1 - Indiana

(James F. Hanley, Ballard MacDonald)

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

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

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

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

2 - Robbins' Nest

(Illinois Jacquet, Sir Charles Thompson)

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

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

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

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

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

3 - Tiny's Blues

(Tiny Kahn)

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

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

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

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

4 - Rose Room

(Art Hickman, Harry Williams)

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

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

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

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

5 - It's Sand Man

(Ed Lewis)

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

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

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

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

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

6 - Between The Devil And The Deep Blue Sea

(Harold Arlen, Ted Koehler)

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

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

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

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

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

7 - Get Happy / Utter Chaos

(Harold Arlen, Ted Koehler / Gerry Mulligan)

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

Gerry Mulligan Quartet:

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

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

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

8 - Bweebida Bobbida

(Gerry Mulligan)

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

Shorty Rogers and His Giants:

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

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

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

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

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

9 - Too Marvelous For Words

(Richard A. Whiting, Johnny Mercer)

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

Stan Kenton Orchestra:

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

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

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

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

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

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

10 - All The Things You Are

(Jerome Kern, Oscar Hammerstein II)

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

Stan Kenton Orchestra:

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

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

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

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

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

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

11 - Dancing In The Dark

(Arthur Schwartz, Howard Dietz)

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

Stan Kenton Orchestra:

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

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

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

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

Holiday Ballroom, Chicago, Illinois, October 10, 1958

12 - Where Or When

(Richard Rodgers, Lorenz Hart)

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

Stan Kenton Orchestra:

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

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

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

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

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

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

13 - Begin The Beguine

(Cole Porter)

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

Stan Kenton Orchestra:

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

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

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

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

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

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

Lighthouse All-Stars Collection XX ★ with Stan Getz (I)

Stan Getz

Scrapple From The Apple

Live At The Lighthouse 1952

The story behind this recording is actually a fascinating stroke of luck. On that particular night back in 1952, Jimmy Giuffre —The Lighthouse's regular tenor sax player—was a no-show. As it turned out, Woody Herman’s big band happened to be in Los Angeles on tour at the exact same time, so the club scrambled and called in Arno Marsh, one of Herman's current saxophonists, to fill the empty chair.

But the real magic happened when Stan Getz caught wind of the gig. Getz was already a massive jazz superstar by then, and since he had also been an alumnus of the Woody Herman band a few years prior, he decided to drop by the club completely unannounced. He literally just showed up out of the blue and jumped on stage to join the jam session.

Thanks to the ex-drummer and producer Bob Andrews, who happened to be capturing everything on tape, this unexpected encounter was saved for posterity. In fact, these tapes are the only surviving records of Getz and Arno Marsh sharing the spotlight together at The Lighthouse, making this release a truly unique, legendary piece of jazz history.

Toshinari Myonaka, a renowned Japanese jazz producer and critic widely known for his archival historical releases, concluded the album's original liner notes—dated February 13, 2013—with the following detailed analysis of the musicians and the repertoire from that unrepeatable evening:

About the Musicians:

Writing a lengthy biography for Stan Getz (1927–1991) is hardly necessary. He was a true superstar who played with top-tier big bands such as Stan Kenton, Jimmy Dorsey, Benny Goodman, and Woody Herman, eventually transcending the boundaries of jazz with his massive 1963 Bossa Nova hits.

On the other hand, since the co-featured tenor saxophonist, Arno Marsh, is less widely known, I would like to share a few details about him. I have verified directly from those close to him that he is not related to Warne Marsh, despite sharing a similar last name. Arno was born in Grand Rapids, Michigan, in 1928.

He began his musical journey with private alto saxophone lessons and played with local bands before switching to tenor sax during the dance band era. From 1951 to 1953, he was a member of Woody Herman's big band (The Third Herd), where his bandmates included Bill Perkins. After temporarily returning to his hometown of Grand Rapids, he played in Red Norvo's band from 1955 to 1958. Following the band's dissolution in Las Vegas in 1958, he relocated there permanently. While making a living as a house painter, he continued to perform with local Las Vegas bands.

In a magazine interview, Arno cited Chu Berry, Coleman Hawkins, Ben Webster, and Lester Young as his earliest and most significant influences on the saxophone. He also named Sonny Rollins, Wardell Gray, and Stan Getz as his personal favorites.

As he entered the 1990s, he began releasing albums as a leader. He recorded a substantial number of sessions for the local label WOOFY, including co-led albums with trombonist Carl Fontana. As a side note, his son, Randy Marsh, is also active as a jazz drummer.

Since Getz played in Herman's band from 1947 to 1949, and Arno was there in the early '50s, their timelines didn't directly overlap, though they certainly knew of each other. Because this session was recorded while Arno was still actively touring with the Herman band, it is highly likely he visited The Lighthouse during a Los Angeles tour stop and was asked to fill in for Giuffre.

As for the other musicians, they are the familiar faces of the regular All-Stars. Shorty Rogers (1924–1994), Milt Bernhart (1926–2004), Hampton Hawes (1928–1977), and Shelly Manne (1920–1984) have all passed away. Bassist Howard Rumsey is the sole survivor, but since he turns 96 in November of this year, he is no longer performing and is currently resting in the town of Hemet, California.

About this Album:

Although this album features only three tracks, each one is an extended, sprawling performance lasting over ten minutes.

The opening track is Charlie Parker's "Scrapple From The Apple". The first tenor solo is delivered by Getz, followed by Rogers on trumpet, and then Arno Marsh takes his turn. In Arno's playing, you can hear that while he was a self-proclaimed fan of Rollins, he was also heavily influenced by Getz and Lester Young.

The second track, the standard "Love Me or Leave Me", also kicks off with a solo by Getz. After Milt Bernhart's trombone solo, it's Arno Marsh's turn—but for some reason, he switches to the clarinet for his solo. It was quite rare for Getz, who was highly particular about fellow tenor players, to step aside so graciously for another saxophonist on stage, but there is absolutely no sense of rivalry here. The performance seamlessly transitions into solos by Rogers, Hawes, and Manne. Arno's clarinet style leans beautifully close to that of Lester Young.

The third track is "Tiny's Blues", composed by drummer Tiny Kahn. Since Kahn also spent time in Woody Herman's band, this track was likely selected by Arno Marsh, who was both a contemporary and a fellow alumnus of that orchestra. The solo sequence here begins with Milt Bernhart's trombone, followed by another appearance by Arno Marsh on clarinet. After Shorty Rogers' trumpet solo, Getz takes the spotlight, and Hampton Hawes delivers a stellar performance. This recording captures Hawes in peak musical form, right before he was drafted into the military and stationed in Japan shortly after this date.

As you listen through the tracks, you can hear how the regular Lighthouse All-Stars grow increasingly inspired, pushing the intensity of their performance to a higher level under the stimulation of their guest for the night.

*Toshinari Myonaka (from the japanese liner notes)*

Scrapple from the Apple: Live at the Lighthouse 1952 features saxophonist Stan Getz performing live in a jam session recorded at the legendary Hermosa Beach nightclub the Lighthouse in 1952. Among the West Coast jazz luminaries joining Getz here are trumpeter Shorty Rogers, pianist Hampton Hawes, drummer Shelly Manne, saxophonist Arno Marsh, trombonist Milt Bernhart, and Lighthouse owner bassist Howard Ramsey. This is a lo-fi recording with all the requisite background crowd noise and generally fuzzy audio. Nonetheless, independent recordings like this often capture the raw, unrehearsed energy and vibe of a certain time and place; Scrapple from the Apple is no exception. This is a high-energy, heavy-swinging bop-oriented date that is well worth checking out. *Matt Collar (allmusic.com)*

1 - Scrapple From The Apple

(Charlie Parker)

2 - Love Me Or Leave Me

(Walter Donaldson)

3 - Tiny's Blues

(Tiny Kahn)

Shorty Rogers (trumpet), Milt Bernhart (trombone), 

Stan Getz (tenor sax), Arno Marsh (tenor sax [#1], clarinet [#2, #3],

Hampton Hawes (piano), Howard Rumsey (bass), Shelly Manne (drums).

Recorded live at The Lighthouse, Hermosa Beach, California, September 14, 1952

Lighthouse All-Stars Collection XIX ★ with Art Pepper (II)

Bob Andrews Presents

Art Pepper

Live At The Lighthouse '52

Ten days after the performance documented in the previous post, the music at the Lighthouse Cafe continued uninterrupted. Another Sunday afternoon, another crowded room, and once again the tape recorder of Bob Andrews quietly captured the sound of a scene that, at the time, few could have imagined would later acquire historical significance.

Recorded live in 1952, this performance preserves a young Art Pepper appearing as a guest soloist during the formative years of what would soon be identified worldwide as West Coast Jazz. The historical importance of these tapes lies not only in their rarity — open-reel live recordings of this kind were still highly unusual in the early 1950s — but also in the atmosphere they preserve: informal, spontaneous, and far removed from the controlled environment of the recording studio. What survives here is the genuine sound of the Lighthouse scene itself.

Much of that atmosphere survives thanks to Andrews, an amateur drummer, jazz enthusiast, and record shop owner who, during the early 1950s, began carrying a portable Pentron tape recorder from club to club across the Los Angeles area. Using little more than a single microphone and whatever connection or corner the venue allowed him, he documented performances at the Lighthouse, the Tradewinds, the Surf Club, and countless informal sessions that otherwise would have vanished completely. What may have seemed at the time like an almost quixotic obsession gradually became one of the most important private archives of early West Coast jazz.

Bob Andrews would later found Record Ville in the South Bay area and eventually establish Vantage Records, the label through which many of those recordings finally reached the public years later. Like Jerry Newman a decade earlier in New York, Andrews unintentionally became one of the great sonic archivists of a jazz movement while it was still unfolding in real time.

The repertoire presented here consists largely of standards, alongside two originals by pianist Frank Patchen, but the central attraction is unmistakably Pepper himself. His performance on “Over the Rainbow” — already emerging as one of the defining features of his repertoire — reveals the lyrical phrasing, rhythmic assurance, and emotional directness that would later establish him as one of the essential voices of modern jazz. Even at this early stage, his improvisations already possess the unmistakable fluidity and imagination of a fully formed musical personality.

More than a conventional live album, this recording functions as an unguarded document of a particular place and moment: the weekly musical life of Hermosa Beach at the precise moment when an entire jazz language was beginning to take shape.

Off note:

The audio quality is naturally limited by the portable equipment and live conditions of the period, yet recordings such as this remain invaluable for the vivid glimpse they offer into the real atmosphere of the early West Coast scene.

1 - Tickle Toe

(Lester Young)

2 - Jumpin' At The Woodside

(Count Basie)

3 - September Song

(Kurt Weill, Maxwell Anderson)

4 - Avalon

(Vincent Rose, Buddy DeSylva, Al Jolson)

5 - Over The Rainbow

(Harold Arlen, E. Y. Harburg)

6 - Keen And Peachy

(Frank Patchen)

7 - These Foolish Things

(Jack Strachey, Eric Maschwitz)

8 - Dickie's Dream

(Count Basie, Lester Young)

9 - Yesterdays

(Jerome Kern, Otto Harbach)

10 - Another Hair

(Frank Patchen)

11 - Indiana

(James F. Hanley, Ballard MacDonald)

Shorty Rogers (trumpet), Art Pepper (alto sax),

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

Frank Patchen (piano), Howard Rumsey (bass), Shelly Manne (drums).

Recorded live at The Lighthouse, Hermosa Beach, California, January 6, 1952

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).

✤✤✤✤