A huge range of recordings with two of the best arrangers who ever worked with Stan Kenton! Includes material from a great variety of records and sessions – a really unique package. CD

Includes four trio tracks – just piano, guitar, and bass – plus plenty of solo material. CD

Solo piano numbers from Art Tatum, plus four trio tracks with guitarist Everett Barksdale and Slam Stewart on bass. CD

A great period for this legendary trombonist and singer – includes material from the albums Shades Of Night, Jazz Ultimate, Swing Low Sweet Spiritual, This Is Teagarden, Coast Concert, and Big T's Dixieland Band – plus other tracks too. CD

A stone classic from Cannonball Adderley – and a pivotal set that has him continuing the live recording setting of some of his best 60s albums, while also stretching forward to some of the more inventive ideas of the latter part of the decade! David Axelrod produced, and the album's definitely got his ear firmly in place – a great way of bringing together the album's hip instrumentation – Cannon's alto, Nat Adderley's cornet, and the wicked electric piano of Joe Zawinul – played here in a style that would go onto have a huge influence on countless other musicians on the instrument. Rhythm is by Victor Gaskin on bass and Roy McCurdy on drums – and as with other Axelrod live albums, there's some great spoken bits left in the mix – Cannon's charming conversation with the audience, which really opens up the tunes. Titles include the 2 title hits – "Walk Tall" and "74 Miles Away" – plus "I Remember Bird", "Oh Babe", and "Do Do Do". CD

Wickedly hip work from Cannonball Adderley – and one of his real standout sessions for Capitol Records in the 60s! The set lives up to its "Africa" promise right from the very first note – and features a set of loud, proud tunes that really bring out the righteous sounds of this generation of new liberation – tunes that sparkle with lead alto and soprano sax from Cannon, but which really draw even more energy from the whole collective of musicians on the record – a hip lineup led by HB Barnum, who also did all the arrangements for the set! The result is a record that's unlike any of Adderley's other albums – from some of the evocative snakey lines on the top, to the hip mix of 60s Cali soul and African percussion on the bottom. And oh yeah, David Axelrod produced the whole thing too! Titles include "Gumba Gumba", "Up & At It", "Hamba Nami", "Ndolima", and "Lehadima". CD

A rare live set by Cannonball Adderley – unreleased in America at the time, and performed with the style of Cannon's best work for Riverside! The album's very similar to some of the group's best live sets for Riverside – like the San Francisco or other Tokyo recording – done with tracks that are long and a bit stretched out, performed with Nat Adderley on cornet, Joe Zawinul on piano, Vic Gaskin on bass, and Roy McCurdy on drums. Titles include "Work Song", "Mercy Mercy Mercy", "This Here", "Jive Samba", and "Money In The Pocket". CD

Almost everything soulful at Capitol Records in the mid 60s – packed together in one sweet little place! The set's a winner in a great line of Cannonball Adderley live dates from the time – produced by David Axelrod, and done with that great mix of angular, slightly electric groove the combo was virtually pioneering – thanks to help from Joe Zawinul on electric piano, and Nat Adderley on cornet! Cannon also plays some great soprano sax – an instrument that he was taking off beautifully with at the time – and sets fire to a few great tunes with the instrument. But as if that's not enough, Lou Rawls joins in on vocals on a few cuts, and Nancy Wilson comes in on a few more – and the album alternates singing with instrumentals in a really great way. Titles include two very nice extended tracks by Joe Zawinul – "Rumplestiltskin" and "The Scavenger", both of which are over 10 minutes long, and which have the group stretching out in a nice live vein – and other cuts include "The Scene", "Somewhere", "Sweet Emma", and "Zorba". CD

Includes the albums Plays For Dancers In Love from 1957 and Plays For Dream Dancing from 1961. CD

Tracks include "The Thrill Is Gone", "Time After Time", "Look For The Silver Lining", "Daybreak", "Just Friends", and "My Ideal" – 20 cuts total. CD

A real classic in the canon of American postwar jazz – one of the few albums ever cut as a leader by Boston baritone player Serge Chaloff – one of a handful of musicians who really helped move the instrument forward in jazz, and help it take a rightful place next to the expressiveness of the tenor and alto sax! Even though he hardly got a chance to record, Serge was a hell of a player, and one who has both the rich tone of the instrument completely in hand, while also able to move with the fluidity of a much leaner horn – a quality that's augmented here by the fantastic rhythm work from Sonny Clark on piano, Leroy Vinnegar on bass, and Philly Joe Jones on drums. The set's a treasure through and through – from the cool cover image, to the great music within – served up on tunes that include "How About You", "Handful Of Stars", "The Goof & I", "Susie's Blues", and "All The Things You Are". CD

One of the few key recordings issued by baritone saxophonist Serge Chaloff before his untimely early death – a tremendous little record that really helped redefine the place of his instrument in jazz! The album is one of a number produced by Stan Kenton for Capitol at the time, but it's far from the cooler jazz outings of other "Kenton Presents" sessions – a real Boston Blow up that has Serge standing starkly out front on the baritone, hitting some tremendous notes that show a command and dexterity on his instrument that few other players could match! Also noteworthy is the presence of the great Boots Mussulli on alto sax – a sharp-edge player with a lot of Charlie Mariano touches, and an artist who's rarely heard in a setting so stripped-down as this. Other artists include Herb Pomeroy on trumpet, Ray Santisi on piano, and Jimmy Zitano on drums – and titles include the original numbers "Kip", "Unison", "Bob The Robin", and "Sergical" – plus versions of "What's New", "Yesterday's Gardenias", and Jaki Byard's "Diane's Melody". CD features 3 bonus tracks that include "Boomareemaroja", plus long and short takes on "Herbs". CD

Legendary early work from trumpeter Miles Davis – late 40s sessions for Capitol Records that are completely different than the bop material he was cutting with Charlie Parker and on his own! Instead, these sides have Miles working with a complex, more arranged style – built up with a young Gil Evans, in a mode that prefaces the later famous recordings the pair would make in the late 50s for Columbia. Here, the tracks are shorter, but beautifully blend bop ideas with fuller arrangements – and Davis blows alongside other key young modernists in a variety of larger groups – with work from Lee Konitz on alto, Gerry Mulligan on baritone sax, JJ Johnson and Kai Winding on trombones, Al Haig and John Lewis on piano, and Kenny Clarke and Max Roach on drums. Mulligan contributed plenty, too – his ideas on an overall sound definitely helped shape these sides – and the record's go on to legendary status – even though it's very different than most other Miles Davis from the time. Titles include "Godchild", "Jeru", "Move", "Venus De Milo", "Budo", and "Deception". This "complete" package follows up the core tracks with live material recorded at the Royal Roost, even before the original studio sessions – in a group that features Mike Zwerin on trombone with Konitz, Mulligan, Lewis, and Roach – plus a bit of vocals from Kenny Pacho Hagood. Titles include "Darn That Dream", "Moon Dreams", "S'Il Vou Plait", "Move", "Birth Of The Cool Theme", "Godchild", and "Budo". CD

A trio of albums from this famous Brazilian trombonist – all of them great! First up is Sweet Lucy – a wonderful album from Raul De Souza, cut during the height of his fame on the California scene! Like Raul's other work for Capitol, this record really sparkles from tight help from George Duke – who handles production, and some of the arrangements – and really helps De Souza find a tight jazzy groove! The instrumentation is a bit leaner than some of Raul's other records of this nature, which is a nice thing – as you get to hear plenty of keyboards from Patrice Rushen, Fender Rhodes from Dawilli Gonga, trumpet from Freddie Hubbard, and percussion from Airto. There's a bit of chorus vocals at times, but the main focus is on Raul's trombone solos – and cuts include of Joao Donato's "Banana Tree", plus "Sweet Lucy", "New Love", "Wild & Shy", "Bottom Heat", "Wires", and "At Will". Don't Ask My Neighbors is a tremendous moment for trombonist Raul De Souza – working here in a style that's light years past his roots in bossa nova! The set's got a heavy California vibe – a late 70s blend of jazz and soul handled by producer George Duke, who also arranges many tracks on the record – but still leaves plenty of room for Raul to step out strongly in the lead! Things are never too overdone, and handled with that sunny style that players like Duke did so well – lots of warm jazzy elements in the backings, coming from Fender Rhodes by Bobby Lyle, percussion from Airto, and drums from the great Harvey Mason – who really brings an edge to some of the groovers. Titles include a killer cover of the Skip Scarborough tune "Don't Ask My Neighbors" – plus "La La Song", "Overture", "At The Concert", "I Believe You", and "Jump Street". Til Tomorrow Comes is filled with soaring sounds from Raul De Souza – a Brazilian musician who first recorded under the name of Raulzinho during the bossa nova years – but one who's at the height of his powers here working on the Cali scene at the end of the 70s! Raul manages to blend his lead instrument with fuller arrangements from Arthur Wright – who brings in plenty of the best elements from contemporary R&B, adds in some backing vocals, yet never diminishes Raul's presence on the record at all! Instead, De Souza seems to draw all sorts of energy from the folks around him on the sessions for the record – really stepping out with the best sort of jazz funk grooves that Capitol Records were laying down at the time – as you'll hear on cuts that include "Up & At It", "Self Sealing", "Pleasurize", "Fe No Me Nol", and "Til Tomorrow comes". CD features bonus tracks – single versions of "Til Tomorrow Comes", "Sweet Lucy", and "Daisy Mae". CD

An early cooker from Richard Groove Holmes – and one of the most important Hammond jazz sets to come out of the west coast at the time! At a point when most folks think the east has a lock on the instrument, Groove bursts forth here with a great hard-edged sound – proof that the LA scene didn't just go for cool jazz and the occasional hardbop date – and the start of a great run of records that would have Holmes sounding great all through the 60s! The lineup is nicely unusual, too – with guitar from Chicagoan George Freeman, then on the west coast – and a key part of Holmes' group for years – and trombone from the excellent Lawrence Tricky Lofton, a player who rarely recorded, but made some great sides with Carmell Jones. The group also features Les McCann on piano, a nice combo with the organ – plus Ben Webster on tenor and Ron Jefferson on drums. Titles include "Good Groove", "That Healin' Feelin'", "Them That's Got", and "Deep Purple". CD

A classic jazz interpretation of the score to West Side Story – served up in ultra-hip fashion by the Stan Kenton Orchestra! Although the tunes are familiar, the readings are extremely creative – and use Leonard Bernstein's original music as the starting point for a rich tapestry of tones, colors, and sounds that really open things up! Arrangements are by Johnny Richards, and very swinging throughout – and soloists include Gabe Balthazar on alto, Conte Candoli on trumpet, and Sam Donahue on tenor – plus some great standout piano from Stan himself. Titles include "Something's Coming", "Officer Krupke", "Tonight", "Cool", "I Feel Pretty", and "Taunting Scene". CD

A classic jazz interpretation of the score to West Side Story – served up in ultra-hip fashion by the Stan Kenton Orchestra! Although the tunes are familiar, the readings are extremely creative – and use Leonard Bernstein's original music as the starting point for a rich tapestry of tones, colors, and sounds that really open things up! Arrangements are by Johnny Richards, and very swinging throughout – and soloists include Gabe Balthazar on alto, Conte Candoli on trumpet, and Sam Donahue on tenor – plus some great standout piano from Stan himself. Titles include "Something's Coming", "Officer Krupke", "Tonight", "Cool", "I Feel Pretty", and "Taunting Scene". CD

Notable sidemen include Zoot Sims, Lee Konitz, Conte Candoli, and Art Pepper – on tracks that include "Baia", "Autumn In New York", "Me Reverie", "April In Paris", "You And The Night And The Music", and "Street Of Dreams". CD

Late Kenton on Capitol – but great Kenton too! In a way, Stan was almost best when he was working with standards – as on a set like this, he has an incredible way of transforming the sound of familiar numbers into something dark, moody, and modern. It's amazing to hear the way he raises the edge of tunes we thought we'd already heard too much of – and working with players like Charlie Mariano, Don Sebesky, and Rolf Ericson, Stan's in perfect company to really work magic with the material. Titles include "Django", "Willow Weep For Me", "I Get Along Without You Very Well", "The Thrill Is Gone", and "When Sunny Gets Blue". CD features the bonus track "Lazy Afternoon". CD

Peggy's sweet as sugar, but working here with a heck of a lot of spice – thanks to arranger Benny Carter, who brings in a wonderfully jazzy feel to the set! The album's one of Peggy's best from her comeback years at Capitol – and a prime example of the syncopated, slinking mode of arrangement that was the best 60s discovery for the Peggy Lee voice – and which allowed her to create a unique space for her own maturing sexuality in pop music. The whole thing's great, and avoids the cliches of some of the other Peggy Lee albums from the time. Titles include "I Believe In You", "Ain't That Love", "The Best Is Yet To Come", "The Sweetest Sounds", "Teach Me Tonight", "Tell All The World About You", and "Big Bad Bill". Plus, CD features 3 bonus cuts – including "Amazing", "Loads Of Love", and "I'll Be Around". (Vocalists, Jazz) CD

Although Art Pepper's early work with the Kenton group is always cited as being revolutionary and groundbreaking, it's always been tough to get a handle on because his tracks as a featured soloist are scattered over many different albums. That problem is solved nicely by this collection – as it brings together most of Pepper's best sides with Kenton, recured during the years 1943 to 1951. The set's presented with a handsome cover that has a nice early photo of Pepper (with a moustache!), and full discographical information on all the tracks. Titles include "Viva Prado", "Journey To Brazil", "Harlem Folk Dance", "Sambo", "Dynaflow", and "Art Pepper". CD

A stone cooker – and one of the best versions of Porgy & Bess recorded in a jazz format! It's a slightly-forgotten fact that at the time of the big late 50s film version of Porgy & Bess, there was a bit of trouble with the soundtrack – so the market was flooded with other versions of Gershwin's score in a hope to fill the void. This is one of the best of that bunch – a very well-done set of tunes arranged and conducted by Bill Potts, recorded with a strong set of soloists that include Al Cohn, Gene Quill, Zoot Sims, Art Farmer, Bill Evans, Charlie Shavers, Bob Brookmeyer, and Harry Edison. Tracks are the usual batch of Porgy & Bess numbers – "I Loves You Porgy", "It Ain't Necessarily So", "My Man's Gone Now", "A Woman Is A Sometimes Thing", "Summertime" – all woven together wonderfully in a rich tapestry of sound, with some particularly evocative solos. CD

The last Capitol album from vocalist Sue Raney – and easily the most compelling of the bunch! Sue's in really great form here – shaking off some of the cooler west coast modes of earlier records, and going for a more lively, more fluid style that's sometimes touched with the R&B influences that were creeping into jazz vocals at the time. Backings are by Ralph Carmichael – tightly jazzy, but often with plenty of room for Sue to take over – and there's a really great sense of balance, poise, and power here that far surpasses most of Raney's other albums from the time. Titles include "How About Me", "Burnt Sugar", "Some Of These Days", "Trouble Is A Man", "Don't Let The Sun Catch You Crying", and "Here's That Rainy Day". (Vocalists, Jazz) CD

Nice compilation of material by Lou from his early jazzy period in the 60's. There's lots of nice straight jazz renditions of material like "Willow Weep For Me", "Nobody But Me", "Rockin' Chair", and "If It's The Last Thing I Do" – and they're all done in Lou's best jazz voice. 18 tracks in all, with no pop schmaltz or 70's material. (Soul, Jazz) CD

The hippest side of Cannonball Adderley at the end of the 60s – that loose, soulful vibe he was serving up on some of his coolest records for Capitol at the time – stretched out here over some very long tracks recorded live in France! The year alone marks the record as a great one – as Cannon in 1969 could do no wrong – and he's working here with his crack quintet that includes Nat Adderley on cornet, Victor Gaskin on bass, and Roy McCurdy on drums – plus the mighty Joe Zawinul on both acoustic and electric piano – really finding his groove here, with that incredible sense of chunky rhythm that really seemed to set Cannonball and Nat on fire! Titles include "Why Am I Treated So Bad", "The Scavenger", "Experience In E", "Blue No Boogie", "Walk Tall", "Come Sunday", "Work Song", and "Manha De Carnaval". CD

2 early experiments by Cannonball Adderley – both of which feature him as the main soloists in front of larger backings! Jump For Joy is an interesting early side by Cannonball that captures him before he'd really found his voice – and when the folks at Mercury still didn't really know what to do with him. The record's a tightly arranged set of tracks from Duke Ellington's musical "Jump For Joy" – with arrangements by Bill Russo, and small group playing that includes Emmett Berry, Bill Evans, Barry Gabraith, Jimmy Cobb, and a small string section. The sound's actually quite haunting – and Cannon's alto solos remind us more of some of the best "with strings" soloing heard on Verve in the early 50s than they do his later soul jazz classics on Riverside or Capitol. That's ok with us, though – because the session's still got a lot to offer in that respect, and Cannonball handles the solos wonderfully! Titles include "Bli Blip", "Just Squeeze Me", "Nothin", and "The Tune Of The Hickory Stick". Cannonball & Strings features Adderley's beautifully edgey alto sliding nicely through a set of standards conducted by Richard Hayman. The album's not as strikingly emotive as other Verve "with strings"outings – such as the Charlie Parker & Strings sessions – but it is a great platform for the youthful Cannonball to do more than wail in a soul jazz kind of way, and it unlocks a much more thoughtful, introspective side of his playing not usually heard on record. A nice divergence from the usual – with titles that include "I Cover The Waterfront", "Two Sleepy People", "I'll Never Stop Loving You", and "Street Of Dreams". CD features 22 titles in all. CD

A killer combo from saxophonist Cannonball Adderley – a group that features George Duke on both acoustic and electric piano, stretching things out, and helping the Adderley brothers find an even more soulful groove than they had in the 60s! The George Duke approach really makes for a cool concert throughout – with Cannon on alto (and a bit of soprano on one track too!), Nat on cornet, Walter Booker on bass, and Roy McCurdy on drums – hitting that more complex, more righteous groove that Adderley was opening up on Fantasy Records in the final years of his life – a bit more spontaneous here, with lots of room for improvisation! The set also has some more spiritual moments than you might expect if you only know Cannon's 60s albums on Capitol – especially at the start of the show, which is very loose and open. Titles include a great version of Nat's "Hummin" – plus side-long takes on "Doctor Honoris Causa" and "Black Messiah" – and the tunes "Walk Tall/The Scene", "Soli Tomba", "Directions", and "Autumn Leaves". CD

An all-star set from Cannonball Adderley – a hip standout in his pre-Capitol years for Riverside! The "plus" in the title is pianist Wynton Kelly – who works with the group wonderfully on 4 of the album's 6 tracks – bringing in a slightly different feel on the keys than you might get from some of Cannon's other albums – slightly lyrical at points, in a really great way. Rhythm is from the rock-solid team of Sam Jones on bass and Louis Hayes on drums – and of course Nat Adderley's also in the group on cornet, and Victor Feldman rounds out the ensemble on vibes, but also plays piano on the tracks that don't feature Kelly. There's a strong undercurrent of Adderley's Riverside soul jazz vibe on the set – and titles include "Arriving Soon", "New Delhi", "Winetone", "Well You Needn't", "Star Eyes", and "Lisa". CD

One of two rare albums recorded by organist Jimmy Caravan in the 60s – a really great talent on the Hammond, and a player with a really clean, lean, and groovy sound! Jimmy's style here borrows a lot from the Capitol jazz scene of players like Howard Roberts or Henry Cain – an approach to organ jazz that's a bit more stripped down and less gritty than that of labels like Blue Note or Prestige – and one that uses the cleaner sound to bring even more rhythm into the mix, letting the organ leap around the tunes in a groovily playful way! Caravan's got a great sound throughout, and although the other players aren't listed, the album's got a nice small combo sound all the way through. Titles include "Off A Brass Monkey", "Equinox", "UFO", "Cyclops", and a groovy version of "Hey Jude". CD

A great small club performance from Nat King Cole – of the sort he never really recorded for Capitol Records, even though this set is right in the middle of his glory days on the label! In some ways, the set hearkens back to Nat's roots – maybe no surprise, as he's back in Chicago – and the combo here features John Collins on guitar, Charlie Harris on bass, and Lee Young on drums – working with Cole to offer up some nicely lean versions of tunes you might know from his fuller, more polished studio versions. The set's a great reminder that at the core, even during the big years, Nat was still a jazzman at heart – as you'll hear on tunes that include "Funny", "Straighten Up & Fly Right", "Nature Boy", "Route 66", "This Can't Be Love", "Somewhere Along The Way", "Mona Lisa/Too Young", "Exactly Like You", "Sweet Lorraine", and "Calypso Blues". (Vocalists, Jazz) CD

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". (Vocalists, Jazz) CD

Oscar pays tribute to Frank – but he uses his keys, not his voice – to come up with some great renditions of tunes from Sinatra's classic Capitol years! It's true that Peterson was known to vocalize on some sessions (most notably on his tribute to Nat King Cole, recorded a few years later) – but this album is straight trio grooving, with Peterson skipping soulfully over the keys of the piano, abetted by Ray Brown on bass and Ed Thigpen on drums – in a wonderfully-crafted set of tunes that includes "Witchcraft", "Come Dance With Me", "You Make Me Feel So Young", "All Of Me", "It Happened In Monterey", and "The Tender Trap". CD

Sweet funky jazz with some really wonderful keyboards – a double-length set that brings together two rare albums from Argentine combo Quinteplus! The group here clearly have a love of the Cannonball Adderley style of soul jazz – particularly that Cannon groove as the 60s wore into the 70s, and his quintet began to open up their rhythms a bit more. Most numbers have some very sharp trumpet and tenor in the frontline, directed strongly by electric piano lines that step out spaciously with a wicked blend of funky and modal inspirations. The drums and bass are pretty great too – tightly punched, yet often with a nice sense of space that almost recalls the brilliance of the Adderley group when David Axelrod was handling them on Capitol Records! The package features 2 full albums – Quinteplus and En Vivo – with titles that include "Ode To Billie Joe", "Jose Blues", "Pochoclito", "Blackman El Justiciero", "Zamba De Mis Pagos", "El Marques", "Loberman El Hombre Loco", and "Los Ejes De Mi Carreta". CD

Sal Salvador was one of the 50's more accomplished modernist talents on jazz guitar – and his work ranks up there with players like Tal Farlow, or Gil Melle's great bandmate Joe Cinderella. This long-overdue CD brings together some of his best work from the mid 50s – by pairing one rare Blue Note 10" jazz session with another album that Salvador cut as part of Capitol's "Stan Kenton Presents" series. The Blue Note session's got some great tracks that feature tenorist Frank Sokolow, an icy toned genius who's never gotten his just dues. Other cuts (on both the Blue Note and Capitol sessions) feature Eddie Costa on piano and vibes, and titles from both include "See", "Round Trip", "Wheels", "Salutations", "Down Home", and "Yesterdays". 18 cuts in all, in a great looking package that replicates the orignal cover art! CD

Excellent funky jazz from Jeremy Steig – the funkiest flute player we can think of! The album's a 2LP set that brings together Steig's Energy album for Capitol, plus more material that was also recorded by producer Sonny Lester. Energy takes up where Jeremy's LPs on Solid State left off – adding Steig's hard-blowing flute to some groundbreaking beat-heavy backings by Gene Perla and Eddie Gomez on bass, Don Alias on drums, and Jan Hammer on electric piano. The sound is super-dope – and the cuts feel like they fell off some lost blacksploitation soundtrack from the early 70s. All titles are great, and the record's a completely unified, fiercely funky set that should be in the collection of any fan of funky electric jazz. Titles include "Down Stretch", "Swamp Carol", "Home", "Cakes", and "Come With Me". The rest of the tracks on the set are equally great – played by the same group, and probably recorded at the same time – with a free-flowing energy that's easily some of the hippest flute work of the early 70s! Titles include "Rock #6", "Elelphant Hump", "Something Else", and "Up Tempo Thing". CD

Jerri Winters gets some hip backings here – thanks to help from the Al Belletto Sextet, who almost share the star spotlight on the record as much as Jerri! The combo are perhaps best known for their 50s work on Capitol, but they sound equally great here – stepping out with a tight sound that must have made them a great act to catch live in a club! And in addition to the combo's instrumentation – which includes alto sax, piano, trombone, and trumpet – the group also harmonize a bit behind Jerri's vocals – supporting her with a sound that's sort of a groovy 50s update on the older 40s mode of matching a female lead with a male harmony group. Don't let all this praise of the Belletto group take away from Winters, though – because she steps out strongly too – and really makes the album sparkle with a personal take on some lesser-remembered standards. Titles include "In Other Words", "Crazy In The Night", "Kind Of Moody", "Ridin On The Moon", "Dark Shadows", "Sometimes I'm Happy", and "It's Always You". (Vocalists, Jazz) CD