Vocalists — All Formats  

Pure genius – Bobby D's first LP – and nicely balanced between rockers and straight vocal numbers! Includes "Splish Splash", "Action Speaks Louder Than Words", "Don't Call My Name", "So Mean", and "Wear My Ring".

A charming batch of mid 60s popular tunes done in loungey, sort of boozy arrangements in some places and uptempo mod in others from Noel Harrison – who went on to have a few hits as well as a successful acting career – tackling Dylan, Lennon/McCartney, and more with a really swinging aplomb! Moddish touches abound, with some rocking soul & pop backing in the rolling drums, trippy organ washes, horn punctuation and girl backing vocals! Really cheeky stuff and good fun! "It's All Over Now Baby Blue", "God Bless The Child", "She's A Woman", "Mr Tamborine Man", "A Young Girl (Of Sixteen)", "All Blues", "Like Stranger", "Tomorrow Is My Turn" and more.

Titles include "Miss Brown To You", "If You Were Mine", "What A Little Moonlight Can Do", "Billie's Blues", "I Cried For You", "I Must Have That Man", and "Easy Living".

Early Brit pop from Jerry Lordan – best known as the songwriter of a host of hits for bigger artists in the pre-Beatles years – stepping out here in an album of his own! Jerry's a singer with a surprising degree of charm – not a full-on rocker, but more of an old school vocalist with a good ear for a punch tune – working here with arrangements from Johnnie Spence that show that great lighter side of the London sound at the time! Titles include "A House A Car & A Wedding Ring", "Man On My Trail", "Leave Me Alone", "I'll Stay Single", "Married", and "The World's Loneliest Man". CD also features 14 more bonus tracks – singles and demos that include "Can We Kiss", "Who Could Be Bluer", "Do I Worry", "Sing Like An Angel", "I've Still Got You", and "One Good Solid 24 Carat Reason".

The label says "Lonnie Satin sings Bossa Nova", and he does too, but not in the way that would make us put this in the Brazilian section. Lonnie's got more of a groovy jazzy folksy style – in a manner that's similar to Nina Simone, who he resembles at some moments on the record. The album has some really wonderful groovers – like the mighty African-tinged "Uska-Dara", worth the price of the record alone. Other nice ones include "A Felicidade", "Come Dance With Me", and "Non De Menti Ca". Arragements by Chiquenho, who we've never heard of (and who may be a Brill Building arranger under a fake Portuguese name!)

Grady's most obscure album – and one that's got much more of a jazzy tip than his other ones. Richard Tee plays electric piano, and the band includes Billy Butler, George Coleman, and Ron Carter – all of whom do their best to keep things hip, and not fall into some of the schmaltzier moments that you get on other Grady Tate LPs. The big track on here is Grady's jazzy cover of "Moondance" – which is a great jazzy dancer – and the LP also includes "Movin Day", "You're A Lady", and "Love Has No Pride".

A great collaboration between Oscar Brown Jr. and the breezy Brazilian singer Luiz Henrique! Henrique was one of Brown's "discoveries", as was Sivuca, who also plays and arranges on the LP – gracing it with his classic bossa/jazzy kind of groove. The whole thing's an excellent mix of Brown's raw vocal style with Henrique's light lilting Brazilian one – and the record's a lost crossover of styles that totally bears a new listen! Cuts include loads of originals, either by the individual members or written in collaboration. With "Listen to Me", "Finding a New Friend", "Barra Limpa", "Nothin' But a Fool", and "Dawn Comes Again".

A 70s repackaging of an earlier album that Sammy and the Count cut for Verve – one that features Sammy vocalizing very strongly in front of a large brassy ensemble. Sammy didn't always get backing this strongly – and the album's got Quincy Jones handling the arrangements for Basie in the same mode the he used on the Sinatra/Basie sides for Verve. Titles include "The Girl From Ipanema", "She's A Woman", "New York City Blues", "Work Song", and "Blues For Mr Charlie" – and the album even features Sammy doing a bit of tap dancing!

Features Tom's surprisingly nice version of "Detroit City" – plus the title cut, "Ring Of Fire", "Mohair Sam", "A Field Of Yellow Dasies", and "He'll Have To Go".

A real classic from Sergio Mendes – probably most famous for its funky bits! The record pushes past the formula of the earlier Brasil 66 albums, and goes for a more sophisticated approach that adds in some sweet electric moments, more complicated grooves, and an overall sound that's even hipper than the group's early pop for A&M. The album features an excellent version of "For What It's Worth" that has a tight drumbreak which has been sampled often, as well as a great version of Caetano Veloso's "Lost in the Paradise" which is a good translation of the song to an American idiom! Other tracks include "Viramundo", "Stillness", "Chelsea Morning", and "Sometimes In Winter". A real gem – and one of the group's most overlooked albums!

Excellent work from Flora Purim – one of the wonderful west coast bits of Braziliana recorded in the Fantasy Records studios during the mid 70s! The record's a perfect example of the greatness that arose when Brazil's best talents had the chance to work with some of America's best jazz and fusion players – a sublime fusion of talents that resulted in a groove that would dominate the west coast scene for most of the 70s. In this case, Flora's backed by a great group that includes Hadley Caliman, Oscar Castro-Neves, Carlos Santana, Ron Carter, George Duke, Earl Klugh, and Airto – and the set includes a great choice of breezy numbers, perfect for Flora's vocals, like "Vera Cruz", "Silver Sword", "Casa Forte", "Mountain Train", and "Search For Peace".

Arranged by Peter Myers and Sammy Lowe – with cuts that include "Daydream City", "Something", "Simple Song Of Freedom", "Leftover Wine", "Billy My Love", "Skip A Rope", and "What Are You Doing The Rest Of Your Life".

This one's got a stupid-sounding title and cover, but it's one of Kim's hippest albums – with a sophisticated mix of soul and jazz-styled vocals that reminds us a fair bit of Marlena Shaw. The arrangements are by a hip batch of chart-writers – including Melba Liston, Marty Paich, and Gene Page – and although a few tracks get a bit schmaltzy, there's more than a few cool numbers here. Titles include "What's Gonna Happen To Me", "Big Brass Four Poster", "Something I Can Feel", "Love Don't Let Me Down", "My Man", and "Sound Of Silence".

A great look at the Decca years of Peggy Lee – a time when the singer was working away from Capitol Records – where she'd initially begun in the 40s, and would return to great fame in the 60s! Peggy's sides at Decca are often quite unique – rooted in the older style of jazz vocals of her early years, yet often open to great experimentation in the rhythms, phrasing, production, and instrumentation! While never totally over the top, there's a sense of creativity to these tracks that's quite marked – a willingness to go beyond simple pop, and really try something new at times. The CD features 27 titles at all, all of the albums Black Coffee and Songs In An Intimate Style, plus other singles as well – including a number of tracks never available on CD! Titles include "Johnny Guitar", "Summer Vacation", "How Strange", "Be Anything", "River River", "Moon Flowers", "Who's Gonna Pay The Check", "This Is A Very Special Day", "That's What A Woman Is For", "Sisters", "Lover", "Let Me Go Lover", "Where Can I Go Without You", and "Ring Those Christmas Bells".

Incredible early work from Lorez Alexandria – the kind of albums that instantly set her apart from other singers of the 50s, reissued here properly for the first time in years! On This Is Lorez, the singer is working with sublime small combo backings from the group of pianist King Fleming – an unusual Chicago ensemble that includes Wilber Wynn on guitar, Ronald Wilson on flute and oboe, Vernel Fournier on drums, and Audrey Jones on bongos – a musical lineup that brings in a different sort of sophistication to the record, shading tunes with moody colors on flute and oboe that perfectly support Alexandria's soulful and sensitive interpretations of the tunes. The whole thing is pure genius, and a key look at the new levels of sophistication that were bubbling everywhere on the Chicago scene during the years of Jamal and Sun Ra. Lorez Sings Pres follows in a very similar mode – with backing by a Chicago group that again includes King Fleming piano, plus Charles Stepney on vibes, Paul Serrano on trumpet, and Vernel Fournier on drums – an extremely hip lineup that makes the record far more than just the Lester Young tribute promised in the title! But despite the instrumentalists, the real star on all sides is Alexandria – who sings with dark tones and deep colors that go far beyond conventional jazz vocals – all carried off with that slightly breathy mode that was one more unique aspect of her work! CD features all tracks from both albums – a total of 22 titles that include "Snowstorm", "I'm Glad There Is You", "The Sky Is Crying", "I'm Making Believe", "Necessity", "Penthouse Serenade", "DB Blues", "This Year's Kisses", "Easy Living", "No Eyes Blues", "Jumping With Symphony Sid", and a key early reading of "Baltimore Oriole".

Mose Allison's last album for Prestige Records – before moving onto even bigger fame at Columbia and Atlantic during the 60s! Unlike Allison's later sets, this one is mostly instrumental – but there are a few sweet vocal tracks that bring out the hip, rootsy lyrical modes that would make Mose a big hit with the mod scene overseas – including the classic "Eyesight To The Blind", plus "That's All Right" and "Do Nothing Till You Here From Me". The remaining piano trio sides have a great rollicking groove – rootsy, yet slightly modern too – with bass by Addison Farmer and drums from Ronnie Free – on titles that include "Promenade", "It's Crazy", "Strange", "Autumn Song", and "Groovin High".

Featuring cover art by Andy Warhol.

Gentle-going genius from the later years of Satchmo's career – a session that has Louis on trumpet and vocals, backed by the Oscar Peterson Trio! Peterson's usual group with Herb Ellis and Ray Brown is expanded slightly for this outing – bringing in Louis Bellson on drums to syncopate the tunes a bit more strongly, and give them that gently swinging rhythm that always works well with Armstrong's style. The real surprise, though, is Louis' voice – which is simple, almost elegant at times – and free from some of the gimmicks of other 50s sessions, or the too-playful style of his better-known duets of the period. We really love his gentle, honest approach to the lyrics here – on tunes that include "I'll Never Be The Same", "Moon Song", "What's New", "There's No You", "You Go To My Head", "That Old Feeling", and "Let's Fall In Love". CD also features 4 bonus tracks – including "Let's Do It", "I Get A Kick Out Of You", "Willow Weep For Me", and "Makin Whoopee".

An incredible live recording by Burt Bacharach – and one that wasn't issued in the US! This early 70s concert is great proof that the Bacharach magic didn't come from any studio tricks – but from the genius of Burt himself – as the maestro's working here in a fantastic larger-than-life setting, one that offers slightly different takes on the magical tunes of his A&M years. The arrangements include a large instrumental group, plus strings and uncredited singers – and Burt himself delivers some wonderful vocals on a few tunes too. Titles include "Promises Promises", "The Look Of Love", "Walk On By", "Come Touch The Sun", "Bond Street", "Close To You", "A House Is Not A Home", and 2 nice medley tracks!

Quite possibly the greatest moment ever for Burt Bacharach – and that's saying a heck of a lot, considering the greatness of all of his work! The record's a slightly-overlooked gem from Burt's 70s years – a record that steps off the compressed sophistication of his best 60s work for A&M, but pushes things slightly into even more adult territory – a space that's beyond simple instrumental pop, and which features complicated rhythms, amazing songwriting, and a batch of tunes so great, you'll be coming back to this one for years to come! The record leads off with the sublime "Something Big", a building vocal number that always sends chills down our spine – then follows with the skittish rhythm of "Monterey Peninsula", almost drum and bass at times! Even the mellower tracks are great – somewhat soulful, and always touched with unusual phrasings, timings, or jazzy changes that are simply mindblowing. Other tracks include "The Balance of Nature", "Lost Horizon", "Walk The Way You Talk", "Reflections", "Long Ago Tomorrow", and "I Might Frighten Her Away".

Recorded for a small label in Milwaukee – but featuring arrangements and production from Jimmie Haskell!

Wonderful early work from Madeline Bell – a great singer with a sound that's equal parts American soul and British 60s female pop! The recordings on the set are from Madeline's earliest years in the UK – long before she achieved greater fame on crossover rock recordings, at a time when she was just stepping off an early career in gospel, where she'd crafted some great recordings on Vee Jay with Alex Bradford. The sound of the album is wonderful – arranged to production by Arthur Greenslade, and produced by Johnny Franz with the same pop genius he brought to Philips work by Scott Walker and Dusty Springfield. The CD features the full tracks from the Poppin album, plus a number of contemporary singles – for a total of 20 tracks that include "Picture Me Gone", "Beat The Clock", "Can't Get Used To Losing You", "Didn't Want To Have To Do It", "Soul Time", "I'm Gonna Make You Love Me", and "You Won't See Me".

A really strong late 80s set from Regina – bringing in more smooth soul touches than the more dancefloor ready predecessor – which make for an even finer showcase for Regina's beautiful voice. Titles include "Baby Come To Me", "When Will You Be Mine", "What Goes Around", "It Doesn't Hurt Anymore", "This Is Love" and more.

A much more solidly American album than some of Vicki Benet's other efforts of the time – which were usually more French-styled than this one! This time around, Vicki's got a great breathy style that's right up there with Julie London on Liberty – a late 50s sexiness that perfectly matches her ice blond look on the cover, and her slinky slinky dress! Arrangements are relatively gentle – strings, but never too lush – and Vicki hangs mostly in a ballad mode that's perfect for the breathiness of the recording. Titles include "Our Very Own", "The Boy Next Door", "Love Me", "There's A Small Hotel", "A Shade Of Blue", and "Heartstring Melody".

3 lost vocal gems from 50s Paris! The set pulls together some rare eps on the Barclay and Fontana labels – all the picture of Left Bank hip! The first 8 tracks are by Harold Nicholas – singing in French and English with a swinging combo on tunes that include "Que Reste-t-il De Nos Amours?", "That Old Black Magic", "Teach Me Tonight", and "Smoke Gets In Your Eyes" – in a style that's similar to early work by Claude Nougaro, but perhaps a bit more mellow. The next 4 tracks feature June Richmond singing with a hip group arranged by Quincy Jones – and featuring work by Billy Byers, Roger Guerin, Kenny Clarke, and Henri Renaud. Tracks on that set include "Sleep", "Everybody's Doing It", and "I've Gotta Right To Sing The Blues". The last two tracks are rare gems by Andy Bey and his sisters Salome and Geraldine – performing in the style of their classic Andy & The Bey Sisters albums in the US, and recorded in 1959, quite early in their career! Their two tracks are wonderful – and feature the trio grooving soulfully on the tunes "Smooth Sailin" and "Scoubidou".

Classic work by one of our favorite pop singers ever – the full-voiced Cilla Black, a vocalist we'd trade for Petula Clark or Dusty Springfield in a minute! During the 60s, Cilla was working in a strongly Bacharach-influenced mode – a style that picked up a lot of uptown touches from the New York scene, but which infused them with the more belting mode of Brit female singers of the time. The result is an incredibly powerful approach to pop – one that showcases Cilla's incredible voice, but which also has her wrapped up in beautifully full arrangements, and rhythms that often have that slightly syncopated gentle groove that we love from Bacharach's work with pop singers. CD features 25 tracks in all – including 6 making their CD debut – titles that include "Yo Yo", "A Man & A Woman", "Anyone Who Had A Heart", "You're My World", "Love Letters", "One Little Voice", "Alfie", "Baby I'm Yours", "A Lover's Concerto", "Step Inside Love", "Liverpool Lullaby", "Forget Him", "Little Pleasure Acre", and "Rule Britannia".

One of the last albums ever from the legendary Oscar Brown Jr – a set that features the famous vocalist working with daughter Maggie Brown – in a setting that's one of the most jazz-based that Oscar's used in years! Backing us by a hip small combo – and Oscar brings a hell of a lot of personality to the tunes – those soulful inflections we've always loved in his lyrics, augmented by some spoken bits from time to time – and matched with a very deep, spiritual jazz approach from Maggie! The set's a great one – filled with great memories from Brown's many years in music – and many numbers feature this really great creative interplay, as other singers come into the group with the spirit of instrumental voices in a small combo. Titles include "Bird Chase", "Midnight", "All Blues", "Strongman", "Insight", "Young Jazz", "My Little Maggie", and "Brown Baby".

Oscar Brown's score for a hip play that he wrote (one of his many plays!) – performed by him, Sivuca, and Jean Pace. Despite the "show" quality of the material, this actually stands simply as a great Oscar Brown Jr. LP, and the production is nice and intimate, and sounds just like an ordinary studio album. Sivuca's great, and his breathy voice and playing really open up Oscar Brown with some great Brazilian touches. And as usual, the writing's great, especially on tracks like "Brown Baby", "Mother Africa's Day", "Funky World", and the great version of "Afro Blue", featuring Oscar's classic lyrics. Also features a wonderful version of Johnny Alf's "Sky & Sea" – done by Sivuca with an incredible lilting groove!

A sweet bit of funky jazz vocals from Oscar Brown Jr – recorded during his early 70s stay at Atlantic Records, in a style that's very different than his early work! The tracks are all still original numbers by Oscar – penned with that clever bad-rapping approach to the lyrics that always earned him a huge audience in the cognoscenti. The feel is a bit more electric than before, with Richard Tee on electric piano, Cornell Dupree on guitar, and percussion by Ralph MacDonald. A few cuts have female backing vocals, and titles include "Gang Bang", "Feel the Fire", "Dime Away from a Hot Dog", and "Young Man".

Experimental vocals and offbeat reed sounds – a really great pairing of singer Uschi Bruning and reedman Ernst-Ludwig Petrowsky! We know Ernst-Ludwig and Uschi from a range of other projects, but they really sound different here together – especially because Petrowsky's reeds are often trying to emulate the modes and timing of Bruning's vocals – which themselves are very free and horn-like in their expression – quite far from any sort of usual jazz vocals! The whole record's given us a great deal more respect for Uschi, and opens our ears even further to the genius of Ernst-Ludwig – thanks to tracks that include "Lonely Woman", "Sax Shop", "Kontraste", "Bandblatt", "Das Ding", "Skizzen", and "Duellarando".

Excellent work from Betty Carter – much more sophisticated than some of her 60s work! Betty's captured here in her hip trio format that she developed to fantastic heights during the 70s. Betty sings standards and originals with a warmth an imagination that we can hardly describe accurately – bringing emotion into the songs that we'd hardly heard in earlier recordings, and using a trio in ways that we'd never heard before with a vocalist. Incredible stuff all the way through, very much on a par with any of Betty's later work, with "Do Something", "My Shining Hour", "What's New", "Round Midnight" and "I'm Pulling Through".

A mixture of folksy and jazzy vocals from singer Susan Carter – part of the Laurel Canyon scene of the late 60s! Although Susan was one of the "Ladies Of The Canyon", she's got a sound here that's much more wider-ranging than that of Joni Mitchell – a unique mixture of jazz and rock influences that come across with a different sound on nearly every track on the set. The arranger for the album is Dick Halligan, who we've never heard of before – but who should get a lot of credit for the way that he mixes together odd phrasings and timings to match the shifting styles of Susan's vocals. Titles include "I'm So Tired", "I Need A Good Man Bad", "Medley For Billie Holiday", "Bluebird", and "Jam Session".

An assortment of early 50s recordings by The Chordettes – easily one of the most heavenly groups ever to record in pop music! The quartet first had their roots in barbershop harmony, but soon stepped into much more sophisticated territory with these recordings for Cadence Records – sides that are perhaps best remembered for the hit "Mr Sandman", but which are pretty darn interesting throughout! The style's a bit sweeter and a bit less modern than work by The Four Freshmen or The Hi-Los from the 50s, but it's also no less compelling – and The Chordettes were one of the few female groups of the time to sing in such a way, making them a real standout. Tracks here sometimes feature additional instrumentation, usually on rhythm – but often the recordings are nearly acapella, and base all the song structures simply on the amazing vocals by the lovely ladies in the group! CD features 16 titles in all – including "Mr Sandman", "We Three", "San", "Oh Baby Mine", "For Me & My Girl", "Down Among The Sweltering Palms", "Hummingbird", "Lovely Lips", and "A Good Man Is Hard To Find".

A great one from June – on a par with the Something Cool album, and featuring arrangements by the great Pete Rugolo! Like that one, this one's a pretty dark effort – filled with some great boozed-up late night vocals. Titles include "Saturday's Children", "I Wished On The Moon", "The One I Love Belongs to Somebody Else", "Nobody's Heart", "I Remember You", and "Night Time Was My Mother".

A quartet of lovely ladies, serving up their renditions of classics from the swing era – all done in sweetly scatted versions! Most numbers begin with these great wordless vocal passages that establish the tunes before the main lyrics come in – setting the scene like the horns in a larger group, but sounding even more wonderful through the sweet harmonies of the group. The format's a great one – quite unusual for the time, and very different than the approach used by other female vocal combos of the 50s. And thanks to some hip arrangements from Bob Bain and Bud Dant, even the older tunes on the record crackle with a new sense of life. Titles include "Opus One", "Music Makers", "Little Brown Jug", "Don't Be That Way", "You're Driving Me Crazy", "String Of Pearls", and "Marie".

A wonderful idea for a record – very unique, and with a style that makes for one of the freshest jazz vocal sets we've heard in years! The tunes here are all numbers penned by saxophonist Pepper Adams – a great change from overdone standards – and they've got some inventive lyrics penned by Barry Wallenstein, sung with a very vivid, jazzy flourish by Alexis Cole! The approach is wonderful – hardly what you'd expect from the usual jazz vocal set – and the instrumentation is also great too – a small combo, with twin tenors from Eric Alexander and Pat LaBarbera, both bringing in the kind of solo space and soulful inflections that Adams would have greatly appreciated. Titles include "Urban Dreams", "Julian", "Civilization & Its Discontents", "Lovers Of Their Time", and "Now In Our Lives".

Two rare European records from Freddy Cole – best known to most of us in the US as a jazz singer! One More Love Song is surprisingly soulful set from Freddy – quite different than some of the straighter jazz vocals he's cut over the years! This rare gem was recorded in The Netherlands in the mid 70s – and features backings from Jerry Van Rooyen and Tony Noite, both of whom mix jazzy inflections with fuller orchestrations – helping to bring Cole's rich background into a whole new light! Freddy's voice still has that wonderful trademark rasp – familiar to, yet quite different than brother Nat – and the use of some smoother soul modes makes for a really great contrast. Titles include "One More Love Song", "I Loved You", "I Need You So", "Still Wanna Be With You", "Isn't She Lovely", and "Here Is Where Your Love Belongs". Right From The Heart has Freddy Cole taking on a mix of adult ballads and some groovier numbers – set to arrangements by John Gally, Hennie Bekker, and Steve Gray – and recorded in London with a nicely mature feel. There's a bit of polish to the production, especially on the more upbeat cuts – but the mellower numbers still have Cole singing in a great old school mode. Titles include "The Girl From The Piano Bar", "To Be With You", "Teach Me Tonight", "Summer Love", "Somewhere Down The Line", and "Right From The Start".

One of the most haunting albums we've ever heard from Perry Como – a session recorded in Italy during the mid 60s – featuring arrangements by Nick Perito, and backing vocals by the Alessandro Alessandroni Singers! The tunes include a fair bit of older Italian numbers – some sung in the language of their origin, some in English translations that we've come to know on this side of the Atlantic – and Como takes them all with a sad-tinged style that makes the album one of his moodiest ever – a record that oozes melancholy with every song, and which has a late nite, heartbreaking appeal that goes beyond even the understanding of language. The set's a great one to convey the popularity of Italian work on the American market in the 60s – and Como carries off the session even better than some of the more likely singers on the scene during the period. Titles include "Souvenir D'Italie", "Forget Domani", "Anema E Core", "One Day Is Like Another", "Arrivederci Roma", "Oh Marie", and "E Lei".

Sultry vocals from Sallie Blair – one of the hipper singers of her generation, and an artist with a sound that's unlike anyone else we can think of! Blair's a bit bluesy, a bit soulful, but ultimately a jazz singer at heart – and her already-cool style gets some sweet extra help on this session from Neal Hefti, who brings a great sense of punch to his arrangements – almost a Basie bounce at points, but with some Henry Mancini touches too – especially in the album's great use of electric guitar and Latin percussion. Most numbers have a slinky, sexy sort of groove – and titles include "That Old Black Magic", "Witchcraft", "Whatever Lola Wants", "Doncha Go Way Mad", "Everything I Have Is Yours", "Early Winter", and "I'm Through With Love".

A great one from June – on a par with the Something Cool album, and featuring arrangements by the great Pete Rugolo! Like that one, this one's a pretty dark effort – filled with some great boozed-up late night vocals. Titles include "Saturday's Children", "I Wished On The Moon", "The One I Love Belongs to Somebody Else", "Nobody's Heart", "I Remember You", and "Night Time Was My Mother".

An excellent album of vocals that's one of the best vocal jazz sessions ever cut on Bethlehem! It's also one of the rarest, and comes packaged in a cool purple, white, and black cover with Connelly stretched out in a montage of some very Laura Petrie-ish images! The backing's by a hip group led by Russ Garcia, and featuring Jimmy Giuffre, Charlie Mariano, Bill Holman, and Pete Candoli. Tracks include "Gentleman Friend", "Alone Together", "That Old Black Magic", "Why Shouldn't I", and "Trav'lin Light".