Piano Italian Pops - Elly Ellason

 

Piano Italian Pops

Elly Ellason

Pianst With Rhythm

Hudson 249

No Quarto 'E Luna

Toselli's Serenade

O Marenariello

Cuore Ingrato

Un Giorno Ti Drio

Funiculi-Funicula

Cara Mia

O Solo Mio

Operatic Fantasy From Turnadot, Trovatore, Cavalleria, Butterfly

It's Just Love - Tony Martin

 

Guilty

It's Just Love

Tony Martin

Mercury Wing MGW 12115

1960

From the back cover: Tony is a native of Oakland, California where he was born on Christmas Day. At the age of twelve, he played both clarinet and saxophone, and while attending high school he and three other boys formed an orchestra called the "Clarion Four" that was good enough to get professional engagements in several vaudeville theaters. Tony was leader and played sax. At fourteen he played with the Five Red Peppers, a hot jazz combo and at sixteen, he was playing and singing with a band at the Palace Hotel in San Francisco, making $102 a week, which was during the days when 25 dollars was high wages for a man let alone a boy in his teens.

At the age of eighteen, he made his coast to coast radio debut while still attending St. Mary's College. Tony Martin's story falls into a pattern that has spelled success for so many other greats in the entertainment business, work, lots of it, a few heart breaks like an accident while on his way to open at the Chicago Worlds Fair, losing a chance to star in movies because he was too new, or being signed to do musicals just when the movies decided to feature drama. Still for every dark side there is a bright side and as they say, talent will always win out, and so it was with Tony. The Trocadero Night Club was the turning point for Tony Martin, for it 3was here that Daryl Zanuck heard Tony sing and signed him to a contract with 20th Century Fox.

Most of the numbers in this album are among Tony Martin's greatest hits, including "I Kiss You Hand Madame" and "A Gal In Calico." These hit songs plus many more are yours for the listening in this album of Tony Martin's best recordings.

And Then It's Heaven

Dreamland Rendezvous 

I Miss That Feeling

Would You Believe Me

A Gal In Calico

Guilty

I Don't Know Why

Make Believe

I Kiss You Hand Madame

All The Things You Are

Years And Years Ago

I Never Loved Anyone

Bandstand Hop - Jack Pleis & Owen Bradley

Funky

Bandstand Hop

Rockin' Piano & Rollin' Organ

Jack Pleis and Owen Bradley and Orchestra

Decca Records DL 8724

1958

From Billboard - April 21, 1958: "Raunchy," "Blueberry Hill" and other recent hits plus some good Pleis originals, all for dancing at the hop. Good piano work. Kids with large allowances will like it.

Bandstand Hop

The Stroll

Hound Dog

Blueberry Hill

Honky Tonk

Raunchy 

Five O'Clock Hop

I Almost Lost My Mind

Tricky

Slow Walk

Strollin' To The Cha Cha

Funky

A Toast To Broadway And Hollywood - Strings Unlimited

 

Torna Sunda

A Toast To Broadway And Hollywood

Strings Unlimited

Oscar Records OS-102

Raindrops Keep Fallin' On My Head

Eidelweiss

Theme For A Broken Heart

Scarborough Fayre

I Could Have Danced All Night

Melody Of Love

Taps For The Fallen Brave

Torna Sunda

Fascination 

Down The Trail

Grandes Exitos Del Cine De Los Anos 60 - Connie Francis

 

La Sombra De Tu Sonrisa

Grandes Exitos Del Cine De Los Anos 60

Connie Francis

Producido por Bob Morgan & Tom Wilson

Arreglos musicales y Direction de Benny Golson & Larry Wilcox

Director de Ingenieria: Val Valentine

Portada diseñad por Acá Lehman

MGM LAT 10.015

Latino Series

This album was previously released on MGM SE-4474

No Puedo Olvidar (de "A Man Could Get Killed")

Eres (de "Papa's Delicate Condition")

Ya Te Hablaran De Mi (de "Inside Daisy Clover")

El Segundo Amor (de "High Time")

Sueno De Amor (Tema de Lara de "Doctor Zhivago")

La Sombra De Tu Sonrisa (Tema Amoroso de "The Sandpiper")

Fue Nuestro Amor (de "Wives and Lovers")

La Buena Vida (de "Seven Capital Sins")

Donde Hay Chicos (de "Where The Boys Are")

Olvidemos El Mañana (de "The Yellow Rolls Royce")

Play Music For Young Lovers - Living Strings Plus Trumpet

 

Theme For Young Lovers

Living Strings Plus Trumpet

Play Music For Young Lovers

Arranged and Conducted by Johnny Douglas

Trumpet Solos: Ray Davis

New York A&R Coordinator: Ethel Gabriel

Recorded in England

RCA Camden CAL 739

1963

From Billboard - March 2, 1963 The only thing modest about this album is its price; the sound is lush and sleek, the mood is romantic, and the Johnny Douglas arrangements of oldies like "I'll Get By" and "Love Letters" spotlight some fine motto-voce trumpet by Ray Davies against wall-to-wall strings. Could easily be a strong seller.

Fools Rush In (Where Angels Fear To Tread)

I'm In The Mood For Love

I'm Getting Sentimental Over You

Penthouse Serenade (When We're Alone)

Medley: Take Me In You Arms & Love's Last Word

I'll Get By (As Long As I Have You)

Love Letters

Theme For Young Lovers

Fly Me To The Moon

Medley: Say Not Love Is A Dream & Ordinary People

Discotheque

 

Why Can't You Love That Boy

You Were Meant For Me

Discotheque

Coronet Records CX-252

A Division Of Premier Albums, Inc.

Wooly Bully

You Got Me Bugged

Just One Look

Why Can't You Love That Boy

Sassy Sue

Come With Me

Why Don't You Leave That Man

Take A Chance

I Just Can't Take It

You Were Meant For Me

Latin Twist - Tito Rodriguez

Taboo

Latin Twist

Tito Rodriguez And His Orchestra

United Artists Records UAL 3194

1962

From the back cover: In the late Spring of 1961 a new dance craze, nurtured by Teens, spread like fire through the United States, then slowly ebbed. Late in the year, from out of nowhere, the same craze, known as the Twist, suddenly came back to life, this time as an adult dance fare.

New York's famous Palladium Ballroom, where the latin rhythms prevail, soon found that the music played by Tito Rodriguez and his fine orchestra was well-suited to this new dance, and Tito, ever aware of trends, made certain his music would fill the bill for the hordes who flock to the Palladium each night.

There can be no questions that Tito Rodriguez has, in the early '60s become the leading Latin-American entertainer North of the border. His fame has spread from one coast to the other, and into Canada where he made his initial appearance late in 1961, and was so enthusiastically acclaimed that a return engagement was set before he returned home. Similar receptions greeted him on his first personal appearance tour of the West Coast.

Here is Tito, singing and leading his musicians through the same exciting music the New Yorkers dance "live" to at the Palladium. You will find the tempo ideal for Twisting – or, if it is your pleasure – for just plain listening. In either event, it is Tito Rodriguez at his entertaining best.

Latin Twist

Taboo

Amapola

Jealousy

Maxima Susi

La Cuca Twist

Mama Inez

Papaya

Hi Ho Caballo

Negra Consentida

Something For Cat

Yo Soy Tu Dolor 

Je T' Aime I Love You - Joni James

 

Under Paris Skies

Je T'Aime...

I Love You

Joni James

Orchestra Conducted by David Terry

Photographs by Philippe Halsman

MGM E3718

1958

I'll Be Yours (J'Attendrai)

The River Seine (La Seine)

April In Paris (Avril 'a Paris)

The Sound From Moulin Rouge (Chanson du Film "Moulin Rouge")

Under Paris Skies (Sous le ciel de Paris)

Speak To Me Of Love (Pariez-moi d'amour)

I Love Paris

Autumn Leaves (Les Feuilles Mortes)

Under The Bridges Of Paris (Sous les ponts de Paris)

La Vie En Rose

Mademoiselle De Paris

The Last Time I Saw Paris

Sentimentally Yours - Patsy Cline

 

That's My Desire

Sentimentally Yours

Patsy Cline

Decca Records DL 4282 & DL 74282

1962

She's Got  You

Heartaches

That's My Desire

Your Cheatin' Heart

Anytime

You Made Me Love You (I Didn't Want To Do It)

Strange

You Belong To Me

You Were Only Fooling (While I Was Falling In Love)

Half As Much

I Can't Help It (If I'm Still In Love With You)

Lonely Street

East Coast – West Coast Scene - Al Cohn & Shorty Rogers

Serenade For Kathy

East Coast – West Coast Scene

Al Cohn and His "Charlie's Tavern" Ensemble

Shorty Rogers and His Augmented "Giants"

RCA Victor LJM-1020

1955

From the back cover: The East Coast Scene

Al Cohn and His "Charlie's Tavern" Ensemble

Inside Out

Autumn Leaves 

Serenade For Kathy

Take a group of top-flight jazz musicians, put them in a room to themselves – even in "Charlie's Tavern," the established oasis of New York jazzmen – and it's a safe bet that they'll come up with some pretty wild music. But take a group of East Coast instrumentalists, put them in a small, but wonderfully active recording studio, and  it's an equally sure thing that they'll "cut" just about anything anyone has to offer. For swinging jazz in a modern idiom I'll take the East – in Charlie's Tavern it's Al Cohn three to one.

The group that Al has assembled here is what is commonly referred to as "power-packed"; a sax section of, beside Al and his puissant horn, Sol Schlinger (baritone), Hal McKusick (alto) and new-find Gene Quill (alto); Joe Newman from the Count Basie band on trumpet, with Billy Byers and Eddie Bert on trombones; and a rhythm section comprised of Sanford Gold, piano; Billy Bauer, guitar; Milt Hiton, bass and Ossie Johnson, drums – a lot of wind and muscle power in anybody's league.

It doesn't matter what kind of musicians you set around the music stands, it requires great arrangements to come up with something that hasn't been done before – and in Al Cohn the jazz world has one of the most prolific and accomplished of writers in this medium. Al's scores are marvels of harmonic values – tones piled upon tones which at times seem at variance with their neighbors until the idea is worked out and, in retrospect, it is seen that each value has its definite place in the whole design. Al's is a full-bodied writing, utilizing every facet of every available instrument. The fact that two of these chefs d'oeuvre are only framework arrangements many be laid to Al's insistence that each soloist be heard – but one has only to listen to Autumn Leaves to hear the master at what may very well prove to be the high point of his career. This, above everything else in recent annals, proves just how evocative and deeply felt contemporary jazz can be.

Both Inside Out and Serenade For Kathy are loosely scored, for between the opening and closing bars each musician solos to his heart's content. But Autumn Leaves is quite another story. It's musical content is of equal (or perhaps greater) excitement, generated here by Cohn's deft use of harmonics, by his writing of an arrangement which each individual musician feels. This is the kind of jazz that creeps under your skin, that keeps you firmly in your seat – one of those great performances which sometimes magically happen when exactly the right talent and the right music are put together. 

In the final analysis, there may not be a great deal to choose from between jazz of these two coastal schools – each is obviously loaded with men of enormous invention and talent. But, as representative of what is happening in the environs of Manhattan, these sides are wonderfully expressive of what comparisons are being made. – Notes by Bill Zeitung

Order of soloists in these recordings

Recorded October 26, 1954

Inside Out:

Cohn, Newman, McKusick, Byers, Schlinger, Bauer, Bert, Quill, Gold, Hinton, Johnson

Serenade For Kathy:

Bauer, McKusick, Newman, Gold, Byers, Cohn, Hinton, Schlinger, Bert, Quill

Autumn Leaves:

Cohn, Newman, Cohn, Byers, Gold, Hinton, Newman, Cohn

The West Coast Scene

Shorty Rogers and His Augmented "Giants"

Cool Sunshine

Loki

Elaine's Lullaby

The West Coast jazz scene has for some time been almost completely dominated by Shorty Rogers who has kept modern jazz alive when many despaired of anything but Dixieland living through the famine. In his writing and playing he has almost single-handedly created and nurtured a definite West Coast style. The loose, swinging beat, the complex harmonies that have more than ever before brought a rapport between classical music and jazz – above all, the constant experimenting for something new in voicing, instrumentation or phrasing – all these things help to define the West Coast style, the Shorty Rogers style. The two are inseparable.

Most of the individual soloists in these recordings cannot be properly identified, but the modern jazz fan will have no trouble naming the majority of them. The guitarist, who has done considerable recording on his own, is the nation's number-one man on his instrument, and his reputation certainly does not suffer here. The clarinetist can easily be spotted by his warm, ghostly style, as well by his better-known tenor and baritone sax. The other tenor man was a stand-out for his work with Woody Herman a number of years ago, as one of the Four Brothers. The two alto men have been vying for top West Coast honors – one of them recently cut his first solo album, and the other is well-known for his lovely flute work. In addition to the happy slide trombone of the West Coast's leading exponent, we have one of the few performers on the valve trombone, and certainly the top man of those few. The rich, infectiously rhythmic work of the pianist is one of the West Coast's prime favorites and deserving of more nationwide acclaim. On bass is one of the most sought-after musicians in Los Angeles, and it is easy to hear why; his dynamic contribution to the great rhythm section is certainly impressive. And of course the well-known drummer – he plays almost exclusively with these men – is superb as always. Shorty has given himself more solo work than on previous records, and sounds simply great; it is difficult to decide which is mightier in his case – the pen or the horn.

This record is, I fell, a fine demonstration of the West Coast jazz scene. The best man in the area, truly great arrangements by Shorty, variety of tempos – the musicians could ask no more, nor could the listener. Here are some of the finest things happening in jazz today, played by the most articulate spokesmen – the West Coast jazzmen themselves. – Notes by Paul Krupa

Order Of Soloists In These Recordings

Recorded September 11, 1954

Cool Sunshine:

Piano, Clarinet, Guitar, Trumpet, Tenor, Slide Trombone, Bass

Loki: Baritone, Valve Trombone, 1st Alto Trumpet, Tenor, Guitar, Slide Trombone, 2nd Alto, Piano, Clarinet, Bass

Elaine's Lullaby:

Trumpet, Piano, Clarinet, Guitar, Valve Trombone, 1st Alto, Tenor, Piano

Misty - Georgie Auld

 

Summer Time

Misty

Tenor Saxophone Solos by Georgie Auld

Coral CRL 57032

1955

From the back cover: A group of songs in this set are extracts from the sound track of the fine Alfred Hitchcock movie, "To Catch A Thief." These include "Francie's Theme," "Your Kisses," "You'll Love France," and "Unexpected," and they glow with all of romantic suggestion implied by the presence in the cast of the film of such idols as Grace Kelly an Cary Grant. Never before released in long-play form, these selections are the lushest in the album, since they benefit from the accompaniment of Lyn Murray and a string-heavy orchestra performing Murray's own arrangements of his own melodies.

Another standout in this collection is a never-before-released recording of "Summertime," which features Auld with rhythm  and a chorus led and arranged by Dave Lambert, a modernist with extremely good taste. Soprano voices are employed almost like strings to offset the rich, husky, heartfelt saxophone tones projected by Auld in an altogether haunting rendition of the great Gershwin standard from the score of "Porgy And Bess."

Actually, the warm, romantic mood recordings gave brought to Georgie Auld more commercial acceptance and widespread fame than all he had done to make of himself a leading instrumentalist in the later thirties and through the forties. When Auld decided to apply his skills to romantic music with a jazz flavor, he had tucked away many awards and walked off with innumerable polls in tribute to his years of blowing some of the most provocative jazz ever executed by a tenor saxophonist.

Georgie, as a teenager, actually started his career as a star, his first job of record being with the late Bunny Berigan's band in the hot tenor chair. From Berigan, Auld moved into the fast-rising Artie Shaw's crew, where he shared tenor sax honors with Tony Pastor. With Shaw, Georgie started to earn some reputation for his jazz abilities and began to pick up his first poll awards. When Shaw gave up his band, Auld moved onto the Bunny Goodman bandwagon, and it was with Benny that Georgie built his reputation as a leader among the new saxophone stars, and competed favorably with such historic masters as Coleman Hawkins and Lester Young. With B.G., he became particularly well remembered for his work with the Goodman sextet, and especially for a remarkable solo he delivered on the original recording of "Air Mail Special" (or "Good Enough To Keep," as it was called at first).

Toward the end of World War II, Georgie decided to form his own band, and, though it ultimately was an economic failure, this was one of the most invigorating bands born in the mid-forties. It was one of the first bands to exploit modern or progressive jazz, and it in many ways reflected Auld's pioneer spirit as a musician. To put his band together, Georgie found a number of amazing and previously unknown young musicians who today represent some of our most stellar jazz personalities. He featured such embryonic stars as Erroll Garner, Dizzy Gillespie, the late Al Killian, Al Haig, J. J. Johnson an others.

Misty

Spring It Was

Francie's Theme

Summer Time

Your Kiss

Blue And Sentimental 

You'll Love France

The Touch Of Your Lips

Unexpected

You'll Never Know

Take My Word

Tenderly

Jazz For Young Moderns - Tony Ortega

 

Patting

Jazz For Young Moderns

(And Old Buzzards, Too)

Tony Ortega Plays Modern Alto Jazz

Cover: Record Design Studios

Bethlehem Records BCP-79

1959

From the back cover: I was born June 7, 1928 in Los Angeles, California. When I was 15 years old I stared playing the Alto-Saxophone and a year later the clarinet. For three years I studied with Lloyd Reese. After I finished high school I worked a while with Earl Spencer's Band. In 1948 I went into the Army and played with a band for three years. During this time I also started playing the Flute and the Tenor-Saxophone.

In 1951, after discharge from the Army, I joined Lionel Hampton's Band. During that time also with Lionel were the late Cliffords Brown, Art Farmer, Quincy Jones, Jimmy Cleveland and Gigi Gryce. In November 1953 after Hamp's first European Tour I left the band and worked around the Eastern United States with Organist Milt Buckner.

In early '54 I traveled to Norway and toured Scandinavia with my own group, which were Norwegian Musicians. "Estrad," the Swedish Jazz Magazine, credited me for giving new impetus to the Jazz Movement in Norway. Upon returning to Los Angeles, I formed a Quartet, comprised of the last Carl Perkins, Monk Montgomery and Chuck Thomson.

In late 1955 I toured the East with Organist Louis Rivera. Afterwards I settled in New York City. I did at that time quite a few recording dates, with musicians like Billy Taylor, Herbie Mann, Quincy Jones, Nat Pierce, Maynard Ferguson, Ernie Wilkins, Dinah Washington an Johnny Hartman.

Also I worked with the bands of Claude Thornhill, Dizzy Gillespie, Max Roach, Clifford Brown, Elliot Lawrence. Now I am again on the west coast, working this time with Howard Romsey's Lighthouse All Stars. I strive after an overall Jazz sound not patterned after any one particular musical, although my biggest influence was Charlie Parker. Of contemporary Musicians I like Art Farmer, Walter Benton, Paul Bley and Slide Hampton.

On side A of this album I try to bring to the listener straight-forward Jazz and on side B a form of chamber-music-styled Jazz. I hope to prove that both forms have their merits.  – Anthony Ortega

Just One Of Those Things - Cole Porter

Bat Man's Blues - Tony Ortega

These Foolish Things - Link-Strachey-Maschwitz

Tune For Mona - Tony Ortega

No Fi - Tony Ortega

Four To Four - Robert Zieff

I Can't Get Started - Duke-Gershwin

Cinderella's Curfew - Robert Ziff

I Don't Stand A Ghost Of A Chance With You - Young-Washington-Crosby

Patting - Robert Ziff

Joltin' Joe Roland

 

Spice

Joltin' Joe Roland

Recording Engineer: Rudy Van Gelder

Supervision: Ozzie Cadena

Savoy Hi-Fi Recording

MG-12039

1954

From the back cover: Meet Joe Roland, gently swinging master vibes star and some of his groups! There's been much fuss and bother made over this modern star and some of his ideas, but no one yet has failed to note his originality of expression and ever-increasing fund of fine ideas expressed. Here is more testimony to hie outstanding abilities. By way of background, Joe was born some 35 years ago in New York, son of the Hotel Savoy's chiropodist. His musical training ground was Julliard from 1937 to 1939, where he majored in clarinet and a little piano. The "stick" was his only instrument up until induction into the Army. A relative had stored a set of vibes in his home. He fooled with them, later acquiring a set while on a long tour of duty in the Aleutian Islands off Alaska where he worked out both vibes and xylophone between duties as a radio operator. In 1946, he was discharged out into civilian life and took up his musical life with such other modern luminaries as Terry Gibbs, Tiny Kahn, George Wallinton, Eddy Bert, Red Rodney and Don Elliot. His first recorded effort was with a string quartet (the last 4 sides on this LP) and with members of the growing school around Tristano. Since that time, Joe has played with groups led by Oscar Pettiford in 1951, replaced Don Elliot with the George Shearing quintet from 1951 -53, worked with Howard McGhee in their own group, played with Artie Shaw from 1953 to 1954, then returned to his freelancing in and around New York City. Outside of a few solo bits in records made with Shaw and Shearing, this album, part new and partly re-issued, contains his best recorded work to-date! Your reaction to this set should correct this oversight in the very near future. As a performer, Joe lies between two schools. His personal preferences range from Lionel Hampton to Terry Gibbs, by way of Milt Jackson. This is to say the that Joe "digs" not only fabulous technique and speed (as in Terry's work), but also the basic, drive and emotional intensity of Hamp's efforts, combined with harmonic invention of "Bags". The result, a careful culling of the best in all 3 influences into a remarkable, new, stylization on the vibes. Listening to the sides in this album, one feels a continuous level throughout in his performances. He doesn't strive for high emotional peaks, but rather, is content with a constant flow of pleasing inventions, utilizing his excellent technique to add and not over-power the expression. His tone is even, avoiding the "clunk" and "clang" tom-tom technique others use.

Let's take a look at the tunes backwards, to set them chronologically! The last 4 tracks, Half Nelson, Love, Sally and Dee Dee were recorded earlier, as an experiment with strings. The string quartet is treated here much in the same way as a sax section could be used. They state the riff, in unison and with amazing cleanliness, (no "sawing") and then serve as a voiced back-tap medium behind a vibes, guitar sequence of solos. In listening, note the excellent phrasing of the string quartet. Although strings have become a much used orchestral Jazz voice, it is very rare indeed when they have been used on uo-tempo things and come off successfully in a jazz rhythm feeling. Listen to some of the old Krupa-with-strings band, or Tommy Dorsey-with-strings band recordings from the late 1940's to see what I mean. Harold Granowsky, one of Tristano's first drummers, lays down a heavy rat-tat background with cymbals dominant, Je Puma, a professional guitarist since only 1948, and self-taught at that, plays interesting lines over the background. His background is primarily small groups, having played with Cy Coleman, Don Elliot, Lou Bellson, Artie Shaw's Gramercy 5 and also serving as accompanist to Peggy Lee in 1954. He is currently with the Les Elgart band. Paula Castle contributes a warm vocal on Love. I just loved the switch on "I Wonder What's Become Of" to Sally Is Gone, as a title. In the first 4 tracks, pianist Wade Legge is credited as composer. Very neat lines, and excellent vibe and piano work besides. This is Wade's first solo effort on records. Altho' he has recored more, it has been only for European distribution. He's a 22 year – old modernist who was brought from Buffalo to N. Y. by Milt Jackson. Played with Dizzy in 1952, and displays a warm, moving single-noted modern style of piano. The 1st, 2nd and 4th tracks are up-tempos, and Spice is a slow, then double-time, bit that is very pretty, and reminiscent of Thelonius Monk's Midnight. Check Ron Jefferson's fine drumming on tracks 1 thur 8. Excellent off-beat "chunk" and nice sustained-level solo work on the 4 bar splits in House and Choice. Upcoming Modernist Freddie Redd is heard at the key-board on tracks 5 thur 8. He wrote the frantic Stephanie's and plays up a storm on all 4. There's been much talk about this youngster, and more acclaim is due his way. Another all-time highlight of this second set is the playing of the great Oscar Pettiford. What a swinging beat that man lays down! Check your old Jimmy Blanton records at the door as you listen to his short solo efforts on Indian Summer and String.

Needless to say, Oscar's credits are far too long to list here. Garrity's is dedicated to hip NY Disc Jockey Bob Garrity of the Birdland Show.

All in all, a delightful set of 3 groups, ably supported and complementing the outstanding musicianship and creative efforts of Joe Roland, one of today's top modern vibe stars. – H. Aland Stein

Gene's Stew - Wade Legge

Spice - Wade Legge

Music House - Wade Legge

Joyce's Choice - Wade Legge

Joe Roland - Vibes

Danti - Martucci - Bass

Wade Legge - Piano 

Ron Jefferson - Drums

Garrity's Flight - Joe Roland

Indian Sumer - Herbert

I've Got The World On A String - Arlen-Koehler

Stephanie's Dance - Freddie Redd

Joe Roland - Vibes

Oscar Pettiford - Bass

Freddie Redd - Piano

Ron Jefferson - Drums

Half Nelson - Miles Davis

Love Is Just A Plaything - Lert & Jaffe

Sally Is Gone - Joe Roland

Dee Dee's Dance - Denzil Best

Joe Roland - Vibes

Paula Castle - Vocal

Joe Puma - Guitar

Ish Ugarte - Bass

Harold Granowsky - Drums

Sid Kassimir - Cello

Mike Bartun - Viola

Gus Oberstein, Jules Modlin - Violins