Tony Aless: A musical homage

An infrequently recorded pianist, Tony Aless mixed bop, mainstream and cool elements into his compositions and solos. Aless played with trumpeter Bunny Berign in the late '30s, then recorded with Teddy Powell in the early '40s. After serving in the army, Aless played briefly with Charlie Spivak, then worked and recorded with Woody Herrman in the mid-'40s. Later stints included stretches with George Auld, Flip Phillips, Chubby Jackson, Neal Hefti, Stan Getz and Charlie Parker, plus radio appearances. Aless's best-known album is the 1955 release Long Island Suite, notable for the inclusion of twin trombone dynamos J.J. Johnson and Kai Winding, and contributions from another solid, undervalued musician, alto saxophonist Dave Schildkraut. *Ron Wynn*

In 1955, Long Island was a checkerboard of farming and fishing communities. The longest island in the continental U.S., Long Island remained relatively sleepy and quaint until 1958, when the Long Island Expressway was completed and spanned 71 miles of the 118-mile length of the land mass. Before '58, Long Island towns just over the Queens border became bedroom communities, as young married war veterans who qualified for the G.I. Bill bought homes with low-interest, zero-down loans and commuted to jobs in the city on the Long Island Railroad.

During this pre-boom period in 1955, Tony Aless recorded his Long Island Suite for Roost, dedicated to towns that were little more than sleepy villages back then. The only distant exceptions on the album were Riverhead and Greenport way out on the east end.

Aless's eight town tunes were Levittown, Corona, Aqueduct, Riverhead, Valley Stream, Greenport, Fire Island and Massapequa. Most were near Long Island's Route 27 along the southern shore. Other than that connection, it's hard to know why Aless chose these specific towns.

It's also unclear why Aless composed a musical valentine to Long Island, but his ability to write and arrange swinging work is evident here. What's even stranger — given his ability to compose, arrange, contract top musicians and conduct — is that Long Island Suite was his only leadership album. *Marc Myers*

Tony Aless

Long Island Suite

Introducing Seldon Powell

This album is a happy musical trip to eight Long Island communities written by Tony Aless (1921-1985). A pianist of broad big band experienceBunny Berigan, Teddy Powell, Georgie Auld, Charlie Spivak, Woody Herman, Charlie Ventura, Neal Hefti, Chubby Jackson, George Siravohe also worked on networks and independent stations around New York and recorded with the groups of Stan Getz, Charlie Parker, George Handy, Seldon Powell and John Plonsky. These years of iron-clad, elite experience not only inform his authoritative playing, but are also distilled in this impressive project into a personal musical credo. More than anything else, he said, my concern was swinging. I think we got that across.

Besides his persuasive contributions as player, composer and arranger on what was the only album released under his own name, there is much to admire; in a first-rate rhythm section of Billy Bauer, Arnold Fishkin and Don Lamond, Bauer is also one of the better soloists on the date; of the others, Nick Travis is crisply vibrant, and Dave Schildkraut swings hard and Bird-like. Tenorman Seldon Powell, imaginative, visceral, with a fine, full sound, is best of all. Also effective in their brief appearances are the alternating trombones Kai & J.J.

But even the most casual hearing of the Long Island Suite will confirm Alesss judgment: it swings all the way. And it is, as he hoped it would be, simple, like Basie. Because, as far as I am concerned, thats the only thing, to swing all night-long. *Jordi Pujol*

One of the few albums ever cut as a leader by pianist Tony Aless — an unsung hero of the big band years, especially in the Woody Herman group — and a great arranger too! This set's an all-original outing — a suite of tracks dedicated to Long Island, and played by a very hip group that has tenorist Seldon Powell in the lead — serving up work that's every bit as great here as on his own albums for Roost from the time! The record's got a slightly largish group — a tentet that's stuffed with great players — including Billy Bauer on guitar, J. J. Johnson and Kai Winding on trombones, and Nick Travis on trumpet — all modernists who really bring in the sound you'd expect. Titles include "Fire Island", "Valley Stream", "Levittown", and "Massapequa".  *Dusty Groove, Inc.*

1 - Levittown

2 - Corona

3 - Aqueduct

4 - Riverhead

5 - Valley Stream

6 - Greenport

7 - Fire Island

8 - Massapequa

(All compositions by Tony Aless)

Nick Travis (trumpet); J.J. Johnson, Kai Winding [as "Moe and Joe"] (trombones);

Dave Schildkraut (alto sax), Seldon Powell, Pete Mondello (tenor saxes),

Tony Aless (piano), Billy Bauer (guitar), Arnold Fishkin (bass), Don Lamond (drums).

Recorded in New York City, July 1955

Zoot Sims on Prestige (VII) [as sideman]

Concluding the series dedicated to Zoot Sims and his recordings for the Prestige label, only two collaborations remain as a sideman: with bassist Chubby Jackson's band and with a Miles Davis septet that also includes Al Cohn, his "soul mate". 

Let's remember why it was important for bandleaders to hire Zoot Sims to accompany them:

Sims' signature sound formed in the early 1940s, when he surfaced in Los Angeles' fertile Central Avenue scene. Clarinetist and bandleader Benny Goodman discovered him and immediately recruited him for his band. In 1947 Sims landed an even higher profile gig when he joined Woody Herman's famed Second Herd, along with fellow saxophonists Stan Getz, Herbie Steward and Serge Chaloff. Together, the quartet of sax players was known as the Four Brothers, after a Jimmy Giuffre composition written for them, and became famous for their deft unison lines and the novelty of their dark, sweet sound.

After leaving the Herd and turning up in New York, Sims went through a period of freelancing and unsteady work. In 1953 he joined the Stan Kenton band, which provided a regular paycheck. But the band's music — emphasizing tightly-knit group passages that allowed for only short solos — and Kenton's stern, top-down leadership didn't mesh well with the easygoing, yet musically hard-driving Sims. He didn't stay long with the band, quitting on the spot after their bus wrecked along a Pennsylvania highway.

Zoot retreated to California, but he found few performing opportunities and wound up working as a house painter. Baritone saxophonist Gerry Mulligan rescued Sims from his day job when he invited Zoot to help expand his well-known, pianoless quartet. As trombonist and band member Bob Brookmeyer remembers, Sims and Mulligan were "connected by the bone" as both players and improvisers.

In the mid and late '50s, buoyed by his success with Mulligan, Zoot would release many recordings as a leader — 10 in 1956 alone. Nevertheless, he remained a great collaborator and team player, and he inevitably returned to winning partnerships. In 1957, Zoot hooked up with an old friend, tenorman Al Cohn. Together, they formed perhaps the most successful partnership of Zoot's career, co-leading an ensemble for many years.

Later in his career, Sims continued to evolve as a player. According to saxophonist and composer Bill Holman, Zoot's tone aged and became gruffer, and he expanded his repertoire thanks to the influence of pianist Jimmy Rowles. But he never gave up on what many consider his greatest asset: his incredible sense of swing. "No matter what he played, it was perfectly in time", said saxophonist Harry Allen. "If you were making your own perfect saxophone player up in your head, that's where you'd put the notes. And (Sims) managed to do that without fail".

Chubby Jackson And His All Star Band

Plays

The style of Chubby's big band would be echoed throughout the 50's and 60's in the bands of Woody Herman, Elliot Lawrence, Gene Krupa, Count Basie and Gerry Mulligan. The actual recording, the first big band date recorded by Prestige was done in the old Cinemart studios in New York City. The studio was so small that the trumpet section had to face the wall to make for a better balance. At the time of the session, Georgie Auld owned a bar and jazz club called "Tin Pan Alley" in the basement of a hotel on 49th Street. The club was a favorite oasis for Zoot Sims, Gerry Mulligan and J.J. Johnson among others and everybody would come by to jam. 

At the date Mulligan remarked how loose he felt when working with Zoot. Certainly the loose feeling permeated the entire session as Auld, Jackson and Don Lamond fooled around with one of those fake nose and glasses disguises and Chubby kicked off the time in his stocking feet! 

The date was the second recording of J. J. Johnson and Kay Winding in tandem, the first being a Metronome All-Star session in January 1949. The Tiny Kahn charts were a constant topic of conversation and the band which Jackson had led in early 1949 had played most of them, some under different titles, at "Bop City" and "The Royal Roost".

It is interesting to note that on this LP, Chubby Jackson does not do much solo playing. This is unusual but again it emphasizes Jackson's role as an organizer. He had musical talent as well as the ability to get good men into good places. Valuable contributions to the American Art Form and contributions that both listeners and historians alike can be grateful for.

*Ernie Edwards, Jr. (liner notes, February 1969)* 

1 - Flying The Coop

(Tiny Kahn)

2 - I May Be Wrong

(Ruskin, Sullivan)

3 - Leavin' Town

(Jarvis, Meissner)

4 - Sax Appeal

(Tiny Kahn)

5 - New York

(Al Cohn)

6 - Why Not

(Tiny Kahn)

7 - Hot Dog

(Zoot Sims)

8 - So What

(Gerry Mulligan)

Chubby Jackson (bass, leader); Howard McGhee, Al Porcino, Don Ferrara (trumpets);

J.J. Johnson, Kai Winding (trombones); Charlie Kennedy (alto sax);

Zoot Sims, George Auld (tenor saxes), Gerry Mulligan (baritone sax);

Tony Aless (piano); Don Lamond (drums).

Recorded at Cinemart Studios, New York City, March 15, 1950

✳✳✳

Miles Davis Septet

Plays The Compositions Of Al Cohn

Since the "records heard 'round the world", "Godchild", "Jeru", "Move", et al, Miles Davis has made many other fine records to enhance his position as top modern trumpeter, but in the main they have been three horn groups (including himself) with an emphasis on solo work. After the original melody, usually stated in tight unison, each hornman played again only when his solo turn came. The soloists had to be good to sustain interest, and they were, but it was felt that Miles needed a change of pace for his next recording date; compositions and arrangements which would suit him and result in a happy combination of arranged music and solo work.

The man who achieved this was Al Cohn, the unheralded great of the tenor saxophone, as well as the composer's and arranger's desk. Three of the pieces, "Willie The Wailer", "Floppy" and "For Adults Only" were written for this session. "Tasty Pudding" had been written before but Al arranged it specially for Miles and this date. The Pudding whipped up by Al receives flavoring and icing from Miles and best exemplifies the whole idea behind this type of integrated arrangement.

Thanks to Miles, Al, and Zoot Sims, with help from John Lewis and Sonny Truitt, the "solo" is not neglected and the feeling that they show in their reading of the arrangements (underlined, and punctuated by Kenny Clarke; propelled by Leonard Gaskin and Kenny) makes the "happy combination" possible. *Ira Gitler (liner notes)*

Miles Davis Plays The Compositions Of Al Cohn, from early 1953, was another album unified by idea and intent. The music is intelligent and spry, with sly references to other tunes, one that would lodge itself in Miles' memory; "Willie The Wailer", for example, opens as "Soft Winds", a number popularized by Benny Goodman in 1941, and which in 1959 Miles would morph into "Freddie The Freeloader" for >Kind Of Blue<. The performances are strong, the harmony lines benefitting from a three-horn frontline with Zoot Sims and Cohn the relaxed foils to Miles' brashness. *milesdavis.com*

Side 1

1 - Tasty Pudding

2 - Floppy

Side 2

3 - Willie The Wailer

4 - For Adults Only

(All compositions by Al Cohn)

Miles Davis (trumpet); Sonny Truitt (trombone); Zoot Sims, Al Cohn (tenor saxes);

John Lewis (piano); Leonard Gaskin (bass); Kenny Clarke (drums).

Recorded at Beltone Studios, New York City, February 19, 1953.

Zoot Sims on Prestige (III)

Let's do a little history to understand why "Zoot Sims on Prestige" shows a "Zoot Sims on Status":

The Prestige story began with Bob Weinstock, a young entrepreneur who was running the Jazz Record Corner — a record shop catering to devotees of jazz. It was there in 1948 that Bob conceived of the idea of traveling overseas during or before the recording ban that year to obtain new jazz recordings to bring to the United States. Bob contracted for at least four singles. These were released on his own Jazz Corner label —– the first of his record labels.

As 1949 began, Weinstock sought to expand his record pressing outlet beyond the local level. As he supervised the recording of new music, he was in the process of securing distribution arrangements. In July he rolled out the New Jazz label. Within a little over a year, New Jazz had become Prestige Records.

Prestige received its legendary status as a record label in part because of Weinstock’s demand for an “authentic” and fresh jazz sound and in part because of engineer Rudy Van Gelder.

By the end of 1963, with many of his artist signings having moved on and up to majors, Weinstock turned his attention to the re-issue of older New Jazz and Prestige titles of those now big names, through the short-lived Status label. Status picked up the New Jazz catalogue numbering system at 8300, but with the prefix ST. The same numbers but with the prefix NJLP was used for completely different recordings. Surplus stocks of New Jazz covers would be given a Status sticker, and the recording issued with a Status label.

Zoot Sims' recordings appeared under three labels: Prestige, New Jazz and Status, as is the case with the following album:

Zoot Sims

Good Old Zoot

A 60s compilation of some of Zoot's great work during the 10" days at Prestige (Chubby Jackson & His All Stars Band Plays and Zoot Sims In Hollywood — back when he was playing with a bit more fire than in some of his later work. Half the tracks are cut with a small group that includes Kenny Drew and Stu Williamson — and the other half are cut with a larger group led by Chubby Jackson, and featuring Howard McGhee, JJ Johnson, Georgie Auld, and Gerry Mulligan. Tracks include "So What", "Toot No 2", "Howdy Podner", "Flyin The Coop", and "Hot Dog".  *Dusty Groove, Inc.*

About Chubby Jackson & His All Stars Band Plays:

The style of Chubby's big band would be echoed throughout the 50's and 60's in the bands of Woody Herman, Elliot Lawrence, Gene Krupa, Count Basie and Gerry Mulligan. The actual recording, the first big band date recorded by Prestige was done in the old Cinemart studios in New York City. The studio was so small that the trumpet section had to face the wall to make for a better balance. At the time of the session, Georgie Auld owned a bar and jazz club called Tin Pan Alley in the basement of a hotel on 49th Street. The club was a favorite oasis for Zoot Sims, Gerry Mulligan and J.J. Johnson among others and everybody would come by to jam. 

At the date Mulligan remarked how loose he felt when working with Zoot. Certainly the loose feeling permeated the entire session as Auld, Jackson and Don Lamond fooled around with one of those fake nose and glasses disguises and Chubby kicked off the time in his stocking feet! 

The date was the second recording of J. J. Johnson and Kay Winding in tandem, the first being a Metronome All-Star session in January 1949. The Tiny Kahn charts were a constant topic of conversation and the band which Jackson had led in early 1949 had played most of them, some under different titles, at Bop City and The Royal Roost.

It is interesting to note that on this LP, Chubby Jackson does not do much solo playing. This is unusual but again it emphasizes Jackson's role as an organizer. He had musical talent as well as the ability to get good men into good places. Valuable contributions to the American Art Form and contributions that both listeners and historians alike can be grateful for. *Ernie Edwards, Jr. (February 1969)*

[Note: The album Chubby Jackson & His All Stars Band Plays contains more songs than those presented in this compilation. We will include them in future posts in this series, dedicated to Zoot Sims' presence on Prestige as a sideman.]

About Zoot Sims In Hollywood:

Like most young tenormen of the post-war period, Zoot Sims was largely affected by the Lester Young influence. Everybody who was anybody sounded like Lester or tried to. With Zoot it was even more so; he sounded exactly like Pres. Almost ten years have passed since then and a great number of Young imitators have come and gone with Little or no fanfare; most came to the inevitable end of the musically unoriginal. But with Zoot it was different; he had a lot more than a superficial grasp of Lester approach. Zoot was able to absorb the Great Influence without subverting his own individuality. Today Zoot is a highly original artist well steeped in the heritage that Lester Young contributed to the modern jazz musician. Zoot's conception stands firm and mature; the importance of the basic time feeling… above all else… it must swing! And with Zoot it always does. Emotion and the jazz beat are never sacrificed. The musical voice of Zoot Sims is so vibrant and brilliant that he must eventually be acknowledged as the great tenor influence of the fifties for he is the successful extention of the most forceful influence modern jazz has been: The Lester Young Conception.

Featured here with Zoot, is ex-Kenton and Herman sideman, Stu Williamson. For the first time on record Stu is heard playing both trumpet and valve trombone. The facility with which he handles these instruments well compliments Zoot work. At the keyboard is one of them all — Kenny Drew. No les effective as a soloist, his main function here is that of sparking the group. Kenny gained national prominence several years ago as a member of the great Buddy De Franco Quartet. Ever since he's been a highly sought after pianist for any group desiring a savagely swingin' beat. Rounding out the rhythm section is drummer Jimmy Pratt and bassit Ralph Pinia. Jimmy was a member of the Zoot Sims–Johny Mandel Group that delighted Coast jazz fans last winter during their successful stay at the Haig. Ralph's excellent choice of notes and pulsating time hold the group firmly in the groove.

Here is a group composed of five compatible jazz musicians and recorded under very favorable conditions at one of the finest rocording studios available, Hollywood's Radio Recorders. The engineer was Val Valentine, who records a great percentage of the better jazz eminating from Southern California. The entire precedings, from rehersal to final take, was supervised and directed by Dick Bock: His reputation is well known. It seems impossible to conceive of a better combinations of elements. The only thing left is how it turned out; take a listen and draw your own conclusions. You won't be disappointed. *Woody Woodward (original liner notes)*

Side 1

1 - Howdy Podner

(Bill Holman)

2 - Indian Summer

(Al Dubin, Victor Herbert)

3 - Leavin' Town

(Jarvis, Meissner)

4 - Flyin' The Coop

(Kahn)

Side 2

5 - Toot No. 2

(Bill Holman)

6 - What's New

(Johnny Burke, Bob Haggart)

7 -Hot Dog

(Zoot Sims)

8 - So What

(Gerry Mulligan)

#1, #2, #5, #8:

from Zoot Sims In Hollywood [New Jazz (NJLP-1102)]

Stu Williamson (trumpet, valve trombone), Zoot Sims (tenor sax), Kenny Drew (piano), 

Ralph Pena [as Ralph Penna or Ralph Pinia in liner notes] (bass), Jimmy Pratt (drums).

Recorded at Radio Recorders, Hollywood, California, July 16, 1954

#3,#4, #7, #8:

from Chubby Jackson & His All Stars Band Plays [New Jazz / Prestige (NJLP 105)]

Don Ferrara, Howard McGhee, Al Porcino (trumpets); J.J. Johnson, Kai Winding (trombones);

Charlie Kennedy (alto sax); Georgie Auld, Zoot Sims (tenor saxes); Gerry Mulligan (baritone sax);

Tony Aless (piano); Chubby Jackson (bass); Don Lamond (drums).

Recorded at Cinemart Studios, New York City, March 15, 1950

George Handy - "X" Sessions

George Handy (born George Joseph Hendleman in January 1920) was an American jazz arranger, composer and pianist whose musical beginnings were fostered under the tutelage of composer Aaron Copland. While he had an impressive career as a pianist, he is best known in retrospect for his bebop arrangements.

Born in New York City, Handy first worked professionally as a swing pianist for Michael Loring in 1938, but soon was drafted into the United States Army in 1940. From 1944 to 1946 he became a member of the Boyd Raeburn Orchestra, composing and performing on piano. This was during a time when many big bands were transforming their musical tendencies toward bebop. He did leave the orchestra briefly to do work for Paramount Studios, but returned to Raeburn quickly. During this period he entered one of his most creative periods, doing arrangements of older standards with a distinctly bebop quality. Just as he was entering his prime, however, he had a falling out with Raeburn and left the group. While he continued to arrange for other musicians in his later career, it is that 1944–1946 period for which he is remembered most. AllMusic noted that "He was pianist with Zoot Sims' combo during 1956–1957 but mostly worked outside of jazz during his last four decades, although he did spend some time as a Down Beat critic during the latter half of the 60s.

Handy died in Harris, New York, in January 1997 at the age of 76, from heart disease. *wikipedia.org*

***

One of the most advanced arrangers of the mid-1940s, George Handy's radical charts gave the Boyd Raeburn Orchestra its musical personality while also probably making it impossible for the big band to work steadily. He originally learned piano from his mother but later studied at Julliard, New York University, and with Aaron Copland. Handy played with Raymond Scott in 1941 but made his reputation with Raeburn (1944-1946), whose orchestra he turned from a dance band into an ensemble more advanced in its own way than Stan Kenton's. "Tonsillectomy" and "Dalvatore Sally" were two of Handy's more notable (or infamous) originals but even his arrangements of standards (such as "Body and Soul" and "Temptation") that featured singers David Allyn and Ginnie Powell were quite dissonant and full of surprising explosions. Unfortunately, a personality conflict resulted in Handy only being with Raeburn for a little less than two years. Although he wrote for other bands (including those of Alvino Rey, Ina Ray Hutton, and Herbie Fields) and spent time working in the studios, Handy ended up being quite obscure. He was pianist with Zoot Sims' combo during 1956-1957 but mostly worked outside of jazz during his last four decades, although he did spend some time as a Down Beat critic during the latter half of the '60s. As a leader, George Handy was captured privately on six numbers with a quartet in 1945 (released by Onyx), made two studio sides with the Vivien Garry Trio (for Studio & Art in 1945), recorded a specially commissioned piece for Norman Granz in 1946 ("The Bloos"), and headed two little-known albums during 1954-1955 for the RCA subsidiary "X". *Scott Yanow*

George Handy

Handyland U.S.A.

[originally Handyland U.S.A. - "X" (LXA 1004)]

June 13, 1954, saw the return of George Handy to the musical world. He promptly began writing anew with unabashed fury, love and stoic realism. To those of us Handy-ites who had always felt that George was THE Giant of this decade it was anthralling news. Now, at last, a potencial that was virtually untapped was ready to yield a musical geyser.

Ed Kissack of label "X" and myself conceived the idea of recording George Handy running the gamut of jazz expressions. Hence the first of his musical feelings, basic jazz, is clearly attested to in this album. This, of course, is only the start of a free slowing musical flotsam, the Handy current, that will eventually culminate in a ocean of startling sharps and flats.

Thus it was avid interest that inner sanct of the musical realm looked forward to...

August 16, 1954, a hot, sultry evening in Manhattan. The site, Webster Hall, a large meeting place usually used for weddings and social functions. Its hallowed walls encompass acoustical quality second to none.

Assembled were some of the top musicians in the world. This was a hand-picked aggregation, men who had carved their niche in the immortal archives of swingdom.

Because of other commitments no rehearsal was possible. At about a quarter of ten at the night we started. We finished at six thirty that dawn. Needless to say there were interim periods of complete fatigue, high spirits, moroseness, verbosity, and Gemütlichkeit. Therefore, in spite of the unusual procedure of this recording session, it does reflect a complete stratum of feeling, both by the musicians and the composer; the only unwavering high quality was in the recordings.

Since most record dates are done in sterile surroundings, we decided to change matters. We invited a group of friends and music aficionados who we knew would lend a natural feeling to the recording. Of course they beame quite weary after a while and, since the next day was a work day, had to leave for the most part by one or two A.M., and after that quiet reigned as you'll notice in the recordings. *H. J. Morrison (liner notes)*

1 - Recoil

2 - A Tight Hat

3 - Noshin'

4 - Sprong

5 - Rainbow

6 - Pegasus

7 - Lean To

8 - Blinuet

9 - Case-Ace

10 - Crazy Lady

11 - Zonkin'

12 - Footnotes

(All compositions by George Handy)

Ernie Royal (trumpet), Kai Winding (trombone), Dave Schildkraut (alto sax), Allen Eager (tenor sax), Danny Banks (baritone sax), George Handy (piano), Vinnie Burke (bass), Art Mardigan (drums).

Recorded at Webster Hall, New York City, August 16 and 17, 1954.

***

George Handy

Pensive

[originally By George - "X" (LXA-1032)]

George Handy who became known as one of the most adventurous arrangers in progressive jazz between 1944 and 1948, before disappearing from the scene, returned to the music field in the summer of 1954.

Handys most remarkable early works were mainly big band arrangements that he did mostly for the Boyd Raeburn and Alvino Rey orchestras. However, in this new stage of his career, he focused more on his work as a leader of his own small band, recording two 12 albums. This is the second and, by far, the rarest one, reissued now for the first time since its 1955 release.

The band here plays a whole library of Handy originals, which he introduces as tone poems. The intricately woven orchestrations reflect many classical influences in the arranged passages, and some moments suggest Bartók and Stravinsky. But improvisation is never discarded, and there are three frequently featured soloists — Sherman, Rehak or Byers, and Schildkraut — whose warm contributions prevent the whole enterprise from losing contact with jazz.

Despite the tempo changes and a great deal of complexity in the writing, the music often swings. The violin is ingeniously used, usually playing a theme while one or two other lines are juxtaposed against it contrapuntally. *Jordi Pujol*

1 - Heavy Hands

2 - Pulse

3 - Tender Touch

4 - Foolish Little Boy

5 - The Sleepwalker

6 - A Wooden Sail In A Wooden Wind

7 - Maretet

8 - Pensive

9 - Of Gossamer Sheen

10 - Stream Of Consciousness

11 - The Flatterer

12 - Knobby Knees

(All compositions by George Handy)

#1 to #8:

Dick Sherman (trumpet), Gene Orloff (trumpet, violin), Frank Rehak (trombone), Dave Schildkraut (alto sax), Ray Beckenstein (flute, alto sax), Tommy Mace (oboe, tenor sax), Danny Bank (baritone sax), Tony Aless (piano), Buddy Jones (bass), Osie Johnson (drums).

Recorded in New York City, April 13 (#1 to #5) and April 14 (#6 to #8), 1955.

#9 to #12: 

Charle Panelli (trumpet), Gene Orloff (trumpet, violin), Billy Beyers (trombone), Dave Schildkraut (alto sax), Ray Beckenstein (flute, alto sax), Tommy Mace (oboe, tenor sax), Danny Bank (baritone sax), Tony Aless (piano), Buddy Jones (bass), Osie Johnson (drums).

Recorded in New York City, April 22, 1955.