From 1976-79, trumpeter Red
Rodney recorded three LPs with altoist Richie Cole that otherwise mostly used
different lineups of musicians. This excellent outing (which also includes
tenor saxophonist David Schnitter, pianist Barry Harris, bassist George Duvivier
and drummer Leroy Williams) has a bit of a jam session feel to it. Cole
contributed "Starburst" and "Red Rodney Rides Again";
the trio plays Rodney's "Helene," and the full group romps on
"Out of Nowhere," "All the Things You Are"
and "Bluebird." By 1977, Rodney's chops were back in prime
form, and his mastery of bebop (along with the colorful Cole's) is obvious in
these recordings. Worth searching for. ~ Scott Yanow, All Music
Guide.
"Home Free" is a
jazz album by American bebop trumpeter Red Rodney, recorded in late 1977 and
released by Muse Records in 1979. The record captures Rodney during a highly
creative period between 1976 and 1979 when he frequently collaborated with alto
saxophonist Richie Cole. According to reviews on AllMusic, Rodney's technical
skills were back in prime form for this session, delivering an excellent
showcase of masterful bebop. The album has a spontaneous, high-energy
jam-session feel across its tracks. ~
AI Overview.
Muse Records, MR 5135, 1979 Recorded 19th December, 1977
at CI Recording Studio New York City
Musicians: Red Rodney - Trumpet Richie Cole - Alto Saxophone David Schnitter - Tenor
Saxophone Barry Harris - Piano George Duvivier - Bass Leroy Williams - Drums
Tracks: 1. Starburst {Richie Cole}
(5:41) 2. Out Of Nowhere {Johnny
Green} (6:17) 3. All The Things You Are
{Jerome Kern} (9:16) 4. Red Rodney Rides Again
{Richie Cole} (5:53) 5. Helene {Red Rodney} (5:35) 6. Bluebird {Charlie Parker}
(9:35)
Total Time: 42:17
Credits: Producer - Bob Porter Engineer - Chuck Irwin Album Design - Mark Kaplan Photography - Charles Reilly Lacquer Cut - Joe Brescio
Shirley Scott’s Roll ‘Em is
interesting on several levels, the first being that you are no doubt already
keenly aware of the songs Shirley is laying down here with her seventeen-piece
big band, so it’s a hoot to simply sit back and listen to the tunes without the
due consideration jazz-listening often requires. Secondly, there’s nothing
unexpected delivered on this record, everything … the enunciation, the chords,
the notes, the take, it’s all been done before, leaving Roll ’Em to simply be a
breezy foray into the musical insights and sounds that are created here. Though
when "Stompin' At The Savoy" washed across my listen space, I
was raptured with the flanking path Scott’s organ took this song. Oddly enough,
when one considers women in jazz, the first names that come to mind are usually
the singers, Ella Fitzgerald or Billie Holiday, perhaps because singers are
easier to spot and identify. Shirley was a lush beautiful petite and very
powerful for her size and time, so it sparked my imagination that she might be
taking on these songs purposely, numbers that seemed rather too large or
expansive for a woman to embrace, where Scott shows the world that she’s more
than capable of helming a big band, charting its course, and coming out the
other side proving that she can stand toe to toe with anyone when it comes to
music that is easily compared. So, while I don’t want to dismiss this outing as
uninventive or not being challenging enough, it is impressive to hear Shirley
create perfect flawless circles, that while not bold or majestic, hit at the
heart of all that’s pure, and dare I suggest innocent, when it comes to the
purest elements of sophistication. After all, a simple black dress with an
understated string of pearls speaks volumes, without the need for showiness or
exuberance. ~ by Jenell Kesler, discogs.com.
Impulse! Records, AS-9119,
1972 GRP Records, GRD-147, 1994 Recorded 15th (#7-10) &
19th (#1-6) April, 1966 at Van Gelder Studio, Englewood Cliffs, NJ
Personnel: ======== #1-4: Shirley Scott - Organ Thad Jones, Joe Newman, Jimmy
Nottingham, Ernie Royal, Clark Terry - Trumpet Paul Faulise, Quentin
Jackson, Melba Liston - Trombone Tom McIntosh - Trombones Phil Woods, Jerry Dodgion -
Alto Saxophone Bob Ashton, Jerome Richardson
- Tenor Saxophone Danny Bank - Baritone
Saxophones Attila Zoller - Guitar George Duvivier - Bass Grady Tate - Drums Oliver Nelson - Conductor,
Arranger
#5-6: Shirley Scott - Organ,
Arranger (#5) George Duvivier - Bass Grady Tate - Drums
#7-10: Shirley Scott - Organ Richard Davis - Bass Ed Shaughnessy - Drums
Tracks: 01. Roll 'Em {Mary Lou
Williams} (4:08) 02. For Dancers Only {Don
Raye, Sy Oliver, Vic Schoen} (3:43) 03. Sophisticated Swing
{Mitchell Parish, Will Hudson} (2:50) 04. Sometimes I'm Happy {Grey,
Caesar, Youmans} (3:53) 05. Little Brown Jug {Joseph
Eastburn Winner; Arr. Shirley Scott} (3:57) 06. Stompin' At The Savoy {Razaf,
Goodman, Webb, Sampson} (3:58) 07. Ain't Misbehavin' {Andy
Razaf, Harry Brooks, Fats Waller} (3:31) 08. A Tisket A Tasket {Ella
Fitzgerald, Van Alexander} (3:55) 09. Things Ain't What They
Used To Be {Duke Ellington, Ted Persons} (5:19) 10. Tippin' In {Bobby Smith,
Marty Symes} (4:33)
Total Time: 39:54
Credits: Producer - Bob Thiele Recording Engineer - Rudy van
Gelder Reissue Producer - Michael
Cuscuna Executive Producer - Dave
Grusin, Larry Rosen
Organist Shirley Scott
focuses on swing-era tunes throughout this enjoyable album. Four songs showcase
her organ accompanied by a 17-piece big band arranged by Oliver Nelson while
the remaining six numbers find her jamming with a trio that also includes
either George Duvivier or Richard Davis on bass and Grady Tate or Ed
Shaughnessy on drums. Although nothing all that unexpected occurs, it is fun to
hear an organ performing such numbers as "For Dancers Only,"
"Little Brown Jug" and "Stompin' At The Savoy." ~ Scott Yanow, AMG
One of many impromptu
sessions staged in 1977 for Lionel Hampton's Who's Who in Jazz label, this
recording features the basic band of Hampton on vibes, Bucky Pizzarelli on
guitar, Hank Jones on piano, George Duvivier on bass, Oliver Jackson on drums,
and Candido Camero on congas that is common to many of the albums, plus, in
this case, Dexter Gordon (an alumnus of the Hampton big band) on tenor and soprano
saxophone. The songs are mostly standards like "They Say That Falling
in Love Is Wonderful" and "I Should Care," and
Hampton and Gordon are given extended solo time in the relaxed arrangements,
with Pizzarelli and Jones also taking occasional turns. The charm of all the
1977 Who's Who sessions is their intimacy: they sound more like something
overheard after the final set in a club than formal recordings. This is one of
the better ones. ~ by William Ruhlmann, AMG.
Masters Records, CLCD 5025, 1988 Recorded 11th November, 1977
at Studio 21 Sound, New York
Musicians: Dexter Gordon - Tenor & Soprano
Saxophones Lionel Hampton - Vibraphone
[Vibes] Hank Jones - Piano Bucky Pizzarelli - Guitar George Duvivier - Bass Oliver Jackson - Drums Candido - Percussion [Longa
Drums]
Tracks: 1. Cute {Neal Hefti, Stanley
Styne} (7:01) 2. They Say That Falling In
Love Is Wonderful {Irving Berlin} (7:56) 3. Lullaby Of Birdland {B. Y.
Forster, George Shearing} (4:20) 4. I Should Care {Axel
Stordahl, Paul Weston, Sammy Cahn} (5:13) 5. Seven Come Eleven {Charlie
Christian, Benny Goodman} (6:29) 6. Blues For Gates {Lionel
Hampton} (8:05)
Total Time: 39:06
Credits: Producer - Lionel Hampton Executive Producer - Robert
W. Schachner Compilation - Emiel Kamzol
Tenor saxophonist Eddie
"Lockjaw" Davis recorded enough material over these two sessions to
fill up four records. The seven selections included on this album were recorded
during the same period as Davis's better-known Cookbook albums. The album
includes: Jerome Richardson swapping between baritone, flute and tenor on three
of the tunes; bassist George Duvivier; drummer Arthur Edgehill and of course
the 'Queen of the Organ' Shirley Scott. As a group the players swing hard
covering some solid originals by both Eddie and Shirley, some blues and an
occasional ballad. It is not hard to see why this Eddie "Lockjaw"
Davis band was very popular in its time being such a powerful and accessible
band even today's mixed jazz world. A definite classic of this genre. ~ Extract
by Scott Yanow, AMG.
Prestige Records, PRST 7301, 1963 Recorded on 12th September
(#A3,B1,B3,B4) & 5th December, 1958
(#A1,A2,B2) Hackensack, New Jersey
Musicians: Eddie "Lockjaw"
Davis - Tenor Saxophone Jerome Richardson - Baritone
Sax (#A1), Flute (#A2), Tenor Sax (#B2) Shirley Scott - Organ George Duvivier - Bass Arthur Edgehill - Drums
Tracks: A1. High Fly {Randy Weston}
(6:14) A2. Smoke This {Eddie
"Lockjaw" Davis, Shirley Scott} (6:05) A3. Pennies From Heaven
{Johnny Burke, Arthur Johnston} (5:14) B1. Pots And Pans {Eddie
"Lockjaw" Davis, Shirley Scott} (3:27) B2. Jaws {Eddie
"Lockjaw" Davis, Shirley Scott} (5:28) B3. It's A Blue World {George
Forrest, Robert C. Wright} (5:01) B4. Blue Lou {Irving Mills,
Edgar Sampson} (3:39)
Total Time: 35:08
Credits: Supervision - Esmond Edwards Recording Engineer - Rudy van
Gelder Cover Design, Photo - Don
Schlitten Liner Notes - John D. Monroe (November 1963)
'The Spirit of Charlie
Parker' is an atmospheric album that examines four Charlie Parker tunes;
beautifully arranged by Billy van Planck and engineered by none other than the
great late Rudy van Gelder. The musicians on this LP comprise of three
flutists: Frank Wess, Bobby Jaspar, Seldon Powell, one trombonist Frank Rehak,
and a crack rhythm section with the amazing pianist and vibist Eddie Costa
together with bassist George Duvivier and drummer Bobby Donaldson. In all four
great Bird tunes are showcased with great finesse, Enjoy!
World Wide Records, MGS-20003,
1958 Recorded 27th March, 1958 At
Van Gelder Studio, Hackensack, New Jersey
Musicians: Frank Wess - Flute Bobby Jaspar - Flute,
Clarinet Seldon Powell - Flute, Tenor
Saxophone Frank Rehak - Trombone Eddie Costa - Piano,
Vibraphone George Duvivier - Bass Bobby Donaldson - Drums Billy Ver Planck - Arranger
Tracks: A1. Parker's Mood (5:58) A2. Marmaduke (9:38) B1. Now's The Time (8:07) B2. Ah Leu-Cha (7:52)
All Compositions by Charlie
Parker
Total Time: 31:35
Credits: Supervisor - Ozzie Cadena Engineer - Rudy van Gelder Photography - Hank Schneider Design [Album] - Levy A.
Agency Liner Notes - H. Alan Stein
This a rare and dynamic
session, recorded by Rudy van Gelder in 1958, features an amazing All Stars
cast. Essentially it showcases Bill Harris playing alongside Joe Wilder, Bobby
Jaspar, Pepper Adams, Eddie Costa, George Duvivier and Art Taylor. These
musicians truly display the essence of jazz and hence the album’s title is so
very appropriate. The sound even though ripped from a well-loved old vinyl
still comes across ‘alive and fresh’ even by today’s standards. The concept of
this LP is masterminded by the arrangements and conducting skills of Billy Ver
Plank. The choices of tunes are very complimentary and blend well, all the
while giving the players plenty of room to solo. Well Recommended.
Generally speaking the men on
the date fall into either a late swing or neo-modern period, as to their
particular improvisatory allegiances. Yes, all bear the same "pure"
approach to their performance of jazz. Bill Harris, veteran trombone star of
the 1940's and the Woody Herman band has been a "preaching" jazzman
of great fame for many years. Joe wilder, the early modern trumpet star,
sparkles here with his growls, his various muses, and that unbelievably pure
bell-tone while blowing a modern cascade of notes. Bobby Jaspar, Belgian import
who has come to fame with J.J. Johnson and other combos on both tenor and
flute, he is a "wailer" who plays in the Coltrane-Sims tradition
these days. Pepper Adams, deserving of his nickname, bursts fierily throughout
the proceedings. He is a Detroit export who rose to fame with Kenton, and has
recently led his own combo in New York City. Eddie Costa, vibist and pianist
once again proves his prowess as a tasty and ever-swinging keyboard man. George
Duvivier can only be described as a "Rock" in a rhythm section ...
with both beat, intonation, and "life" that are impeccable. Art
Taylor, a usually intrepid bopper, illustrates his more quiet moods here,
lapsing into the more normal "popping" style he has become noted for
on two tracks. Basically, the tunes are simple harmonic changes, with tried
harmony, open voiced for the horns, and usually ending with the traditional
"Amen" chord resolution. The solo-work, in almost every case stays
fairly close to the simple diatonic harmonies, yet conveying a combined
"preaching" and "funky blues" feel. ~ Extract from Liner
Notes by H. Alan Stein.
Among the finest Moodsville
recordings, and there were quite a few, were the ones by tenor saxophonist
Eddie "Lockjaw" Davis. During the late '50s and early '60s, the tough
tenor was a hard-charging exclamation point whether backed by a trio, a
soul-gospel organ or Count Basie's band. But on ballads - really slow ones -
Davis had room to snort, shove notes around and proudly exhibit his huge, bossy
sound on the reed instrument. In January 1960, Davis recorded on the Moodsville
label with Shirley Scott. Known primarily for her work on the Hammond organ,
Scott here plays piano, which gives you a chance to hear her in a different
space. The pair was supported exquisitely by bassist George Duvivier and
drummer Arthur Edgehill. Each of the 8 songs featured virtually the exact same
seductive walking tempo, and all the songs were standards that suited Davis
perfectly. Great players like Davis and Scott could leave a cloud of dust when
playing up-tempo. But they also could break your heart on the crawlers. This is
a fine example of that side of their personalities, particularly the clarity of
their improvisation and Davis' gruff touches. I'm not sure why Prestige hasn't
reissued all of these Moodsville albums in a set, but such is life. You'll find
seven of the tracks on Moodsville, Vol. 4 on Eddie "Lockjaw" Davis
with Shirley Scott: The Complete Cookbook Sessions. While it's not as
"complete" as the title would lead you to believe, since not all the
Moodsville, Vol 4 tracks are here, but the sound is absolutely fantastic. ~
Extract by Marc Myers, JazzWax.
Moodsville Records, MVLP 4,
1960
Recorded 31st
January, 1960 At Van Gelder Studio, Englewood Cliffs, New Jersey
Musicians:
Eddie "Lockjaw"
Davis - Tenor Saxophone
Shirley Scott - Piano
George Duvivier - Bass
Arthur Edgehill - Drums
Tracks:
A1. Serenade In Blue {Harry
Warren, Mack Gordon} (4:07)
A2. It Could Happen To You
{Jimmy Van Heusen, Johnny Burke} (5:32)
A3. What's New {Bob Haggart,
Johnny Burke} (3:49)
A4. I Cover The Waterfront
{Edward Heyman, Johnny Green} (5:28)
B1. The Man I Love {George
Gershwin, Ira Gershwin} (4:14)
B2. Smoke Gets In Your Eyes
{Jerome Kern, Otto Harbach} (4:24)
B3. The Very Thought Of You
{Ray Noble} (6:15)
B4. Man With A Horn {Eddie de
Lange, Jack Jenney, Bonnie Lake} (4:23)
Scott's first album as a
bandleader put her at the head of a trio, backed by the rhythm section of
George Duvivier on bass and Arthur Edgehill on drums. While she'd already
established herself as an organist of note in Eddie "Lockjaw" Davis'
band, Great Scott! was her first out-front contribution to popularizing the
organ in a jazz format that also drew on parts of blues and soul music. She
displays admirable command of the instrument's swoops and funky glows here,
mixing up hard-charging up-tempo numbers, ballads, Latin-influenced tunes
("Brazil" and "Nothing Ever Changes My Love for You"), and
bluesy walking beats (as on her cover of Cole Porter's "All of You").
It's too bad that just one song is a Scott original, though, as that track,
"The Scott," really bops along, with some of her most exuberant
slides and forceful chording. ~ extract by Richie Unterberger, AMG.
Prestige Records, PRLP 7143,
1959
Recorded 23rd May,
1958 at Van Gelder Studio, Hackensack, New Jersey
Musicians:
Shirley Scott - Organ
[Hammond]
George Duvivier - Bass
Arthur Edgehill - Drums
Tracks:
A1. The Scott {Shirley Scott}
(3:10)
A2. All Of You {Cole Porter}
(3:23)
A3. Four {Miles Davis} (3:54)
A4. Goodbye {Gordon Jenkins}
(5:01)
B1. Nothing Ever Changes My
Love For You {Marvin Fisher, Jack Segal} (4:41)
There's a good reason why Scott's second album as a bandleader sounds very much like her first, Great Scott!, for both albums were cut at the same May 23, 1958, session. On Shirley's Sounds, Scott's again backed by the rhythm section of George Duvivier on bass (though George Tucker takes over the instrument for one number, "Bye Bye Blackbird") and Arthur Edgehill on drums. Like its predecessor, it's superior early organ jazz, full-sounding but streamlined owing to the trio format. Devoted entirely to outside compositions, the tracks capture both her virtuosic skill on the organ and her taste, squeezing the bluesiest inflections out of a standard like "Summertime." "(Back Home Again In) Indiana" is the cut that cooks the hardest, and blues colors are a big part of her interpretations of "Baby Won't You Please Come Home" and "I Can't See for Lookin'." ~ by Richie Unterberger, AMG.
Prestige Records, PRLP 7195, 1961 Recorded 23rd May (#A1-A3,B1-B3); 23rd October (#B4), 1958 and 8th April (#A4), 1960 at Van Gelder Studio, Englewood Cliffs, New Jersey
Personnel: Shirley Scott - Organ [Electric] George Duvivier - Bass George Tucker - Bass (#A4) Arthur Edgehill - Drums
Track Listing: A1. It Could Happen To You {Johnny Burke, Jimmy Van Heusen} (4:34) A2. Summertime {George Gershwin, Dubose Heyward} (3:59) A3. There Will Never Be Another You {Mack Gordon, Harry Warren} (3:22) A4. Bye Bye Blackbird {Mort Dixon, Ray Henderson} (6:39) B1. S'Posin' {Andy Razaf, Paul Denniker} (4:18) B2. Baby Won't You Please Come Home {Charles Warfield, Clarence Williams} (4:03) B3. [Back Home Again In] Indiana {Ballard MacDonald, James F. Hanley} (3:24) B4. I Can't See For Lookin' {Dave Bartholomew} (4:12)
Credits: Producer - Bob Weinstock Recording Engineer - Rudy van Gelder Liner Notes - Joe Goldberg
Here we have a classic
Moodsville LP showcasing an early Shirley Scott Trio and yes for all those
listeners that aren’t so keen on the organ we get to hear Shirley [Side A] reveal
her prowess on the piano with a salient performance of some well-known jazz
standards. In many ways her sound appears almost more lyrical than her organ work
[Side B]. In this regard we hear the sweet Hammond groove that was to become
her forte, conveyed as always in a soulful and mellow manner. The overall mode
of the album is a more laidback and intimate staging of Scott’s talents
compared to some of her other work on Prestige. She is backed by her then
renowned rhythm team George Duvivier on bass and Arthur Edgehill on drums - and
titles include "My Heart Stood Still", "Once In Awhile",
"Laura", "Like Cozy", "Little Girl Blue", and
"More Than You Know".
Stylistically, Shirley Scott
is an exponent of the jazz tradition established by Lester young, the great
tenor saxophonist, and fulfilled by trumpeter Miles Davis. The French
musicologist, Andre Hodeir, describes this quietly cooking, lyrical mode of
jazz expression as "the Cool Tendency." As found in the best work of
both the Pres and Miles, there is an economy of force in Miss Scott's playing,
she does not dilute and diffuse the impact of her jazz message by using too
many notes. Like Miles, she achieves a charming relaxation without sacrificing
swing. She plays "pretty" without sounding sugar-coated or
sentimental. Most importantly, Shirley is able to sustain a cozy, candle-lit
mood fit for listening, dancing, or just plain relaxing with someone you like.
~ Extract from Liner Notes by Tom Wilson.
Moodsville Records, MV 19,
1960
Recorded 27th September,
1960 at van Gelder Studio, Englewood Cliffs, New Jersey
Personnel:
Shirley Scott - Piano
(#A1-A4), Organ (#B1-B4)
George Duvivier - Bass
Arthur Edgehill - Drums
Tracks:
A1. You Do Something To Me
{Cole Porter} (5:17)
A2. More Than You Know
{Edward Eliscu, Billy Rose, Vincent Youmans} (4:07)
A3. Once In A While {Michael
Edwards, Bud Green} (4:33)
A4. Little Girl Blue {Richard
Rodgers, Lorenz Hart} (5:00)
Here we have a classic outing
of Eddie “Lockjaw” Davis alongside the Queen of the Organ Shirley Scott.
Together with other well-known players, such as George Duvivier and Ray Barretto
they set about to create quite wonderful experience for the listener. When
Eddie was asked what the objective of his music was and its connection with this
particular album, this is what he had to say:"simplicity is my theme," and that is one comparative aspect
of it. It isn't "head-dancing" music, but rather it is aimed at the
most common sensibilities. But the music is also special. It belongs to, and is
about Harlem. The experience that has provided its energy source has a special
character because the situation of the Negro in America is unique and has no
real parallel anywhere else.
In this album Davis' booming,
sinewy tenor delineates seven good popular tunes; Misty, Uh! Oh!, Give Me A
Goodnight Kiss, Moon On Manakoora, Just Friends, Speak Low and I Wished On The
Moon, with affecting grace and the broad blues-charged power that is the
ignition of his remarkable emotional thrust. ~ Excerpts from Liner Notes by Robert
Levin.
Moodsville Records, MVLP-30
[Mono], 1963
Recorded 4th December, 1959
(#A1, A2) & 12th April, 1960 (#A3-B3) at Englewood Cliffs, New Jersey
Tracks:
A1. Misty {Erroll Garner,
Johnny Burke} (3:44)
A2. Uh! Oh! {Don Elliott,
Alexander Burland} (2:22)
A3. Give Me A Goodnight Kiss
{Lee Morse} (5:40)
A4. Moon Of Manakoora {Frank
Loesser, Alfred Newman} (6:54)
B1. Just Friends {John
Klenner, Sam M. Lewis} (6:14)
B2. Speak Low {Ogden Nash,
Kurt Weill} (6:50)
B3. I Wished On The Moon
{Dorothy Parker, Ralph Rainger} (4:59)
A great little album from
tenor legend Budd Johnson - and a record that nicely updates his sound by
pairing him with a hip 60s-styled group! The album's got a jaunty feel that's
like the best soul jazz sessions on Impulse at the time - taking Budd's tenor
and placing it next to trumpet by Joe Newman, piano by Albert Dailey, bass from
Richard Davis, and drums by Grady Tate. Upbeat tracks bounce along in a
swinging take on mainstream soul jazz - and the mellower cuts feature some
really wonderful blowing from Budd - done with a raspy tone that's got a nice
earthy quality! Includes the jazz dancer "Off The Wall", the
samba-styled "Strange Music", a snapping take on "Baubles
Bangles & Beads", and the syncopated groover "Playin' My
Hunch". ~ The Jazz Cooperative
Personally, alongside Ya! Ya!
this one of my favourite Budd LPs. Having Joe Newman on board really opens up
the music. Budd alone plays beautifully right-throughout; Newman’s solos are
sharp and exhilarating. As for Albert Dailey his piano work it is par excellence. Not to overlook the rhythm
men, some haunting bass lines and unswerving drumming, all add to this album’s
appeal. One complaint is that it’s not long enough, but always pure pleasure
with additional spins, enjoy you’ll be jumping 'Off The Wall".
Argo Records, LPS-748, 1965
Recorded 3rd
December, 1964 At RCA Recording Studios, New York City
Musicians:
Budd Johnson - Tenor
Saxophone
Joe Newman - Trumpet
Al Dailey, Jr. - Piano
Richard Davis - Bass
(#A1,A2,B3,B4)
George Duvivier - Bass (#A3,B1,B2)
Grady Tate - Drums
Tracks:
1. Off The Wall {Budd
Johnson} (4:55)
2. The Folks Who Live On The
Hill {Jerome Kern, Oscar Hammerstein II} (5:09)
3. Love Is The Sweetest Thing
{Ray Noble} (7:14)
4. Strange Music {Robert
Wright, George Forrest} (3:47)
5. Baubles, Bangles, And
Beads {George Forrest, Robert Wright} (5:50)
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