Search Manic Mark's Blog

Wednesday, September 18, 2024

The King Of Swing Vol. 1 - Benny Goodman

 

Nagasaki

The King Of Swing
Volume 1
Benny Goodman
1937 - 38 Jazz Concert No. 2
Columbia Records CL 817

Benny Goodman - Clarinet
Harry James, Ziggy Elman, Chris Giffin - Trumpets
Red Ballard, Murray MacEachern - Trombones
Hymie Shertzer, George Koenig - Alto Saxophones 
Art Rollini, Vido Musso - Tenor Saxophones
Jess Stacy - Piano
Allan Reuss - Guitar
Harry Goodman - Bass
Gene Krupa - Drums

Trio and Quartet: Benny Goodman (clarinet); Teddy Wilson (piano); Gene Krupa (drums); Lionel Hampton (vibraphone) added for Quartet

From the back cover: The fantastic success of the Benny Goodman Carnegie Hall Jazz Concert album (issued by Columbia in 1950, twelve and a half years after the epochal event took place in the unsuspected but fortunate presence of a first-class recording machine) was one of those things which Columbia – and Benny Goodman – figured could happen only once in a lifetime.

We hardly expected that it would happen again.

But it did.

This is it. And it's even better

This is the same all-star Goodman Trio, Quartet, and Orchestra – Harry James, Lionel Hampton, Gene Krupa Teddy Wilson, Ziggy Elman, Jess Stacy, Chris Griffin and all the rest of the great musicians who helped Benny make "swing" a household word in the thirties.

They play with the same fire and abandon which characterized the Carnegie Hall album, and they're inspired by the applause and cheers of the same fans, who worshipped them as jitterbugs and bobby-soxers have never idolized any other band before or since.

But this time the music was accurately balanced for the microphone by radio engineers, for these recordings are made from "air-checks" of late evening broadcasts from all over the country. Most of the original discs were taken off the air by a fan named Bill Savory, a Columbia Records engineer, who also did the remarkable editing job which produced these final master tapes. The final result is the most authentic original-Goodman sound ever captured on record, whether the band was broadcasting from the Manhattan Room of the Hotel Pennsylvanian or the Palomar in Lost Angeles.

Because the band kept up its broadcasts while on tour in 1937, it's now possible for a Goodman fan to enjoy the unique experience of going "on the road" with the band and hearing how it played in an ever-changing environment – an experience I almost had myself that summer after spending much of my senior year at the Horace Mann School for Boys hanging around Benny's band as a favored friend of Benny's backstage major domo, Dwight Chapin.

The broadcasts gave us another advantage not possible in the case of the Carnegie Hall album. We frequently had six or seven versions of the same tune to choose from, so that there was no need to put up with flagging inspiration or minor flaws. In brief, these air-checks have made it possible for Columbia to gather together the absolute cream of the greatest swing band in jazz history, caught at its very peak.

This treat is wonderful in itself, but there are also ramifications that bring it to the level of the collector's happy-hunting ground. Included in the three volumes which make up the complete set, are no less than 15 selections which Benny has never been identified with on recordings in any form up until now. (In the Carnegie Hall album, wonderful as it was, Goodman performed only repertoire which he had also recorded commercially.) In five other instances, the form in which a selection appears in this album is quite different from that in which Benny has recorded the same number – for example, Benny once recorded Someday Sweetheart with his Trio, but here it's played by the full band.

Among these 20 "new" Goodman numbers, there are performances of tunes that Benny himself hadn't remembered playing – numbers like Have You Met Miss Jones and Sweet Leilani which have since become standards, but were then current pops which Benny included on a broadcast because he happened to like them better than the ordinary pops which song-pluggers were after him to put on the air. There are even two on-the-spot improvisations by the Quartet for which the radio announcer gave no titles, so – fifteen years later – we had to think up names for them: Benny Sent Me and Killer Diller. (The latter is a term Benny picked up form one of his ace arrangers, Jimmy Mundy, who used it to describe a powerhouse swing performance on a fast tune. If you're under 21, ask Mom or Pop – they remember.) - George Avakian

Ridin' High
Nice Work If You Can Get It
Vibraphone Blues
The Sheik Of Araby
Always
Peckin'
Sunny Disposish
Sweet Leilani
Moonglow
Nagasaki
St. Louis Blues

Julie Budd

 

The Long And Winding Road

Julie Budd
Arranged, Conducted and Produced by Tony Hatch
Recorded at Pye Recording Studios, London
Recording Engineer: Ray Prickett
Designer: Frank Mulvey
Photographer: Nick Sangiamo
RCA STEREO LSP-4622
1971

Don't Take Your Love Away
I Don't Know How To Love Him (from the Rock-Opera "Jesus Christ Superstar")
Touch Me
Just Say Goodbye
I Love Your Kind Of Loving
The Long And Winding Road
You've Got A Friend
West Side Apartment
Marie de Vere
How Can I be Sure (Of You)
Call Me

Ring Around Rosie - Rosemary Clooney and The Hi-Lo's

 

Doucha Go 'Way Mad

Ring Around Rosie
Rosemary Clooney And The Hi-Lo's
Orchestra under the direction of Frank Comstock
Photographer: Nolan Patterson - Black Star
Columbia Records CL 1006 (Special Re-Issue / Special Products)

From the back cover: The ring surrounding Rosemary Clooney in this instance is formed by the Hi-Lo's, adding their insouciant vocals to her lilting interpretations, and together the five of them have turned out one of the most engaging collections in a long, long time. There has always been something special about Rosemary's singing – even when she was a vocalist with a sizable dance band, in tandem with her sister Betty, she had all the earmarks of the stardom that later became here's – and she has rarely been more communicative or caressing than she is here. The Hi-Lo's, fresh from a highly successful Columbia Record debut, add their own remarkable spicings along the way, and the result is indeed a delight to the ear.

The Hi-Lo's have been in existence, as such, since 1953, and are already famous as one of the most imaginative and inventive singing groups in show business. In addition to their appearances with Miss Clooney, they have been seen on many other television programs, have appeared in Las Vegas nightclubs, in theaters and concert halls, and in the Hollywood Bowl. The members of the group include Gene Puerling, who made the vocal arrangements for this collection; Clark Burroughs, whose phenomenal vocal range contributes many of the unusual effects they attain; Bob Morse and Bob Strasen.

Doncha Go 'Way Mad
Moonlight Becomes You
Love Letters
I Could Write A Book
I'm In The Mood For Love
Coquette
Together
Everything Happens To Me
Solitude 
What Is There To Say
I'm Glad There Is You
How About You

Firehouse Five Plus Two Plays For Lovers

 

Love Songs Of The Nile

Firehouse Five Plus Two
Plays For Lovers
Volume 4
Good Time Jazz Record Co. GTJ L-12014
1956

Ward Kimball - Trombone
Danny Alguire - Trumpet
George Probert - Soprano Sax
Frank Thomas - Piano
Dick Roberts - Banjo
Ed Penner - Tuba
Jim MacDonald - Drums

From the back cover: All the world loves a lover, they say. And and the world loves the Firehouse Five Plus Two. What could be more inevitable then the Firehouse Five Plus Two Plays For Lovers? "There were so many albums for lover," Ward Kimball said, "and not one of them by the Firehouse Five. It was a gap in the Schwann catalogue which cried aloud to be filled."

The gap is now filled. Lovers everywhere, particularly lovers of the Firehouse Five Plus Two can relax. As Chief Kimball explains, "I think we're making a valuable contribution to the subject. If Romeo and Juliet had heard this album I feel sure their story would have had a different ending."

This, their first new only-playing recording in two years, has been eagerly awaited by their many and far-flung fans, for after seven years as American's favorite jazz band the incredible FH5 were riding higher than ever as 1956 started.

Their undimmed popularity was the more interesting in view of the tremendous success the modern jazz movement was enjoying. The FH5's record sales (and those of GTJ's Kid Cry and Bob Scobey proved that traditional jazz was still popular music, more popular than ever.

A most of the world now knows, the FH5 is a spare-time hobby for a group of talented artist, writers, producers and directors at the Walt Disney Studios in Hollywood. Over the years they have played only for the fun of it, and their own enthusiasm for the music has been one of the key factors in their success. During 1955 they accepted as many engagements as they could without interfering with their busy schedule at Disney's. They played for schools, colleges, private parties and dances. They made only one night club appearance, however, because as Ward explains, "the smoke bothers us." They played for their largest audience in August when most of the nation's TV viewers watched them on the hour-and-a-half coast-to-coast program celebrating the opening of Disneyland, Mr. Disney's fantastic amusement park near Los Angeles.

Through their GTJ records they reached and international audience. As the world export markets opened up their albums were available in stores throughout Europe. Switzerland was especially Firehouse crazy, and during a recent meeting of foreign ministers at Geneva, GTJ had to fly FH5 long-playing sets from Los Angeles, so great was the demand. It has been widely noted in the press that jazz is America's strongest force for good will on the international scene today, and reports reaching the GTJ office would seem to bear this out. In France one of our far-flung correspondents reports, "Records by Les Cinq Pompiers et Deux are selling like hot-dogs."

And through it all, the authors of this excitement continue to report to the Disney Studios, participating in key roles in the production of feature films, cartoons and TV programs. Ward Kimball is a producer-director for the Tomorrowland TV series, and worked on such films as Man In Space and Man And The Moon. The moon show has been nominated for an Academy of TV Arts & Sciences "Emmy" award for the best production of 1955, and Ward was nominated for the best direction award. Currently Ward is working on Man And Mars. The Kimball family have a six-inch refractor telescope and every two years when Mars rolls around they spend the summer watching it. They'll be at their post again in 1956. "Mars will be a little closer this year," Ward reports, "about five million miles, so things will be a bit sharper." In addition to the Mars show, Ward is also working on The Miracle Of The Wheel for Disney, and for his own Grizzly Flats railroad (located in his back-yard) he is restoring the third of his full-size locomotives, a sugar cane plantation engine from Hawaii named Chloe after his young daughter. It will be dedicated on Chloe's 10th birthday, May 9, 1956.

Danny Alguire the FH5' trumpeter since 1949, and George Probert, who joined the band on soprano sax  & clarinet in 1955, are both assistant directors. Danny works in the cartoon department, and George is working on the feature Sleeping Beauty. Their talents as musicians make them invaluable at the studio since a good part of their work consists of timing music and sound effects, and checking musical scores. Before coming to Disney, George played with Bob Scobey's Frisco Band for three years, with the Kid Ory's Creole Jazz Band for a year, recording extensively for GTJ with both groups.

Pianist Frank Thomas has been an Animation Director for many years, in charge of a unit of animators and responsible for bringing many characters to life from Dopey in Snow White to Captain Hook in Peter Pan. He's currently working on Sleeping Beauty. In his spare time he's an active Parent-Teachers-Association man, campaigning vigorously in Flintridge, suburb of Los Angeles, for a new school bond issue.

Ed Penner, the iron man of the tuba, in real life is a famous screen writer who had had innumerable credits on Disney productions for the past twenty years: Pinocchio, Fantasia, Cinderella, Ichabod & Mr. Toad, Fun & Fancy Free, Make Mine Music, Alice In Wonderland, Peter Pan, The Lady & The Tramp, and currently Sleeping Beauty. On Beauty he's working with George Burns adapting Tchaikovsky' music to the cartoon. Burns, composer of Davy Crockett, is a versatile jazzman who acts as chief substitute for the FH5, playing piano, trombone, or tuba as the occasion demands.

Jim MacDonald, the original FH5 drummer, is back as regular member of the group after several years absence dictated by his extremely heavy work load as head of the Disney sound effects department. He is one of the busiest men in town, still responsible for all sound effects at the studio, and personally handling the daily Mickey Mouse Club TV coast-to-coast show. The FH5 appeared on the program just before New Year's as guest stars.

Dick Robert, GTJ' Banjo King, and one of the best-known banjoist in the world today, is currently holding down the FH5 banjo chair. He does not work at Disney regularly, but is called when his talents are needed.

Lunch hours at Disney find the band getting together, as they've done for the past eight years, playing for their own pleasure and to the delight of their colleague at the studio. In the unique and fortunate position of being able to play only when they want to, they have written a fascinating chapter in the ling and varied history of American popular music, combining two American traditions: the great basic jazz tradition and the lusty, extravagant tradition of American humor. As these notes are written, Ward is looking forward to the band's next public appearance on February 17th before the Los Angeles Obstetrical and Gynecological Assembly, for which the band has composed a special number titles The Baby Snatcher Blues. – Lester Young - February 12, 1956

What Is This Thing Called Love?
Girl Of My Dreams
I Can't Give You Anything But Love
My Honey's Lovin' Arms
Love Nest
I Can't Believe That Your In Love With Me
Love Is Just Around The Corner
I Love My Baby
Careless Love
I Love You Truly 
Love Songs Of The Nile

Tuesday, September 17, 2024

Music For Peace and Meditation - Ashley Miller

 

Music For Peace And Meditation

Music For Peace And Meditation
Ashley Miller, Organist
Decca Records DL 78924
1960

From the back cover: Ashley Miller began studying music at the age of six. He has studied abroad, and as a scholarship student at The Juilliard School, where he worked under Gaston Dethier on organ and with Albert Stoessel in conducting. Mr. Miller's professional debut took the form of a series of concert recitals on WQXR. At the same time, it is interesting to note, he was staff organist for another station, specializing in popular music. Mr. Miller explains this seeming paradox, which has become so characteristic of his career, in this way: "The requirements of the classic concept, with its emphasis on discipline and training are often thought to be at variance with the free and easy feeling of creative popular music. However, rather than one being the antithesis of the other, they are complimentary." As if to prove hie theory beyond a shadow of a doubt, Mr. Miller has been engaged, simultaneously, as organist for the New York Society for Ethical Culture and Radio City Music Hall. 

In addition to his skill as a performer, Mr. Miller has proved his mettle in the fields of arranging and composing. In the role of composer, he has written for piano, organ, band and chamber groups. One of his band works has been performed by Paul Lavalle, and his Rhapsody For Strings was conducted by Alfred Wallenstein.

The console on which Ashley Miller performs his Music For Peace And Meditation was built by the Wicks Organ Company, and specially designed for serious music of all schools and periods. Newly installed in the meeting house of The New York Society for Ethical Culture, it is a three-manual, forty one rank organ with an open, exposed Great section. The enclosed Swell and Choir sections are on the opposite sides of the auditorium and blend as a unit.

Largetto In A Flat Minor
Meditation
A Lovely Rose Is Blooming
My Heart Is Filled With Longing
Choral Prelude - On A Melody by Orlando Gibbons
Cantabile
Adagio
Prelude In B Flat Minor
Be Glad My Soul
Choral

The Source - King Pleasure

 

Parker's Mood

Tomorrow's Another Day

The Source
King Pleasure
Remastering: Rudy Van Gelder
Art Direction: Tony Lane
Back Cover Photo: Jim Marshall
Prestige 24017
1972

Personnel

On "I'm In The Mood For Love" and "Exclamation Blues" (recorded 2/19/52)
King Pleasure - Vocals 
Blossom Dearie - Vocals
Merril Stepter - Trumpet
Lem Davis - Alto Sax
Ray Abrams - Tenor Sax
Cecil Payne - Baritone Sax
Teach Wiltshire - Piano
Leonard Gaskin - Bass
Teddy Lee - Drums

On "Red Top" and "Jumpin' With Symphony Sid" (recorded 12/12/53)
King Pleasure - Vocals
Betty Carter - Vocals
Ed Lewis - Trumpet
Charlie Ferguson - Trumpet
Ed Swanson - Piano
Peck Morrison - Bass
Herbie Lovelle - Drums

On "Sometimes I'm Happy", "This Is Always" (recorded 9/19/53) and "Parker's Mood", "What Can I Say?" (recorded 12/24/53)
King Pleasure - Vocals
The Dave Lambert Singers - Vocals
John Lewis - Piano
Percy Heath - Bass
Kenny Clarke - Drums

On "Don't Get Started", "I'm Gone", "You're Crying" and "Funk Junction" (recorded 12/7/54)
King Pleasure - Vocals
Jon Hendricks - Vocals
The Three Riffs - Vocals
J.J. Johnson - Trombones
Kai Winding - Trombone
Lucky Thompson - Tenor Sax
Danny Bank - Bariton Sax
Jimmy Jones - Piano
Paul Chambers - Bass
Joe Harris - Drums
Quincy Jones - Arrangements and Direction

On side three and four (recorded 4/14/60)
King Pleasure - Vocals
Accompanying Vocals unknown on "I'm In The Mood For Love"
Gerald Wiggins - Piano
Harold Land - Tenor Sax
Teddy Edwards - Tenor Sax
Matthew Gee - Trombone
Earl Palmer - Drums
Wilfred Middlebrooks - Bass

From the inside cover (gatefold): King Pleasure was the first to popularize the concept of applying original lyrics to well-known lines of jazz improvisation. Following the path, and enjoying a more durable public acceptance, was the Lambert-Hendricks-Ross organization, one of whom pays tribute to his mentor in the accompanying notes, Despite Pleasure's early hit with "I'm In The Mood For Love," he spent little time in the studio and this compilation from the Prestige and Hifijazz catalogs represents almost his total recording output. Such was the man's respect from instrumentalists that he was able to attract some of the best jazzmen of the time to work with him in these sessions.

Also from the inside cover: King Pleasure is a jazz musician who plays tonsils. To understand a singer like Pleasure, who has been too long on the shelf, one must understand the art of singing, as well as the man himself, which takes us back to when Man expressed his first feelings in song, before separation had begun and speech and separation had begun and speech and song were one.

Man must have made his first musical instruments in imitation of his own voice. The song Mother Nature sang, in the sound of waves against the shore, in the sound of beast and the sound of bird, and more, was his only other choice. Was it the sound of the wind through river reed that tempted primeval man to answer a primary need, to bing the reeds together as best he can, creating the pipes-of-Pan?

The idea that Man is an astral being created after the cosmos according to musical laws was Plato's basic position, so he allowed no one into his school who was not a musician. In the most ancient temples at Memphis and Thebes choirs of singers accompanied religious rites, and Solomon had a choir of male voices as one of his temple's delights, together with a choir of wind instruments, a most wise choice, since they imitate the human voice. Deep down in a catacomb under Rome early Christians met secretly and in spite of qualms, read the epistles and chanted some psalms, the chanter, the one who sang the best, leading all the rest, later becoming the Cantor, while the congregation joined in on "Hallelujah!" and "Amen!," just like those earlier Christians with that Cantor.

In our church the music had no hues, but outside the church the Spirituals are called the blues, and when you play 'em through a horn jazz is born. They say it was Louis Armstrong forgot the words to "Heebie-Jeebies" and invented scat and showed everybody where it was at. Everybody with ears had great big eyes for what Pops was doin', and wanted to get to it and do it.

Leo Watson could scat. He was a very funny cat. He liked to play the drums. I remember one night in my hometown, Toledo, Ohio, in the Waiter's and Bellman's Club on Indiana Avenue, Leo sat in on drums and played, and played, and played, for days! Finally, two cats had to pick him up bodily and carry him out of the club, and all the way through the joint Leo is beating on everything in sight, tables, glasses, the walls, his shoes, people's heads, everything! And spread across his face all the while is a beautiful smile. Leo Watson. He scatted with a trombone sound, a different instrument from Pops, and gave us all more room to move around, because if you did it with a trumpet sound, well, Pops had already laid that down, so, unless you were out of your mind, out quit while you were behind, because the way Pops did it, it was so high you couldn't get over it, so low you couldn't get under it, so wide you couldn't get around it, you had to come in at the door. We all had to scat through that.

After Leo and his vocal trombone came Bon-Bon, who scatted with Jan Savitt's orchestra and had a distinctive style of his own. And then from out of the sky a Bird flew by. What kind of Bird? Well, the peacock preens his pretty plumage as he struts by and he catches your eye, though his beauty does not last long and he sings you no song. This was a song Bird, who sang a song he heard in the heavens on high, a song Dave Lambert and Buddy Stewart heard as Bird flew swiftly by, and they took scat to where it was at, to where be-bop is, and Joe Caroled it with Liz, who can scat too. So can James Moody, who is quietly very, very bad, (which means very, very good). Clark Terry can scat too, like a good trumpeter player should. Jack Jones can scat, and so can Mel Torme, but when it comes to scatting a la Bird, Philly Joe Jones does it best that way. And so we all did it and we all still do it, try to scat be-bop non-stop, and we all love it and we all try to swing it, knowing that the next thrill had to be someone giving it word so we could sing it, it being well known that Babe Gonzales is in a class all his own.

King Pleasure provided the word and that thrill. I'll never forget and I don't think any of us ever will. He moved a musical idiom a whole steps forward in its evolution, and in his own lifetime, while he was still young. He sang a song unlike any that had yet been sung. He and Eddie Jefferson opened up a whole new world of sound. A new idiom had been found, for which there still exists no proper name. Some say "vocalese," some say "vocalmentals," but however you pronounce it, it's all the same. "Moody's Mood For Love" struck a chord in my soul that meant freedom from the 32-bar restriction that had left all my story untold. In lyricising instrumental solos the song title becomes the subject, the first 32-bars become the plot and the horns become characters and their solos arias, just as it opera, although more like bopera. It was on this foundation that my lyrics to "Sing A Song Of Basie" by Lambert, Hendricks & Ross were based. Although I endeavored for the first time to lyricise arrangements of a big band, Pleasure's work was the basis of my plan, and it was "Moody's Mood For Love" that made me want to go and write me a taste.

And so King Pleaure has advanced the art of Jazz singing by giving it word so that it can be more easily heard, and led to a revolutionary approach to songwriting, making it more exciting. When he asked me to do "Don't Get Scared" with him all he gave me was the Stan Getz record and a copy of his words to Stan's solo.

"Where are my words?" I asked.

"Write your own," he said. "I wrote mine now you write yours," and exited laughing, striding cooly away with a combination of the Hasting Street Strut and the L.A. Getaway. Pleasure definitely had style, to the core. Nobody walks away like that anymore.

Singing, as we have shown, is an old as Man from the start, Who, then can claim to have been instrument through which has come something new in so ancient an art? Step into the light and let me see your face. Of such a claimant there is not a trace. Who can stand in King Pleasure's place? And what manner of man is this who has been instrumental in creating a new vocal art form? This kind of person being as rare as hen's teeth, there is, of course, no norm, however, I believe that such a one is a poet, first and last, possessed of a certain elasticity of mind encompassing a certain elasticity of mind encompassing a certain secret knowledge of a most uncommon kind from a age long past, a knowledge which finally renders whose possessing it deaf, dumb and blind, a knowledge one would most highly prize, since it lies beyond anything the five senses can cognize. But, then, poets have always been mysterious. The world laughs at them, and they are always serious.

Finally, it remains quite possible that one on such a path finds the knowledge he seeks obscured by the false glow of the limelight. Would he not, therefore, seek to remove himself from its sight, lest it obscure that true light all truly wise men seek to find: The light in our own mind? Let it now be fully understood just why Clarence Beeks has not given us Pleasure for Lo, these many weeks, and towards what pursuit he has occupied himself these months past, nor must I speak further of such pursuit, lest I infringe on what should remain secret. Therefore, let us leave this subject – fast!

As far as biographical data on King Pleasure is concerned, you get little or none from me. It's not that I'm unaware that such date has its place. It's just that in a world in which poets live with Pleasure there is no time or space.

As to those of you who are hearing King Pleasure for the first time; I many not know your name, but I know that if you dig him you'll never be the same.

King Pleasure is his name and jazz singing is his game, and what he sings is right because it's what he wrote, and what he wrote is right because right is the only way he ever wrote, unquote. He swings because he has a lineage behind him of a culturally swinging kind, with a spiritual basis behind. He has been out here a long time and he has paid his due, and so he gets, understands and sings the blues. Constantly. He can be singing "This Isn't Sometimes, This Is Always," which has no hues, and it'll come out as "This Isn't Sometimes, This Is Always Blues." You can rely on that. This is what makes Pleasure such an extraordinary cat, a real jazz singer, who swings down to his little finger.

In this set you will hear very hip stuff which Pleasure has put down for posterity, deeply serious, yet full of hilarity, loaded with creativity, warmth, beauty, charm and wit, and with this reissue he still ain't quit, and never will, because what he first put down is still it. There's a swingin', scatting' little cat here on the London scene named Bobby Breen. He knows what I mean.

Those of us who have experience Pleasure before must only remember that an eclipse of the sun does not mean the end of light, which forever returns burning more bright. Who knows how many newly-generated ears will pick up on this sound and spread it electrifyingly around? So now I've said my say and done my thing. Now it's time for The Man to sing.

Measure for measure.

To invite you to listen to King is my very great Pleasure. – Jon Hendricks (London, England, March, 1972)

I'm In The Mood For Love (1952)
Exclamation Blues
Red Top
Jumpin' With Symphony Sid
Sometime I'm Happy
This Is Always
Parker's Mood
What Can I Say
After I Say I'm Sorry
Don't Get Scared
I'm Gone
You're Crying
Funk Junction

I'm In The Mood For Love (1960)
The New Symphony Sid
Don't Worry 'Bout Me
Little Boy, Don't Get Scared
Parker's Mood (1960)
Golden Days
Tomorrow Is Another Day
No, Not Much
All Of Me

Sides one and two previously released as Prestige 7586 – King Pleasure / Original Moody's Mood
Sides three and four previously released as Hifijazz J425 – King Pleasure / Golden Days

Tracks one, two, three and four on side one produced by Teacho Wiltshire
Tracks five and six on side one and tracks one and two on side two produced by Ira Gitler
Tracks one, two, three and four on side two produced by Bob Weinstock
Sides three and four produced by Dave Axelrod