Rosemary Clooney & Harry James: Hollywood's Best (1952)

In 1952, Rosemary Clooney made her LP debut paired with trumpeter Harry James on "Hollywood's Best", a collection of eight Academy Award-winning songs. That was a 10" disc, the industry standard for the time. A few years later Columbia chose to reissue the album this time as a 12" with 4 added tracks, two more from Harry and two from Rosemary. But it didn't take as hoped even though one of the additions was her hit "Come On-A My House". But a "Hollywood Best" it wasn't. It seemed quite out of place. The original 8 songs on the 10" continue to represent both artists at the height of their careers. Enjoy!

Side 1:
01) You'll Never Know
02) On The Atchison, Topeka And The Santa Fe
03) It Might As Well Be Spring
04) Over The Rainbow

Side 2:
01) Sweet Leilani
02) The Continental
03) When You Wish Upon A Star
04) In The Cool Cool Cool Of The Evening

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Bing Crosby: Bing Sings Whilst Bregman Swings (1956)

Put this one in my "maybe" pile at a local school book bunfight. Bought it and so pleased I did. Never been a devoted fan of Der Bingle but thought I should own at least one of his discs and anyway I liked the songs. The cover tells you next to zero. Tried to guess the backing band -- Billy May? Kinda similar, but no, not Billy. Who then? Googled it and found out more than expected. It was Buddy not Billy (should've known that) but the best part was reading the info about the "Bing Sings Whilst Buddy Swings Show" written, produced, directed and musical arrangements by Buddy Bregman himself. It was described as "A centennial show featuring Bing Crosby's very own Great American Songbook containing his view of America's way of life through his music". It was held on Feb 5, 2003. A press cabaret reporter wrote: "New Yorkers are so lucky to live minutes from the hottest shows on earth and Saturday night my good fortune was found at the Firebird Supper Club on 46th Street in Manhattan! This night, "Bing Sings Whilst Bregman Swings" was the performance to see, featuring legendary Buddy Bregman and supporting cast. Buddy wrote this show, and he is also the narrator and the conductor. The show opened with a medley of Mr. Crosby's popular songs and Mr. Bregman incorporated audio interviews and quips from Mr. Crosby's career that he interspersed throughout the song tributes. The show is a time slice of beauty, gift-wrapped in 90 minutes. Mr. Bregman escorted the audience through a remembrance of a different time, a simpler time, a time when a beautiful song could shake away the blues. I left the Firebird Supper Club that night with a skip in my step and a whistle on my lips." How nice! Obviously this 1956 swingin' session with Bing has always been a highlight in Buddy's career, so much so he's written a show about it. Verve issued the original vinyl and it found its way down under as an EMI Music For Pleasure. This copy is a bit worn though. Pity as it's historically significant. The black & white pic above was taken of an ageing Bing and a young eager beaver Buddy during their '56 recording session.

Side 1:

01) Blue Room

02) Cheek To Cheek

03) Have You Met Miss Jones

04) I've Got Five Dollars

05) Jeepers Creepers

Side 2:

01) Mountain Greenery

02) Nice Work If You Can Get It

03) September In The Rain

04) Heat Wave

05) They All Laughed

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The London Record (1970)

Forgot I had this. Probably hasn't had a spin for about 38 years. Doesn't rate that highly with me. Belonged to a record club back in the '70s and this disc was probably my choice for that particular month. Must have been a lacklustre lot. We were required to buy at least one disc per month to qualify for the discount. But listening to it again after all these years points up the fact that London has undergone huge changes. This impression of the great city is historically interesting, but doesn't reflect the cosmopolitan spirit that I sensed during my recent visit there. To some of us colonials this sound picture comes accross as "frightfully BBC". Hywel Davies' narration, Robert Docker's music and Stella Margetson's script are very skillfully executed. But my reaction was -- "For God's sake loosen up!" I love London, but all that reverence!! Anyhow, what they set out to do is really OK. It's just the way it's done. Accordingly I had to toss up whether or not to post it. S'pose even if only one surfer is interested enough to download it's worth it. So here it is.

Side 1:
Dawn on the River

Early morning in the markets
(Billingsgate/Covent Garden)

Rush hour in the city
(St. Paul's Cathedral)

Travelling westwards
(Fleet Street/Strand)

Changing guard at Buckingham Palace

Side 2:
South of the river
(George Inn/Southwark)

River boat

Westminster
(Houses of Parliament/Westminster Abbey)

St James Park

Trafalgar Square

Piccadilly Circus

The sleeping city
(The Tower Of London/Ceremony Of The Keys)

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James Last: Live In London (1978)

Still on my London kick. James Last steps up this time with excerpts from shows he and his talented bunch of musos staged in the Royal Albert Hall some time in 1978. He was riding high during the 70s/80s. The cover shot leaves no doubt about that. But "enduring" is the word that comes to mind because he returned with his merry men to this august concert hall just a few months ago -- exactly 30 years from the date of this recording. Apart from the maestro himself, I guess few, if any of his original sidemen lined up for this latest session. But I may be quite wrong. Haven't checked. Like the Ronnie Scott's venue, this vinyl gives me a huge nostalgia trip. When in London 3 years ago I attended a concert in the Royal Albert which featured Simon Rattle conducting the Berlin Philharmonic Orchestra playing a programme of French music. Chalk and cheese? Maybe so, but I just loved soaking up the ambience and atmosphere of that grand old concert hall. Have the DVD of Rod Stewart playing the crowd there a few years ago. James, Simon or Rod. Who cares! Love 'em all.

Side 1:
Intro '78

Medley
Tiger Feet
Radar Love
Jesus Loves You

Bridge Over Troubled Water

Medley
Rum And Coca Cola
Quando Quando Quando
South America Take It Away

Medley
Cantar Amigos
Ay Ay Ay (Cielito Lindo)
Costa Brava
Eso Es El Amor

Side 2:
Star Wars Theme

West Side Story

Medley
Chicken Reel
Turkey In The Straw
Orange Blossom Special

Memories Of Old England

Medley
Yes Sir I Can Boogie
Sorry, I'm A Lady
Don't Leave Me This Way

Games That Lovers Play

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Blossom Dearie: At Ronnie Scott's (1966)

Blossom Dearie's voice has been described as "Lolita-like". That's going a bit far I think, but "girlish" -- maybe. It's certainly quite unusual for a grown woman of her age to sound like a teenage girl or even younger. But if it was a kind gimmicky affectation it worked. The novelty was that Blossom could give a song the nuances of an adult but expressed with the voice of a young girl. Added to that, the name -- "Blossom Dearie". I rest my case! She was considered one of the greatest supper club singers of her time appearing at Michael's Pub among other New York venues as well as Carnegie Hall. In 1985 she was the first winner of the Mabel Mercer Foundation Award for outstanding supper club artist. On this gig she's backed by her usual accompanists Jeff Clyne on bass and Johnny Butts on drums. I read somewhere that this was one of the singer's own personal favourite albums. I think it's one of mine too.

Side 1:
01) On Broadway
02) When The World Was Young
03) When In Rome
04) Shadow Of Your Smile
05) Everything I've Got

Side 2:
01) Once Upon A Summertime
02) I'm Hip
03) Mad About The Boy
04) The Shape Of Things
05) Satin Doll

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The Johnny Scott Orch: London Swings (1966)

We'll stay with a London theme for my next few postings. This one calls for little comment. Another of the scores of light studio orchestras that abounded in the '60s/'70s. In this collection Johnny Scott leaned heavily on the music hall tradition, but spiced the programme with a few more recent numbers and also some themes composed by himself for this session. He remarks that rather than accept the London idea as a hook on which to hang a few routine scores, he used it as a genuine source of inspiration for the style of the orchestrations. I guess he succeeded.

Side 1:
01) Let's All Go Down The Strand
02) They're Changing Guard At BP
03) Chelsea Bridge
04) Knock 'Em In The Old Kent Road
05) The Trees In Grosvenor Square
06) Limehouse Blues

Side 2:
01) London By Night
02) Greek Street, Soho
03) A Nightingale Sang In BS
04) Covent Garden Starts Early
05) Springtime In Piccadilly Circus
06) London Bridge Is Falling Down

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Buddy Rich Band: Live At Ronnie Scott's (1972)

I love listening to this disc, not only because I believe this is the Buddy Rich band at its best, but also because three years ago I experienced the huge thrill of attending Ronnie Scott's jazz club in Soho, London. No Buddy Rich big band that night, but that didn't matter. Just sitting there surrounded by those pictures of so many jazz legends -- Oscar Petersen, Stan Getz, Miles Davis, Ella Fitzgerald, Sarah Vaughan, Louis Armstrong and so on. They were all saying: "Hi Kelly. Welcome to the club!!" Each photo represents an act that has performed over the years at Ronnie's. It was a fabulous night. Of the several live recordings the Rich band turned out in the years preceeding '72, this I believe was the most successful. Great charts played with skill and enthusiasm within acoustics that were perfect for containing the driving sounds of a big band such as this one. And Buddy! That powerhouse solo on Bill Holman's "Time Being". Tenor man Pat LaBarbera, Bruce Paulson on trombone and trumpeter Lin Biviano take most of the other solo slots and there's also a vocal featuring Buddy's daughter, Kathy, combining with Jon Hendricks' two girls, Michelle and Carlene. They sing a Hendricks original called "That's Enough". Both vinyls and CDs of this session are relatively rare so they're both fetching quite high prices.

Side 1:

01) Dancing Men

02) The Word

03) St Mark's Square

04) That's Enough

05) Little Train

Side 2:

01) Two Bass Hit

02) Love Story Theme

03) Time Being

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Michael Crawford: Songs From Stage & Screen (1987)

This was Michael's first solo album coming as it did after his phenomenal success as London's, then Broadway's "Phantom". By this time of course he had attracted a huge following. Add the lush sounds of the London Symphony Orchestra and the brilliance of Andrew Pryce Jackman's arrangements into the mix and he just couldn't miss with this one. I understand he dedicated the release to his grandmother who, when Michael was a lad, encouraged him to take singing lessons. His dedicated fans would've added their "amens" to that. Years ago, classical composer Benjamin Britten re-wrote the notes of his opera, "Noye's Fludde", to better accommodate a young Michael Crawford's voice. Clearly that man saw the potential in his young protege, and this album proves that Britten's faith in his potential was well placed. Sadly this vinyl is showing its age. Have a listen and if you like it try Amazon. They're offering the CD for the princely sum of 47c!!

Side 1:
01) West Side Story Medley
02) What'll I Do (Alexander's Ragtime Band)
03) Unexpected Song (Song & Dance)
04) If I Loved You (Carousel)
05) Before The Parade Passes By (Hello Dolly)

Side 2:
01) When You Wish Upon A Star (Pinocchio)
02) In The Still Of The Night (Rosalie)
03) Memory (Cats)
04) Not A Day Goes By (Merrily We Roll Along)
05) Bring Him Home (Les Miserables)
06) You'll Never Walk Alone (Carousel)

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Harry James: The Third Big Band Sound (1961/64)

Harry James was one of the most outstanding instrumentalists of the swing era, employing a bravura playing style that made his trumpet work instantly identifiable. He was also one of the most popular bandleaders of the first half of the 1940s, and he continued to lead his band until just before his death, 40 years later. The tracks on this vinyl were recorded between 1961 and 1964. All except "Tuxedo Junction", "Harlem Nocturne", "Two O'Clock Jump", and "Frenesi" came from the MGM-Verve studios in Los Angeles. The four named were put down in Las Vegas on March 9 & 10, 1964. Unlike his old boss, Benny Goodman, who merely put a band together when he needed one, Harry retained a core group of soloists for quite a number of years. He was quoted as saying: "You talk about my different bands. Well that's wrong because I've only ever had one band over the years. Sure players come and go, but the main feeling is a continuous thing. Some of the people in my band at the moment (1964), guys you've perhaps never heard of, have been with me 13 or 14 years. You've got to look after your soloists. When they have things written for them they're happy and they grow to be part of the organisation. Take Duke. He made quite a few changes to his band, but never changed any of his main soloists from choice. Carney, Gonsalves, Hodges, Cootie were always there, but there were often changes in the third and fourth trumpets, in the second trombone and so on. But the soloists stayed put." The band on this album reflects those years of consistency. Like James, those men were craftsmen -- men like trombonist Ray Sims (brother of Zoot). The layers of talent in this band were deep enough to ensure that whatever it did, it did well.

Side 1:
01) Cornet Chop Suey
02) Tuxedo Junction
03) Serenade In Blue
04) Chiarina
05) Two Dueces
06) Harlem Nocturne
07) I'm In The Market For You
08) Two O'Clock Jump
09) Frenesi

Side 2:
01) Weather Bird Rag
02) Man With The Blues
03) What A Woman Feels
04) Swingin' Together
05) New Life
06) Three's A Crowd
07) Fontain Bleu

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Carmen McRae: Here To Stay (1973)

Carmen McRae always had a nice voice (if not on the impossible level of an Ella Fitzgerald or Sarah Vaughan) but it was her behind-the-beat phrasing and ironic interpretations of lyrics that made her most memorable. She studied piano early on and had her first important job singing with Benny Carter's big band (1944) but it would be another decade before her career really had much momentum. McRae married and divorced Kenny Clarke in the 1940s, worked with Count Basie (briefly) and Mercer Ellington (1946-47), and became the intermission singer and pianist at several New York clubs. In 1954 she began to record as a leader and by then she had absorbed the influences of Billie Holiday and bebop into her own style. McRae would record pretty steadily up to 1989 and, although her voice was higher in the 1950s and her phrasing would be even more laidback in later years, her general style and approach did not change much through the decades. Championed in the 1950s by Ralph Gleason, Carmen McRae was fairly popular throughout her career. Among her most interesting recording projects were participating in Dave Brubeck's the Real Ambassadors with Louis Armstrong, cutting an album of live duets with Betty Carter, being accompanied by Dave Brubeck and George Shearing, and closing her career with brilliant tributes to Thelonious Monk and Sarah Vaughan. Carmen McRae, who refused to quit smoking, was forced to retire in 1991 due to emphysema. She died Oct 11, 1994 at age 74. She recorded for many labels including Bethlehem, Decca (1954-58), Kapp, Columbia, Mainstream, Focus, Atlantic (1967-70), Black Lion, Groove Merchant, Catalyst, Blue Note, Buddah, Concord and Novus. ~ Scott Yanow, All Music Guide

Side 1:
01) Love Is Here To Stay
02) How Many Stars
03) Sometimes I'm Happy
04) I Can't Get Started
05) Just One Of Those Things

Side 2:
01) My One And Only Love
02) I'll Remember April
03) You Took Advantage Of Me
04) Until The Real Thing Comes Along
05) A Room With A View

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Dr Murray Banks: How To Live With Yourself (1961)

Past few days have been hectic. Not sewing wild oats need I say. My wild oats have now turned into prunes and All-Bran. Helps me to live with myself which is the subject of this lecture from Dr Murray Banks, a clinical psychologist who was one of the most sought after speakers in the US in the 50s/60s. He was formerly a full professor of psychology at Long Island University, and at Pace College, N.Y.C., where he headed the psychology department for over 5 years. He was also a visiting professor and special lecturer on various subjects at the University at North Carolina, New York University, Temple University, New Jersey State Teachers
College, University of Pittsburgh, and Brooklyn College. He is a graduate of New York and Columbia Universities, and did his clinical psychopathology study at Bellevue Hospital in
New York City. So much for his credentials. Several of his "lectures" were recorded and issued on Lps. I bought two of them -- this one (perhaps his most popular) and "What You Can Learn From The Kinsey Report", one of the most discussed reports of the 60s. Banks was responsible for helping bring sex out of the closet. He spoke not only with authority but with humour, wit and charm designed to make the listener more informed and at the same time entertained.

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Frank Sinatra: Rare VDisc Recordings (1943/44)

Time for some vintage Sinatra. Probably limited interest, but historically they're of significance. Two postings. This one from '43/'44 and an earlier one probably '40 or '41 which will follow this one. But first the VDiscs (Victory Discs). When several hundred thousand GIs left the US to join the overseas war effort in the early '40s the government soon realised that to keep morale at a high level "home comforts" and entertainment had to be provided besides the regular food and cigarettes expected by the troops. A patriotic deal was struck so that the artists would give their services free of charge and no royalties were expected by composers and publishers. The discs were to be given away free to the Armed Forces and destroyed after the war was over. The recordings were almost always made in either New York or Hollywood and sometimes artists would send messages to the fighting men at the beginning of the disc. They were pressed by RCA on unbreakable 12-inch vinyls playing at 78rpm which provided about 7 minutes per side. Nearly every major artist donated their services. About 8 million different VDiscs were shipped sometimes featuring dream line-ups of the most popular entertainers of the time. The recordings in this volume were made at the time Sinatra had first shot to stardom, singing romantic lyrics in his unique personal style to women back home in the US. But as writer Gene Lees pointed out: "Sinatra said for the boys what they wanted to say and said to the girls what they wanted to hear. Only the North Atlantic divided them". Even after the war was over the discs were still made and shipped out to troops in overseas bases, the operation coming to an end in May '49. Many of these discs were "liberated" to become black-market material, their continued existence helping to document many fine sessions that would otherwise have been forgotten. Sinatra continued making VDiscs up until '48. The record labels featured Uncle Sam's national colours of red, white and blue. Army discs were red at the bottom of the label with blue lettering at the top. Navy discs were the reverse. Orchestral backings were arranged by his radio series musical director, Axel Stordahl.

Tracks:
1) I Only Have Eyes For You
2) Kiss Me Again
3) Hot Time In The Town Of Berlin
4) The Music Stopped
5) I Couldn't Sleep A Wink Last Night
6) The Way You Look Tonight
7) I'll Be Around
8) You've Got A Hold On Me
9) A Lovely Way To Spend An Evening
10) She's Funny That Way
11) Speak Low
12) Close To You
13) My Shining Hour
14) Long Ago And Far Away
15) Some Other Time
16) Come Out Wherever You Are
17) Put Your Dreams Away For Another Day
18) And Then You Kissed Me
19) All The Things You Are
20) All Of Me

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Sinatra With Tommy Dorsey Orch: Live At The Avalon Ballroom (1940)

More vintage Sinatra. This session was apparently taped at the legendary Avalon Ballroom in San Francisco sometime in 1940. Haven't found an exact date although September 11 has been suggested. It's been floating around the Net for some time now. Be warned -- there's no hi-fi here! Lousy sound, but I guess it gives the "live" recording some authenticity.

Tracks:

1) After All

2) I've Got My Eyes On You

3) Deep Night

4) Whispering

5) The Sky Fell Down

6) Isle Of May

7) Marie

8) I'll Get By

9) Love Is Blue

10) Careless

11) East Of The Sun

12) My Melancholy Baby

13) Stardust

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Billie Holiday: Lady In Satin (1958)

"I got to sing with Ray Ellis", Billie said. "I want this album more than anything else and I want it to be good". She'd heard Ellis's work before and instinctively knew that he would be good for her. When "Lady In Satin" was released, controversy abounded. Some said that the album should not have even been released and was an insult to her once-marvelous talent. But the more open-minded hailed it as a masterpiece, albeit a dark one. Even Billie herself claimed it as her favourite. The fact that she managed to hang on while she recorded this album is truly a work of nature when you consider her state of mind and life at the time. She would record one more album before her death just 17 months later at the age of 44. Years of living in an emotional wasteland and coping with heroin addiction had taken its toll. Listening to this album has been likend to sitting in a front-row seat experiencing the final act of a tragic opera. Ray Ellis wrote: "She basically is crying her heart out, and the soloists -- George Ockner (violin), Mel Davis (trumpet), Urbie Green and J. J. Johnson (trombones) seem to be echoing her pain." Promotional claptrap? Play it. Play it often and you decide.

Side 1:
1) I'm A Fool To Want You
2) For Heaven's Sake
3) You Don't Know What Love Is
4) I Get Along Without You Very Well
5) For All We Know
6) Violets For Your Furs

Side 2:
1) You've Changed
2) It's Easy To Remember
3) But Beautiful
4) Glad To Be Unhappy
5) I'll Be Around
6) The End Of A Love Affair

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Glen Gray & The Casa Loma Orch: SwingTime 1&2

Discussed this double album on Nov 6 post ("Swingin' Southern Style").

Download Disc 1:

Download Disc 2:

Keely Smith: Politely (1958)

Joining the Louis Prima band at the age of 16, Keely Smith's main role was to be the foil for Prima's often loony antics on recordings and at live performances, like on their big hit "That Old Black Magic." The result was that she was given little opportunity to sing ballads. That ended when she and Prima signed on with Capitol Records, which had more top flight pop vocalists of the day than any other company. This LP is the second of the albums Capitol released under her name featuring arrangements and a band headed by Billy May. The program balances up-tempo numbers and ballads with matching May orchestrations. The slower numbers are enhanced by strings, while the faster numbers feature Mays's trademark fluttering flutes juxtaposed with blaring brass. Smith had an easy to listen to vocal style. One of its major qualities was the earnestness with which she delivered each song, regardless of tempo. This left the impression that she sincerely believed in each word of the lyrics. Like other vocalists of the 1960 "the song was the thing," and its use in promoting the singer took a back seat. This especially comes through on "East of the Sun (And West of the Moon)" and an eloquent "I'll Get By." ~ Dave Nathan, All Music Guide

Side 1:
1) Sweet And Lovely
2) Cocktails For Two
3) The Song Is You
4) I'll Get By
5) Lullaby Of The Leaves
6) Sunny Side Of The Street

Side 2:
1) Can't Get Started With You
2) I'll Never Smile Again
3) S'posin
4) East Of The Sun
5) All The Way

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Andre Previn: Plays Songs By Vernon Duke (1958)

Previn playing Duke is a perfect match. Both men were born in Europe, maintained successful careers in both the classical and jazz/pop music realms, and displayed a surprising
feeling for the blues. Highlights of this first solo recording by Previn include “Taking a Chance on Love,” with its classical allusions; the funky slant on “I Like the Likes of You”; and
the Oscar Peterson echoes in “April in Paris.” Here's a recommendation from Scott Yanow: "A measure of how respected Andre Previn has long been in many musical fields is that this set of unaccompanied jazz piano solos has liner notes by the composer of the ten songs, Vernon Duke. Previn alternates well-known Duke pieces such as "Autumn In New York," "Taking a Chance on Love," "What Is There to Say," and "I Can't Get Started" with a few lesser known numbers including "The Love I Long For," "Ages Ago" and "Round About" This recording finds Previn at the peak of his jazz powers, displaying an original yet accessible style that falls between swing and bop. Recommended. ~ Scott Yanow, All Music Guide

Side 1:
1) Cabin In The Sky
2) Autumn In New York
3) The Love I Long For
4) Ages Ago
5) Taking A Chance On Love

Side 2:
1) What Is There To Say
2) I Can't Get Started
3) I Like The Likes Of You
4) Round About
5) April In Paris

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Glen Gray & The Casa Loma Orch: Swingin' Southern Style (1966)

In 1957/58 Capitol issued a series of albums featuring the Casa Loma Orchestra led by Glen Gray recreating the sound of the old dance/swing bands of the 30s and 40s. Gray was fortunate to be able to call on many of the original sidemen who had performed with many of those early bands plus some of the best 50s/60s studio players from Hollywood such as Uan Rasey, Babe Russin, Conrad Gozzo, Skeets Herfurt, Don Fagerquist, Ted Nash etc. He also had the services of great arrangers (Billy May to name one) to transcribe the original arrangements. And if that wasn't enough the Capitol engineers did a sensational job. Played on good sound gear these pressings still sound superb even now that they're over 50 years old. It's full dimensional stereo sound at its best. They were issued under the general title of "Sounds Of The Great Bands". I have one or two of these discs reissued by Time-Life. Will have a scratch around and if I find them will add them to this blog. In the meantime here's Glen Gray and the boys romping through an up-beat chart of Dixieland style numbers. It was put down a few years after the "Great Bands" series, but still has that wonderful Capitol sound quality.

Side 1:

1) Milenberg Joys

2) Yes Sir, That's My Baby

3) Riverboat Shuffle

4) Stars And Stripes For Ever

5) Panama

6) Southland Shuffle

Side 2:

1) That's A Plenty

2) Cotton Belt Cannonball

3) Columbia, Gem Of The Ocean

4) Carolina In The Morning

5) Dixie

6) Cajun Shout

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Jazz On A Summer's Day (1959)

"From the soundtrack of the movie documenting the historic 1958 Newport Jazz Festival, you get an hour's worth of memorable performances by all the artists. There are no weak tracks, but Thelonious Monk's "Blue Monk," the extended Louis Armstrong set, Anita O'Day scatting up a storm, and Chuck Berry's seemingly out of place "Sweet Little Sixteen" have been universally lauded over the years. Jimmy Giuffre's ahead-of-its-time "Train and the River" and rare Mahalia Jackson songs cement this album. It's a precious gem -- a slice of a golden era in American music."
- Michael G. Nastos, All Music Guide

Tracks:
1) All Of Me (Dinah Washington)
2) George In Brazil (George Shearing)
3) Sweet Little Sixteen (Chuck Berry)
4) Jimmy & Bobby (Jimmy Giuffre)
5) Sweet Georgia Brown (Anita O'Day)
6) Tea For Two (Anita O'Day)
7) Thelonious, Henry & Roy (Thelonious Monk)
8) All Night Long (Big Maybelle)
9) Chico's Chiquittas (Chico Hamilton)
10) Everybody's Talkin'/Didn't It Rain (Mahalia Jackson)
11) Mulligan's Crow (Gerry Mulligan)
12) Up A Lazy River (Louis Armstrong)
13) Muskrat Ramble/Hold That Tiger (Louis Armstrong)
14) Ol' Rockin' Chair (Louis & Jack Teagarden)
15) When The Saints Go Marching In (Louis Armstrong)
16) Stitt & Sal (Sonny Stitt)
17) The Lord's Prayer (Mahalia Jackson)

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