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Tremendous horn interplay from the team of Al Cohn and Zoot Sims – and a record that may well be one of the best illustrations of their famous magic together in the 50s! The record's got a way of focusing energy, yet letting each player state themselves clearly and cleanly – almost a perfect small group variation of the larger jazz modes of a generation before – carried out here by Cohn and Sims with a great balance of tone and timing, modernism and swing! There's an excellent rhythm group on the date – Mose Allison on piano, Teddy Kotick on bass, and Nick Stabulus on drums – who almost bring in a slightly soulful undercurrent, which works especially well on Sims' solo moments. Tracks include "Two Funky People", "Just You Just Me", "The Wailing Boat", "You're A Lucky Guy", "Brandy & Beer", and "Chasing The Blues".

Tremendous horn interplay from the team of Al Cohn and Zoot Sims – and a record that may well be one of the best illustrations of their famous magic together in the 50s! The record's got a way of focusing energy, yet letting each player state themselves clearly and cleanly – almost a perfect small group variation of the larger jazz modes of a generation before – carried out here by Cohn and Sims with a great balance of tone and timing, modernism and swing! There's an excellent rhythm group on the date – Mose Allison on piano, Teddy Kotick on bass, and Nick Stabulus on drums – who almost bring in a slightly soulful undercurrent, which works especially well on Sims' solo moments. Tracks include "Two Funky People", "Just You Just Me", "The Wailing Boat", "You're A Lucky Guy", "Brandy & Beer", and "Chasing The Blues".

The very last performance at the legendary Keystone Korner in San Francisco – a well-blown session from Zoot Sims' overlooked years on Pablo Records! Like other Pablo dates, this one's got a very easygoing groove – a relaxed format that allows Sims to really stretch out on his horn – tenor on most numbers, but some surprisingly great soprano sax as well – a subtle delight that shows up at key points during the Pablo years. Rhythm is by the trio of Frank Collett on piano, Monty Budwig on bass, and Shelly Manne on drums – and titles include "Dream Dancing", "Changes", "I'll Remember April", "Tonight I Shall Sleep", and "If You Could See Me Now".

A motherlode of great music from Zoot Sims – mid 70s recordings done for the Groove Merchant label, presented here in a late 70s package! Although Groove Merchant was mostly known for its funkier sounds, the work here is nicely back to basics for Sims – small group sessions that give him plenty of room to open up and blow – paired with players that include Lionel Hampton on vibes, Bucky Pizzarelli on guitar, Teddy Wilson on piano, and Buddy Rich on drums. The sound is warm, but never sleepy – and Zoot's tenor has a nice edge on his solos that dominate most tunes. Titles include"A Summer Thing", "Somebody Loves Me", "Up A Lazy River", "Come Rain Or Come Shine", "Send In the Clowns", and "Memories Of You".

A swinging east coast set featuring the reeds of Zoot Sims, Al Cohn, and Tony Scott. Trigger Alpert is actually the leader on these sides, in spite of the way the album is billed, and he plays bass in a piano-less rhythm section alongside Ed Shaughnessy on drums. The front line also includes Joe Wilder and Urbie Green, making for an horn heavy ensemble that blows nicely over Dick Hyman, Tony Scott and Marty Paich arrangements of standards and a handful of originals that include "Looking At You", "I Don't Want To Be Alone Again", "Trigger Happy", "Tranquilizer", "Where's That Rainbow?", "Treat Me Rough", "Triger Fantasy" and "Love Me Tomorrow".

Rare live material – from the legendary Left Bank series of the late 60s! Dave Frishberg plays piano, too.

Overlooked early genius from the great Zoot Sims – material recorded between his time at Prestige and Dawn Records, but done for the mostly-trad Jump Records label! The material here was originally issued under the name of trumpeter Hall Daniels, who led the group – and in addition to Sims on tenor, the set features a decidedly modern lineup , with Bob Gordon on baritone sax, Dick Nash on trombone, and Tony Rizzi on guitar! Tunes are all more than a few minutes long, and give Sims some great room to solo – as well as some of the other players too – and the CD brings together tracks from the original 10" release, plus additional tracks from a 1977 Zim Records release, and three more unreleased tracks too. There's a few alternate versions on the set – and titles include "Compatability", "The Way You Look Tonight", "You Don't Know What Love Is", "Nash-Ville", and even a bit of studio patter too!

A really great little set from Zoot Sims – earthy, and almost a bit more fragile than much of his other work! There's a real "down home" feel to the whole record – as Zoot blows comfortably and easily in a quartet with Dave McKenna on piano, George Tucker on bass, and Dannie Richmond on drums – making a rare non-Mingus appearance for the set! Zoot's horn has a bit more dirt in the tone than on some of his "cleaner" sessions – a style that we like a lot, and which really fits the feeling of the set. Titles include "Doggin' Around", "Avalon", "Jive At Five", "I've Heard That Blues", and "Goodnite Sweetheart".

Jazz from the heart of the cold war – not actually recorded in Moscow, but featuring a bunch of hip players on their return from a tour of the Soviet Union – a historic moment in which west met east, with some groovy jazz in the offing! Apart from the tenor of Zoot Sims and alto of Phil Woods, the record also features flute and alto from Jerry Dodgion, trombone from Willie Dennis, trumpets from Markie Markowitz and Jimmy Maxwell, and piano from Eddie Costa – and the set features arrangements from Al Cohn on tracks that hit the 5 minute range – tight at the top, with breakaway solos, as you might hear during some of the Cohn/Sims sides for RCA during the 50s! Titles include "Let's Dance", "Mission To Moscow", "The Sochi Boatman", and the obligatory "Russian Lullaby".

One of the best live jam sessions on MPS – a really freewheeling performance, filled with an assemblage of all star players! As the title indicates, the set was recorded live in Colorado in the early 70s – and all titles here are quite long, quite lively, and filled with great solo space – taken strong advantage of by some of the best players here, some of whom didn't get to record in this format much at the time. There's a mostly swing-based style going on here, but there's also a bit of bop as well, depending on the players on each track. Players work in various groupings, and artists include Carl Fontana, Kai Windingk, Urbie Green, and Trummy Young on trombone; Zoot Sims, James Moody, and Flip Phillips on tenor; Victor Feldman and Dick Hyman on piano; Budd Johnson on baritone and soprano sax; and Mousie Alexander and Alan Dawson on drums. Titles include "The Hymn", "On The Trail", "Just Squeeze Me", "Oleo", "Emily", "Undecided", and "Lover Come Back To Me".

Not sure exactly why Zoot's got some Gemini wishes in the title – but the album's a great date, one of his later pairings with pianist Jimmy Rowles – a beautiful partner for the laidback tone that Sims adopted at this stage in his career! The album's got an understated eloquence that comes through right away – as Rowles sets the tunes up beautifully for Zoot's well-blown tenor – keeping things fresh, but with a timeless quality too – and getting a bit of gentle rhythmic support from Frank Tate on bass and Akira Tana on drums. Sims plays soprano sax on "The Fish Horn" – and other titles include "I Wish I Were Twins", "Changes", "The Touch Of Your Lips", "Come Closer To Me", and "You Go Your Way".

A great date from pianist Dave McKenna – an artist who's frequently caught in a trio set or smaller – which makes this quartet session with Zoot Sims a mighty nice treat! McKenna's got a really timeless approach to piano – one that often spans decades of jazz expression, especially the earlier ones – and that seems to bring out a nice sound here in Sims' horns – which include both tenor and soprano sax for the session, the latter of which is especially sweet. Tracks are relatively short, but have a warm, personal feel – and the group also features Major Holley on bass and Ray Mosca on drums. Titles include "One Good Turn", "Dave's Tune", "Deed I Do", "Limehouse Blues", "Linger Awhile", and "Wherever There's Love". CD features some bonus alternate takes, too!

One of the best albums that Al Cohn and Zoot Sims ever cut together – and that's saying a lot, given the strength of their collaborations during the 50s and 60s! The set's got a nice small group feeling, and is a bit more open and relaxed than some of their RCA material – still in the sharp, thoughtful mode that marked both Cohn and Sims' sessions – but also a bit more earthy, too – possibly because they've got Mose Allison in the combo on piano. The album includes the incredible spare sax-only track "Improvisation For Unaccompanied Saxophones", which is an extremely haunting track that sounds unlike anything the pair had ever done together – and other titles have the full quintet playing, tunes that include "The Opener", "The Note" and "You N Me".

Seminal west coast recordings by Clifford Brown – recorded in LA in 1954, with a mixture of hard bop and lyricism, in that sparkling mode that Brownie left as his indelible imprint on the west coast scene of the 50s! Players include Bob Gordon on baritone, Stu Williamson on trombone, Zoot Sims on tenor, and Russ Freeman on piano – and Jack Montrose arranged the set. Titles include "Tiny Capers", "Bones For Jones", "Joy Spring", "Finders Keepers", and "Daahoud".

Great early genius from the Clarke Boland Big Band – proof that Kenny and Francy were onto something great, right from the start! The album really has the group hitting the heights of their MPS years – stretching out way past earlier big band modes, into the hip mix of rhythms and soulful solos that made the ensemble unlike any other group in the 60s – a really groundbreaking approach to their music, delivered by a range of top-shelf players! Arrangements are by Boland, who also plays piano – and other group members include Benny Bailey and Jimmy Deuchar on trumpets, Derek Humble on alto sax, Carl Drewo and Zoot Sims on tenor, Sahib Shihab on baritone sax and flute, and Ake Persson on trombone – plus rhythm from the rock-solid duo of Jimmy Woode on bass and Kenny Clarke on drums. Titles include the Latin-tinged "Los Bravos", and more great originals by Boland – including "Volutes", "The Styx", "Charon's Ferry", and "Box 703 Washington DC" – plus versions of "Gloria" and "Last Train From Overbrook".

With Ella Fitzgerald, Harry Edison, Oscar Peterson, Zoot Sims, Al Grey, JJ Johnson, Eddie Lockjaw Davis, Louis Bellson, and Joe Pass.

Features Ella Fitzgerald on vocal performances of "April In Paris", "Party Blues", and "Every Day I Have The Blues" – with Count Basie backing. Also features a jam session version of "Billie's Bounce" – with Art Blakey, Charles Mingus, Tal Farlow, Zoot Sims, and others – and a solo piano take on "Lady Fair" by George Wallington.

A classic live album by Gerry – featuring one set of tracks recorded in Stockton, CA in 1954, with Chico Hamilton, Red Mitchell, and Jon Eardley; and another recorded in San Diego the same year, with Zoot Sims, Bob Brookmeyer, Larry Bunker, Red Mitchell, and Eardley. Gerry even plays a bit on the piano, despite its absence from his other work – and titles include "Western Reunion", "Little Girl Blue", "Blues Going Up", and "The Red Door".

Two great examples of Gerry Mulligan's Concert Jazz Band – back to back on a single CD! First up is Concert Jazz Band 63 – the sound of Gerry Mulligan in the early 60s – and one of the best records by his larger than usual Concert Jazz Band! Given Gerry's piano-less experiments of the 50s, it's surprising to actually have him as the pianist on this session – hitting the keys with a nice light touch, so that the larger horn section can take over most of the tunes – a beautifully-arranged ensemble who have a feel that's lighter than some of the groups of the 50s – such as the Kenton ensemble – yet one that's equally modern at times! The lineup is wonderful – with Clark Terry and Nick Travis on trumpets, Willie Dennis and Bob Brookmeyer on trombones, and Gene Quill, Gene Allen, and Eddie Caine on saxes – plus guitar from Jim Hall, bass from Bill Crow, and drums from Gus Johnson. Titles include "Big City Life", "Bridgehampton South", "My Kind Of Love", "Pretty Gypsy", "Bridgehampton Strut", and "Big City Blues". The second album features great large group material from Gerry Mulligan – and a record that definitely defines the sound of his famous Concert Jazz Band of the early 60s! The group features a four part sax section – headed by Mulligan, with other players that include Zoot Sims on tenor, Gene Allen on baritone, Gene Quill on alto, and Dick Meldonian on alto – and the set also features work by Nick Travis and Conte Candoli on trumpets, and Bob Brookmeyer on valve trombone and trombone – shading in some nice colors to the group's tone-heavy approach! Titles include "Out Of This World", "Sweet & Slow", "Bweebida Bobbida", and "Manoir Des Mes Reves".

Gerry Mulligan's still far from the mainstream of jazz on this sweet little set – a great date that expands nicely from the mellower styles of the Pacific Jazz years – expanding the group a bit, with some really great results! In addition to Mulligan's usual baritone sax, Gerry also plays a bit of piano on one track – reconciling himself with the instrument, and using it in surprisingly soulful ways. Other players include Zoot Sims on tenor, Bob Brookmeyer on trombone, either Don Ferrara or Jon Eardley on trumpet, and Dave Bailey on drums. Tracks are long and nicely open – a bit less tightly arranged than some of Mulligan's work on Pacific Jazz – and titles include "Lollypop", "Igloo", "Blue At The Roots", "Elevation", and "Mainstream".

Not the most authentic Brazilian album you'll ever find – but a great batch of bossa jazz tracks! The set was put together in New York by pianist Bill Potts, and it features some great work by Zoot Sims on tenor, Louie Ramirez on percussion, Chano Pozo on conga, and a special unnamed guest artist on vibes! We're guessing that this artist can't be listed because of contractual reasons, but his playing is great, and the vibes give the record a great added touch. Includes a version of "Samba Saravah/My Heart Loves The Samba" from A Man & A Woman – plus "Brasilville", "Teach Me Tonight", "Que Se Vaya", and "Forgetting You".

Wonderful work from guitarist Jimmy Raney – easily one of his standout sets of the 60s, and a record that features some great second guitar from Jim Hall! The pairing of guitars makes for a really unique sort of sound – one that's more languidly flowing than some of Raney's previous work, in ways that opens up with some tremendous tones and colors throughout – almost a guitar-based version of the sort of groove that Clark Terry and Bob Brookmeyer got with their horns while recording for Mainstream at the time. The presence of Zoot Sims on tenor is also a great factor of the record – and there's almost a gentle bossa nova influence going on here, but one that's touched with more modern elements too – in ways that really transform the sound of Sims' horn. Other players in the group include Steve Swallow on bass and Osie Johnson on drums – and titles include"A Primera Vez", "Presente De Natal", "Este Seu Olhar", "Betaminus", "Move It", "All Across The City", and "Coisa Mais Linda".

Lots of Swingin Friends here – Al Cohn and Zoot Sims on tenor, Clark Terry and Snooky Young on trumpets, and Jimmy Knepper on trombone!

A lost Sonny Stitt session from the 60s – but wonderfully swinging, and with a groove that really works well! The album's a set of Broadway tunes played jazz-wise – but in the hands of Stitt, they come up wonderfully – stretching out with soulful intensity that's mighty nice, amidst a larger ensemble that makes for a nice contrast from some of Sonny's smaller group sessions! Stitt plays both alto and tenor – and the group features some excellent other hornmen in the lineup – Zoot Sims, Jerome Richardson, and Budd Johnson on tenor saxes, Phil Woods on alto, and Thad Jones on trumpet – plus Walter Bishop Jr on piano, Milt Hinton on bass, and Osie Johnson on drums. Stitt's in the lead here – blowing cleanly and confidently, much more soaringly than on earlier records, and without the tricks of later electric ones. Titles include "Gimme Some", "Night Song", "Better All The Time", "You'd Better Love Me", and "Loads Of Love".

A really rich album by Sarah Vaughan – recorded in Paris in 1958, with orchestrations by Quincy Jones – and large group backing that includes some great tenor work by Zoot Sims! The session's one of Vaughan's most cohesive albums of the period, and although it's got "violins" in the title, it's not too drippy or sleepy, thanks to Quincy – who keeps the whole thing moving along nicely, with just the right amount of swing and soul to work perfectly with Vaughan's vocals! Titles include "Live For Love", "Please Be Kind", "I'll Close My Eyes", "That's All", "Day By Day", "The Thrill Is Gone", and "Love Me".

A blaring batch of tracks played by an all-star all-sax group that includes Herb Geller, Phil Woods, Gene Quill, Al Cohn, Zoot Sims, Seldon Powell, Hal McKusick, and Georgie Auld. Bob Prince arranged and conducted, and the approach is surprisingly modernist, with the saxes carrying the bulk of the rhythm and melody, as well as the solos. A surprisingly nice session for Warner from the time, and pretty tough to find. Titles include "Four Brothers" (of course!), "The Gypsy", "Night In Tunisia", "Jumpin With Symphony Sid", and "Axmobile".

A great little vocal session on Bethlehem – and maybe the only record we've ever seen from singer Betty Blake! Blake's a great vocalist right from the start – one who balances swing and sophistication wonderfully – amidst some very hip jazz backings from a combo that features Zoot Sims and Roland Alexander on tenor, Marcus Belgrave on trumpet, Teddy Charles on vibes, Kenny Burrell on guitar, and Mal Waldron on piano! The set's got a bit more punch than some other Bethlehem vocal dates, but it also has a nice sense of spontaneity too – never over-arranged or too staid, in ways that really show off Blake's swinging side. Titles include "Moon and Sand", "I'll Be Around", "While We're Young", "Blue Fool", and "Trouble Is A Man".

Great early genius from the Clarke Boland Big Band – proof that Kenny and Francy were onto something great, right from the start! The album really has the group hitting the heights of their MPS years – stretching out way past earlier big band modes, into the hip mix of rhythms and soulful solos that made the ensemble unlike any other group in the 60s – a really groundbreaking approach to their music, delivered by a range of top-shelf players! Arrangements are by Boland, who also plays piano – and other group members include Benny Bailey and Jimmy Deuchar on trumpets, Derek Humble on alto sax, Carl Drewo and Zoot Sims on tenor, Sahib Shihab on baritone sax and flute, and Ake Persson on trombone – plus rhythm from the rock-solid duo of Jimmy Woode on bass and Kenny Clarke on drums. Titles include the Latin-tinged "Los Bravos", and more great originals by Boland – including "Volutes", "The Styx", "Charon's Ferry", and "Box 703 Washington DC" – plus versions of "Gloria" and "Last Train From Overbrook".

Tenors can't get any more conclaved than this – as the record brings together 4 players on the instrument in a great match from 2 of the best sides of 50s jazz! John Coltrane and Hank Mobley represent the more open, soulful side of the spectrum – and Al Cohn and Zoot Sims the tighter, more smartly arranged aspect. Together, the quartet of horns work in an open-ended blowing mode with rhythm by Red Garland, Paul Chambers, and Art Taylor – in a way that almost makes the set a "Coltrane plus" album for Prestige – one that has the structure of some of the best Trane/Garland sides for the label, but which blows in some other horns with different voicings. If you ever needed a record to demonstrate the subtler shadings of genius within 50s modern jazz, yet still convince you that it could also be relaxed and spontaneous, this record may well be the one. Titles include 2 standards – "Just You, Just Me" and "How Deep Is The Ocean" – plus 2 Mobley originals – "Tenor Conclave" and "Bob's Boys".

One of the greatest albums on the Bethlehem label – and one of the first albums as a leader by the legendary Booker Ervin! At the time of the set, Ervin had come off a great stint with the Charles Mingus group – one that inflected his rootsy Texas tenor tones with a sharper modern edge – heard to perfection on this great little session, which is equal parts hard swinging soul jazz and dark-tinged early 60s modern! Zoot Sims joins Booker in the front line, and the two of them trade tenor solos throughout on the album's long compositions – grooving with a great sextet that includes Tommy Turrentine on trumpet, Tommy Flanagan on piano, and Mingus' drummer Dannie Richmond on the kit! Cuts include "Largo", "The Book Cooks", "The Blue Book", and "Git It".

A flurry of early harmonica jazz recordings from the early 50s – mostly by a young Toots Thielemans, but also featuring a number of tracks from the lesser-known Les Thompson as well! The tracks by Toots are mostly European recordings, done at a time when he was first feeling out a space for his instrument in jazz – and years before he became THE player on his instrument, used in countless sessions, studio work, and soundtracks. All recordings were done in Europe, and include material by Toots' own group, plus performances under the leadership of Zoot Sims and Benny Goodman. Titles include "Nalen Boogie", "Red Devil's Boogie", "Harmonica Rag", "Toots Blues", "Happy Go Lazy", and "All The Things You Are". The last 8 tracks on the set all feature Les Thompson working during a live Gene Norman Presents date in Pasadena in February 1952 – most of which also includes performances by Conte Candoli, Dexter Gordon, and Wardell Gray – on titles that include "Undecided", "Lady Be Good", "I'm In The Mood For Love", "Stardust", and "Hot Harmonica".

More straight ahead than some of Charles' other work from the time – most of which is fairly modernist – but still a strong batch of tracks, and one that has a lot more edge than the work of Lionel Hampton, to whom it was recorded as a "salute". Teddy's on vibes throughout – working in different groups that include players like Hank Jones, Zoot Sims, Art Farmer, Bob Brookmeyer, Ed Thigpen, and Addison Farmer. Tracks are all Hamp standards – including "Airmail Special", "Midnight Sun", "Flyin Home", "Stardust", and "Blue Hamp".

The first album in a legendary run of vocal jazz classics on Atlantic Records – and a set that really helped Chris Connor move to a new level of expression in her music! The sound here is much richer than Connor's previous recordings for Bethlehem – and the small combo jazz backings have been replaced by fuller orchestrations by Ralph Burns – done in a cool, edgey sort of way that really pushes Chris into newly sophisticated territory! The sound's on a par with the best June Christy/Pete Rugolo collaborations on Capitol – and the group's filled with some great jazz players, including Zoot Sims, John Lewis, Milt Hinton, and Oscar Pettiford. Titles include "I Get A Kick Out Of You", "My April Heart", "He Was Good to Me", "Where Are You", and "Get Out Of Town". CD features 2 bonus tracks – "Circus" and "Flying Home".

One of the greatest albums on the Bethlehem label – and one of the first albums as a leader by the legendary Booker Ervin! At the time of the set, Ervin had come off a great stint with the Charles Mingus group – one that inflected his rootsy Texas tenor tones with a sharper modern edge – heard to perfection on this great little session, which is equal parts hard swinging soul jazz and dark-tinged early 60s modern! Zoot Sims joins Booker in the front line, and the two of them trade tenor solos throughout on the album's long compositions – grooving with a great sextet that includes Tommy Turrentine on trumpet, Tommy Flanagan on piano, and Mingus' drummer Dannie Richmond on the kit! Cuts include "Largo", "The Book Cooks", "The Blue Book", and "Git It".

A great little 2LP set – and a near-definitive release of recordings made by Gerry Mulligan and Lee Konitz, along with players like Zoot Sims, Allan Eager, and Al Cohn during the early 50s in LA. Some of the sides are studio sets, others are recorded live, and all seem to have a freeness that's rare for both of the players at the time. The sets are a bit loose, but in a good way, one that has the normally controlled Mulligan and Konitz opening up more in a jam session mode, especially on the longer tracks. Titles include "Disc Jockey Jump", "Crazy Day", "Sextet I", "Revelation", "Four & One More", "Turnstile", and "All The Things You Are". Great notes, too!

Definitely a Jimmy Smith jam session – as each side of the record features one long track, with Smith on Hammond, plus Clark Terry and Joe Newman on trumpets, Illinois Jacquet and Zoot Sims on tenor, and Kenny Burrell and BB King on guitars!

A great little CD – not only for the very nice price, but for the fact that the double-length set brings together two albums' worth of work that Carmen McRae recorded for the Groove Merchant label in the early 70s! The style here is strongly jazzy, but with a firm dose of soul too – all in a mode that follows nicely from Carmen's late 60s sessions for Atlantic Records, but with a sound that's almost even more focused and in the pocket. The band is largeish, but the rhythms are tight – and even the mellower tunes seem to have a nice sort of lilt at the bottom, one that goes great with the way that Carmen spaces out her vocals on the set. Players include Joe Pass on guitar, Larry Bunker on vibes, Zoot Sims on tenor, and Dick Shreve on piano – and the CD features 19 tracks that include "Hey John", "Inside A Silent Tear", "The Right To Love", "You & I", "Sunshine Of My Life", "The Good Life", "It Takes A Whole Lot Of Human Feeling", "Livin", "Masquerade", "You're Mine You", and "There Will Come A Time".

A nice mixture of pop and blue eyed soul from singer Vi Velasco – a talent we know mostly from her bossa nova album with Zoot Sims. This set's got a nice New York uptown feel – with arrangements by Charles Calello that combine strings and soul-styled production – almost Bacharach-ish, but with some more standard touches. Titles include "Benefit Of The Doubt", "Follow My Heart", "What Am I Supposed To Do", "I Don't Wanna Go On", and "Never Less Than Yesterday". Pretty nice stuff – with lots of original tunes!

Pat Williams is one of the greatest overlooked arrangers of the 60s, and this great Verve album features some beautifully nutty tracks, with a sweet mix of jazz and easy stylings! Zoot Sims solos on a few tracks here, and Dick Hyman plays Calliope. Great cuts include "Chicken Feathers" and "Mexican Breakfast". Cool, breathy, and breezy, with a great Verve sound, and the weird kind of subtly messed up 60's pop easy sound that we love around here!