I've Got You Under My Skin - Georgie Auld

 

Body And Soul

I've Got You Under My Skin

Georgie Auld - Tenor Sax Solos

With Orchestra Directed by Andre Previn

With Bud Conlon's Rhythmaires

Vogue Coral Series LVA 9012

Made In England

From the back cover: The tenor saxophone can explore a mood with tenderness as well as passion. Its warmth of tone, its range and flexibility all make it a perfect medium for the expression of a contemplative, romantic approach to jazz. The soloist and his instrument become a singe creator; a man's emotions our from the sinning bell of his saxophone.

Nearly all evergreens of modern poplar music, the tunes on this record are romantic in mood, tinged with nostalgia. Georgie Auld interprets them quietly and sensitively, his imagination moving within their fabric to create a lyrical melodic line and dark harmonic textures. The instrument responds to the genuine artist within this brilliant young musician.

Georgie Auld has been playing jazz professionally ever since he was fifteen. Born in Canada on May 19, 1919, he moved to Brooklyn, N.Y. with his parents when he was ten years old. Two years later the boy could play the alto saxophone well enough to win a Rudy Wiedoeft scholarship. (in the days Wiedoeft was an unchallenged virtuosos on that instrument.)

Doing the late Twenties the Negro musician, Coleman Hawkins, created almost single-handed a style for the tenor saxophone. The richness of Hawkins' tone, the originality and scope of his ideas, the intricacy of his elaborate rhapsodizing, the power and swing behind his playing – these made such an impression upon young Georgie Auld that he gave up the lighter-toned alto saxophone and shifted to the tenor instrument.

Nick's in Greenwich Village became a centre of jazz activity in the Thirties. It was there that Auld, still only fifteen years old, came to be heard by Bunny Berigan, one of the greatest white trumpet players in jazz history. Berigan had just left Benny Goodman's first big band and was about to form a group of his own. Soon afterwards he asked Georgie Auld to join him, and for the nest three years the young tenor saxophonist played with Berigan's band.

Artie Shaw led one of the top-ranking swing bands of those years. In 1938 Auld replaced Ron Perry in Shaw's reed section. Now he started attracting attention among a wider audience; his style of playing began to be imitated by other tenor saxophonists. When Artie Shaw walked off the stand one night in 1939, declaring himself to be tired of the band business, and caught a plane for Mexico, it was Georgie Auld whom the other musicians elected to be their leader. Twenty-one years old, he led a band for the first time.

In 1940 Auld joined Jan Savitt's orchestra but stayed only a month. He left to work with Benny Goodman. Some of his finest solos were created with the Goodman Sextet – his tenor saxophone was the first to be heard within that group. But when Artie Shaw reformed his band (adding strings this time) Auld went back to him, staying until Shaw enlisted in the U.S. Navy.

In 1943 Georgie Auld joined the army, but was medically discharged the following year. He immediately organized a band of his own, the first of several which he was to lead during the next few years. None of these bands proved very successful from a commercial standpoint, although they contained outstanding sidemen and were rated very highly among musicians.

During the spring of 1946 Auld went to Arizona to rest and recover from the strains of being a bandleader. A couple of months later he was back again in New York, with plans for yet another orchestra. After the failure of this group Auld remained idle for a time, but in March, 1947 he took a sextet into the Three Deuces. Red Rodney, George Wallington and Serge Chaloff were members of that unit. Later that year Auld joined an all-star group comprising Chubby Jackson, Bill Harris, Howard McGhee, Shelly Manne and Lou Levy.

A spell on the West Coast found Georgie Auld working with Billy Eckstine. But the spring of 1949 brought him back to New York, where he opened a club – the Tin Pan Alley – on Broadway and 49th. He oiled his tenor saxophone rarely, but appeared in the role of a musician in  Garson Kanin's olay, "The Rat Race". Soon he grew tired of a club-owner's life, got out his saxophone and started touring with a quintet. The bad luck which dogged Auld's earlier attempts to become a successful bandleader struck once again: the club in St. Paul at which they opened burned down and the instruments were all destroyed. Refusing to be defeated, the band went on with its tour. In recent years, however, Auld has confined most of his playing to recording, radio and television studios.

This record highlights the dazzling instrumental technique of Georgie Auld. His relaxed, graceful style is touched with both delicacy and ferocity. His taste and skill derive from a basic, native musical intelligence.

Georgie Auld elaborates rich melodic solos within an orchestral framework created by that brilliant young composer and pianist, André Previn. The tenor saxophone takes on a new and captivating richness when set against a background of strings. Two tunes – Body And Soul and Smoke Gets In Your Eyes – have unusual accompaniment provided by the voices of Judy Conlon's Rhythmaires. The vocal-instrumental setting produces intriguing tonal blends and thrusts the saxophone into prominence. A romantic reverie, this selection of tunes played by Georgie Auld makes easy, dreamy listening.

I've Got You Under My Skin

S'posin'

I Cover The Waterfront

I Didn't Know What Time It Was

A Stairway To The Stars

Body And Soul

I Don't Stand A Ghost Of A Chance With You

Take Care

Smoke Gets In Your Eyes

Easy To Love

All The Things You Are

Someone To Watch Over Me

Jazz Furlough - Danny Long

 

Penny

Jazz Furlough

Danny Long - Piano

With Ray Heapolitan - Bass

And John Whited - Drums

Cover Photo: Capitol Photo Studio / Ken Veeder

Capitol Records T 1988

1963

From the back cover: Last year I was appearing at a Chicago club, a young pianist by the name of Danny Long was heading up his own instrumental trio there at the same time. I was so impressed by his impeccable, swinging style that I decided right then that I wanted him to make an album.

Danny Long plays a lot of piano. You'll hear what I mean when you listen to this album. – Bobby Darin

The chances for Bobby Darin to record Danny came a little later when the Trio was on the West Coast, packing crowds in nightly at a club called P J's. The Darin production staff is headquartered at the Capitol Records building in Hollywood, so they moved into action while Danny was in town.

As it turned out, the recording was completed just in time, because Danny was called into the Army shortly after the last date.

Bobby went ahead with the album, working with Capitol Records to arrange the many details that are necessary to turn out a finished album. Then, just about the time the records began to come off the presses, Danny Long got his first furlough.

He returned to the West Coast to get some well-deserved relaxation, to hear playbacks of his new record for the first time, and to renew acquaintances at P J's. It was during this time that Capitol producer Tom Morgan got the idea for the cover picture of this album – literally, a portrait of Danny Long enjoying his "Jazz Furlough."

Now the album is released and Danny Long is back at work with the Army. Fortunately, however, Bobby Darin is not the only one who knows something good when he hears it. For Uncle Sam has given Danny the job of packing in G.I. audiences at concerts all over the U.S., and Danny's career is still flourishing, just as when he was a civilian.

Form his beginnings in Chicago, where he rose quickly to play in many of the finest clubs, Danny has branded out to top bookings in New York, Los Angeles and Atlantic City, and now with the Army he's making even more of a name for himself.

Recently, he has performed concert engagements at Fort Knox, Kentucky; Fort Riley, Kansas; has functioned as composer-arranger-conductor for the 1st Division Dance Band; emerged as winning instrumentalist of the 5th Army Area Entertainment Contest; took second place as vocalist in the same contest (though he didn't get around to singing in this album); was Grand Finalist in the All-Army Entertainment Contest, held at Fort Lee, Virginia; and the list of credits goes on, with concert and musical directing assignments and credits across the country.

His skill as a composer is not to be overlooked – a fact that listeners can attest to for themselves by listening to five of Danny's own compositions in this album.

As for Danny's "Jazz Furlough," the vacation version is a thing of the past – just a pleasant memory. But the "Jazz Furlough," album version, is only the beginning of a big climb to a bright future for Danny Long. And in the meantime, he's not slowing down along the way.

From Billboard - November 23, 1963: Here's a fine young pianist, a discovery of Bobby Darin. Long, with bassist Joe Neapolitan and drummer Jim Whited make tight, lucid swing. The trio works well together and there are a number of tracks that have the pop-jazz ring. "Paul's Raffle, Part I and II" and "I Can't Give You Anything But Love" are the leading examples. The lad has a strong touch and has a good sense of dynamic dramatics.

Smile (John Turner - Geoffrey Parsons - Charles Chaplin)

Save One For Bugs (Danny Long)

Paul's Raffle, Part I and II (Danny Long)

Penny (Danny Long)

Audrey's Purpose (Danny Long)

I Can't Give You Anything But Love (Dorothy Fields - Jimmy McHugh)

Broadway (Henri Wood - Teddy McRae - Bill Bird)

It Could Happen To You (Johnny Burke - Jimmy Van Heusen)

Strange Meadow Lark (Dave Brubeck)

Mrs. E. T. (Danny Long)

Tricky Trombones - Warren Covington

 

T Bone Rare

Tricky Trombones

Warren Covington and The Tommy Dorsey Orchestra

Warren Covington's Instruments by Selmer

Decca DL 4130

1961

Cheek To Cheek

C'est Si Bon

Gimme A Little Kiss (Will Ya, Huh?) Cha Cha

Star Dust

(I Wonder Why) You're Just In Love

T Bone Rare

I Get A Kick Out Of You

Once In Love With Amy

You're The Top

Hey There

Trombonanza

Skip To My Lou

The Spirit Of Charlie Parker - Frank Wess / Bobby Jaspar / Seldon Powell

 

Marmaduke

The Spirit Of Charlie Parker

Frank Wess - Bobby Jaspar - Seldon Powell

Supervision: Ozzie Cadena

Album Design: Levy A. Agency

Engineer: Rudy Van Gelder

World Wide Records mGS-20003

1958

Frank Wess - Flute

Bobby Jaspar - Flute, Clarinet

Seldon Powell - Flute, Tenor Sax

Frank Rehak - Trombone

Eddie Costa - Piano, Vibraphone

George Donaldson - Drums

Billy Ver Planck - Arrangements

From the back cover: Utilizing 4 great themes composed and associated with the late, great Charlie "Bird" Parker, arranger Billy Veer Planck has created a mood album featuring 3 flutes. Since the growth of the popularity of the flute as an instrument of modern jazz is a later by product of the stream of jazz begun with the work of Parker, it is perhaps appropriate that this "new" instrument be given the assignment of interpreting Bird's memorable themes to a new generation of fans.

Sparkling in his technical virtuosity, superb in his sense of rhythm and harmony, and genius-brilliant in his expression of soul in performance, Parker stands untouched in today's improvisation have only been elaborated upon... never put far out of sight... in the handful of years since his untimely death. It is appropriate that his melodies be continually used as a fountain for experimentation in albums like this, for his contributions are as timely today as they were in the 10 productive years of his major jazz life, from 1945 to 1955.

The superb performers on this date represent the best of the mainstream of modern jazz in the middle and late 1950s. Frank Wess, star soloist of the great Count Basie band, has been a major contributor to the lore of the modern jazz flute. His excellence on the tenor sax (and, more recently, the alto sax are known to fans throughout the world. Bobby Jaspar, Belgian contribution to the world jazz scene, is an able and adept modernist, with skills on both tenor, flute, and (heard here for the first time in solo form) the clarinet. He has appeared extensively in Europe with groups led by Andre Hodeir and others, and has performed in the states with J. J. Johnson and his own groups. Seldon Powell, a greatly under-publicized tenor sax stylist has appeared with top modern bands and combos for many years. This is his first major excursion on the flute, and he generates great excitement. Frank Rehak, a biting, yet thoughtful trombonist, he has appeared with the Johnny Richards and Benny Goodman bands. Eddie Costa, new-talent award-winning piano and vibes star, is a prime example of the swinging, tasty young element in and around New York today. Eddie's work is done in small groups, his own and others, rarely over 5 pieces. George Duvivier, one of the most able bassists in the business today, is enjoying a welcome tour of the New York combo and recording scene, after many years on the road with the top modern jazz groups. His skill and intonation are marched only why his ability to "lift" a rhythm section. Bobby Donaldson, all-around drumming champ, boasts "dues paid" in the camp of the Dixielanders, Swingsters, although his man love and concentration is with the variety of modern gourds who demand his able services. – H. Alan Stein

Parker's Mood

Marmaduke

Now's The Time

Ah Leu-Cha

Girl Of My Dreams - Buddy Clark

 

Girl Of My Dreams

Girl Of My Dreams

The Vocal Artistry Of Buddy Clark

Photo: Charles Varon

Harmony HL 7081

A Product of Columbia Records

1958

Girl Of My Dreams

Peg O' My Heart

I Wanna Be Loved

Rosalie

You'd Be So Nice To Come Home To

I'll See You In My Dreams

I Wonder What's Become Of Sally?

I'll Get By

When Day Is Done

Just One More Chance

Donald Martino / Milton Babbitt - Harvey Sollberger

 

Triple Concerto / Arie da Capo

Donald Marino: Triple Concerto

for Clarinete, Bass Clarinet & Contrabass Clarinet

With a Chamber Orchestra of Sixteen Players

Recorded December 1978, New York

Milton Babbit: Arie da Capo

The Group for Contemporary Music

Harvey Sollberger, Conductor

Recorded May 1979, New York

Coordinator: Teresa Sterne

Design & Art Direction: H. Lee

Cover Art: R. Miller Vogel

Engineering & Musical Supervision: Marc J. Aubort, Joanna Nickrenz (Elite Recording, Inc.)

Mastering: Robert C. Ludwig (Materdisk Corp.)

Nonesuch H-71372 (Stereo)

1980

From the back cover: Donald Martino (b. Plainfield, N.J.) began his early musical career as a clarinetist. He studied composition with Ernst Bacon, Milton Babbitt, Roger Sessions, and Luigi Dallapiccola, and he holds music degrees from Syracuse and Princeton universities. He has taught at Princeton and Yale, has been a visiting lecturer at Harvard, and taught composition at the Berkshire Music Center, where, in 1973, he occupied the post of Koussevitzky Composer-in-Residence. Since 1969, Martino has been chairman of the Composition Department at the New England Conservatory. He has received numerous distinguished commission and awards, including the Brandeis University Creative Arts Awards Citation in Music, BMISCA Awards, and an award from the National Institute of Arts and Letters. In May 1974, Martino received the Pulitzer Prize for Music for Notturno, a work heard on Nonesuch (H-71300), performed by Speculum Musicae.

Milton Babbitt (b. Philadelphia). whose early musical activities included performance as a clarinetist, studied composition with Roger Sessions. He holds degrees from New York University and Princeton and has been awarded hooray degrees by Middlebury College, Swarthmore College, New York University, and the New England Conservatory. Active as composer and teacher, and a prolific writer on musical subjects, Babbitt is a founder and member of the Committee of Direction, Electronic Music Center of Columbia-Princeton Universities, and a member of the Editorial Board of Perspectives of New Music. He has taught at Salzburg, Tangle wood, Darmstadt, and the New England Conservatory. Babbitt began teaching at Princeton in 1938, and since 1966 he has been William Shubael Conant Professor if Music, Princeton University; he also teaches composition at the Juilliard School. Babbitt has received a long list of distinguished awards, honors, and commissions and is a member of the National Institute of Arts and Letters and a Fellow of the American Academy of Arts and Sciences. Two other instrumental works by Milton Babbitt are heard on Nonesuch: String Quartet No. 2, performed by the Composers Quartet (H-71280); and All Set, fro Jazz Ensemble, performed by the Contemporary Chamber Ensemble, conducted by Arthur Weisberg (H-71303).

Founded in 1962 by Charles Wuorinen, Harvey Sollberger, and Joel Krosnick, the Group for Contemporary Music was the first of the active contemporary-music ensembles to be directed by composers who also played and conducted. With Wuorinen and Sollberger as co-directors (joined in 1971 by Nicolas Roussakis as executive director), the Group has enlisted the participation of many of New York's leading contemporary musicians. Its first nine seasons of concerts were presented at Columbia University' McMillin Theatre, in cooperation with the Columbia-Princeton Electronic Music Center; in 1971, the Group for Contemporary Music became affiliated with the Manhattan School of Music. Since its inception, the Group has performed throughout the United States and in Europe and has presented hundreds of new works, many of them in world premieres. The Group for Contemporary Music has recorded for Acoustic Research, CRI, Epic, Turnabout, and Nonesuch.

Harvey Sollberger (b. 1938, Cedar Rapids, Iowa) studied flute with Betty Bang Mather and Samuel Baron, composition with Ottl Luening and Jack Benson, and conducting with James Dixon; he holds degrees from the University of Lowe and Columbia University. Renowned as one of this country's leading flutists and an authority on contemporary flute techniques (see Twentieth-Century Flute Music, Nonesuch HB-73028, in which Mr. Sollgerger is the featured soloist), his work as composer and performer has received recognition in the form of numerous commissions and awards. He is co-director of the Group for Contemporary Music and he teaches at the Manhattan School of Music and Columbia University. Sollgerger has recorded – as composer, conductor, or flutist – for Acoustic Research, CRI, Desto, New World Records, Turnabout, and Nonesuch

This recording is dedicated to the memory of Maude E. Brogan (1927 - 1978), Director of the Martha Baird Rockefeller Fund for Music, Inc., 1972-1978, whose generous aid to the Group for Contemporary Music in its preparation of Triple Concerto during the fall of 1978 made the premiere performance  possible; and to the memory of Josef Marx (1913-1978), whose guiding spirit gave inspiration and support to the Group during its early years.

Donald Martino (b. 1931)

Triple Concerto (1977)

for Clarinet, Bass Clarinet & Contrabass Clarinet

with a Chamber Orchestra of Sixteen Players

Anand Devendra, soprano clarinet

Dennis Smylie, bass clarinet

Leslie Thimming, contrabass clarinet

The Gourp For Contemporary Music

Patricia Spencer, flute, piccolo, alto flute

Stephen Taylor, oboe, English horn

Donald MacCourt, bassoon

Richard Lawson, bassoon, contrabassoon

David Jolley, horn

Ronald Anderson, flugelhorn

Glenn Kenreich, tenor-bass trombone

Clifford Zeavin, tenor-bass trombone

Benjamin Hudson, violin

Carol Zeavin, violin

Janet Lyman Hill, viola

Chris Finckel, cello

Joseph Tamosaitis, contrabass

Raymond DesRoches, percussion

Claire Heldrich, precussion

Aleck Karis, piano, celesta

Harvey Sollberger, conductor

Milton Babbitt (b. 1916)

Arie da Capo (1973-74)

(In one movement) for Flute, Clarinet & Bass Clarinet, Violin, Cello & Piano

The Group For Contemporary Music

Sophie Sollberger, flute

Anand Devendra, clarinet & bass clarinet

Benjamin Hudson, violin

André Emelianoff, cello

Aleck Karis, piano

Harvey Sollberger, conductor

Something Old... And Something New! - Sammy Herman

 

Bye, Bye Blues

Something Old... And Something New!

The Sammy Herman Sextet

Produced and Directed by Andy Sannella

Technical Director: Robert Engler

Recording Engineer: Ed Abele

Recording Director: Aaron Nathanson

Everest SDBR-1034

1959

Xylophone - Sammy Herman

Organ - Nick Perito

Guitar - John Cali

Drums - William Gusset

Marimba and Vibraphone - William Dorn

Bass - Ed Safranski

From the back cover: Brilliance is the keynote of this album – brilliance of sound due to the unusual instrumentation as well as the superior engineering and brilliance of technique on the part of these expert players.

There's also brilliance of spirit, because an unusual degree of sustained nerve and excitement is contained in these performances.

The leader is Sammy Herman, one of the most skillful xylophone soloists in the country. He also plays one vibes, on which he's also fluent. In the album, Billy Dorn is on marimba and fills in on other percussion instruments. Nick Perito is the organist; Ed Safranski is on bass; Bill Gusset, drums; and John Cali, guitar and banjo.

This plangent combination has revivified a number of standers – and an original – by approaching the music with a fresh, incite group sound; crisp, entertaining arrangements; and superior musicianship.

Sammy Herman, for years a member of the NBC staff, was born in the Bronx. Although he studied piano and drums as a boy, he discovered his main instrument by accident in the high school band. An arrangement of Saint-Saens' Dance Macabre called for a xylophone solo, but no one in the band had – or could play – the instrument. A xylophone was rented, Sam was drafted, and he's career began.

The usual early professional apprenticeship involved small dance halls, chop suey rooms, and other casual jobs. Unlike most drummers who played xylophone on the side, Same specialized on the xylophone and drums were his secondary instrument.

Sam soon was ready for more demanding assignments, and played with Paul Speech's orchestra. He then went into radio, playing scores of major programs – with Paul Whiteman on The Old Gold Hour; on Abe Lyman's Waltz Time with Frank Munn; and on Manhattan Merry-Go-Round on whose theme he was featured.

Early in his radio career, Sam met Andy Sannella, now an A&R director at Everest and the man responsible for this album. Andy was a prominent player and conductor on the networks, and when he took over the Lucky Strike orchestra after B. A. Rolfe left, Same was in the band. In the years that followed, they played hundreds of shows together.

Sam has also traveled on concert tours and has been guest soloist with many bands. He is a regular performer in the recording studios although this is his first album as a leader.

"We wanted to entertain in this set," says Sam, "and we wanted to create varied moods from the brilliant waltz treatment of La Golondrina to the technical strains of El Relicario. Andy's suggestions were a tremendous help in determining the pace and the shape of the program.

Sam's sidemen are as impressively experienced as he is. Billy Dorn was a member of the New York Philharmonic, and for a number of years was a percussionist in Toscanini's NBC Symphony. Nick Perito is an excellent accordion player as well as organist, and is also a conductor and arranger.

After a successful jazz career, including a term with Stan Kenton, bassist Ed Safranski became a staff musician at NBC where he remains. Drummer Bill Gusset is also a veteran of exacting staff work and is now freelancing. John Gali played many of the most important network shows for a number of years. At the time of the recording he was in the orchestra for Jamaica.

It's rare that instrumentalists of this amount of technical mastery have been assembled in this kind of album. The result, as noted previously, is collective brilliance. – Nat Hentoff

From Billboard - May 25, 1959: A rather unusual instrumental complement here and the crew develops a fine sound. Xylophone, vibes, organ, guitar, drums and bass turn in crystal clear hi-fi performances of "Heartaches," "Bye, Bye Blues," "Raggin' The Scales," etc. Highly interesting listening with the accent on sound.

Tico Tico

A Bunch Of Roses

Whispering

Mummer's Cha Cha

La Golondrina

El Relicario

Doll Dance

Alabamy Bound

Raggin' The Scales

Heartaches

Bye Bye Blues

The Bells Of St. Mary's

Paris Swings - Elmer Bernstien

 

April In Paris

Paris Swings

Elmer Bernstein and The Swinging Bon Vivant

Produced by Dave Cavanaugh

Capitol Records T1288

1960

Elmer Bernstein, well known for his TV and motion picture music, presents the fresh style of his compact instrumental group known as The Swinging Bon Vivants.

From Billboard - February 8, 1960: The international standards get interesting new life at the hands of Bernstein and crew. He styles a flock of recent and older hits in bright tempos. The arrangements are ideal for stereo. Potential is enhanced by fine sound and a bright, displayable cover.

Valentina

Autumn Leaves

Paris In The Morning

Adieux D'Amour (Love Is Farewell)

Symphony

Under Paris Skies

Darling, Je Vous Aime Beaucoup

I Love Paris

April In Paris

Souvenir Du Printemps (Memories Of Spring)

La Vie En Rose

Pauvre Moi, Pauvre Moi (Poor Me)

Feeling' - The Raymonde Singers Etcetera

 

MacArthur Park

Feeling' 

The Raymonde Singers Etcetera

Produced by Tony D'Amato, Allan Steckler

Engineer: Arthur Lilley

Design: Harry Farmlett

London Records SP44111

Young Girl

By The Time I Get To Phoenix

MacArthur Park

You Mother Should Know

The Sound Of Silence

Honey

Girl

Written In The Wind

Love Is Blue

Fly Away

You Better Sit Down Kids

TV Thriller Themes - Johnny Gregory

 

Perry Mason

TV Thriller Themes

Johnny Gregory and His Orchestra

Philips PHM 200-027

1962

From the back cover: No matter how much criticism and objection may be leveled by various guardians of the public's morals (many of them self-appointed), there is no doubt whoever that thrillers of crime detection are consistently among the most popular programs screened on the nations T.V. channels.

Although we realize subconsciously that the respective heroes and heroines are invisible, immortal and laws triumphant in the end, we still tune in each week at the appointed hour to watch their exploits and hazards, and we still enjoy it just as much, even though the eventual result is a foregone conclusion. And what's so wrong about a few hours of fictions fisticuffs and some imaginary mortalities, providing justice prevails a the final reckoning?

Johnny Gregory and his orchestra present here six of the familiar themes from American series as sell as five of his signature tunes from the British (B.B.C. and I.T.V.) channels' regulars.

Nelson Riddle penned a suitably "mobile" theme for Route 66, which stars Marty Milner and George Maharis as Tod and Bus, two hefty, high-principled wanderers who encounter adventure every week as they travel throughout the States via (what else?).

George Dining provided a Latin mood for "Tightrope," in which Michael Connors as Nick, the undercover police agent, dispenses a smooth line of talk and some hard hitting in his lone battle against the underworld.

The profile Mack David and Jerry Livingston produced an ideal atmospheric number for the '61 series The Roaring Twenties, which starred Dorothy Provine as the dizzy blonde singer Pinky Pinkham and Donald May as the inquisitive, intrepid newspaper columnist Pat Garrison during the turbulent era of Prohibition, bootleg hooch, wild parties and flourishing gangsterism.

Jazzman Count Basie wrote a dramatic them for M Squad, the vehicle for Lee Marvin who, as a tough, shrewd Frank Ballinger, proves weekly that homicide never pays.

Philip Green furnished an appropriately haunting tune for Ghost Squad, the British equivalent of Tightrope in which Sir Donald Wolfit as Sir Andrew Wilson and Michael Quinn as Nick Craig direct and operate the "organization."

It is without doubt that Tarantino Rojas never dreamed when he wrote the lilting baion Sucu-Sucu that one day it would introduce the British Top Secret series starring William Franklyn as suave, debonair Peter Dallas, British agent of law and order in South America.

Fred Steiner composed the theme for Perry Mason, that brilliant attorney, played by Raymon Burr, who solves his cases in courtroom drams more often that not.

Johnny Dankworth applied a touch of cool school modern jazz in his theme for The Avengers, the series starring Ian Hendry as the crime-conscious Doctor Keel and Patrick Macnee as the enigmatic special agent Steed... Laurie Johnson wrote an impressive theme to mark Eric Lander's promotion from Sargent to Inspector Baxter in Britain's Echo Four-Two. David and Livingston obliged once more and contributed to the well-known private-eye occupants of 77 Sunset Strip with a bright, distinctive theme to match their address. Elmer Bernstein, like Johnny Dankworth, called on modern jazz to establish the musical identity of piano-playing Johnny Staccato, alias John Cassavetes, in his club-based campaign against wrongdoers.

All in all, eleven themes are brought together in this album, and are played effectively – as they were intended to be heard.

Route 66

Tightrope

The Roaring Twenties

M Squad

The Avengers

Sucu-Sucu (Theme from Top Secret)

Perry Mason

Echo Four-Two

Ghost Squad

77 Sunset Strip

Johnnyu Staccato