Una Winifred Atwell was a Trinidadian pianist who enjoyed great popularity in Britain and Australia from the 1950s with a series of boogie-woogie and ragtime hits, selling over 20 million records. She was the first black person to have a number-one hit in the UK Singles Chart and is still the only female instrumentalist to do so. Atwell was born in Tunapuna in Tobago, she and her parents lived in Jubilee Street. Her family owned a pharmacy and she trained as a pharmacist herself and was expected to join the family business, she achieved considerable popularity locally. She played for American servicemen at the Air Force base, it was while playing at the Servicemen's Club at Piarco that someone bet her that she could not play something in the boogie-woogie style, popular back home in the United States. She went away and wrote "Piarco Boogie", renamed "Five Finger Boogie". Atwell left Trinidad in the early 1940s and travelled to the United States to study with Alexander Borovsky and, in 1946, moved to London, where she had gained a place at the Royal Academy of Music.
She became the first female pianist to be awarded the academy's highest grading for musicianship. To support her studies, she played rags at London theatres; these modest beginnings in variety would one day see her topping the bill at the London Palladium. She said "I starved in a garret to get onto concert stages." Atwell attracted attention with an unscheduled appearance at the Casino Theatre, where she substituted for an ill star. She caught the eye of entrepreneur Bernard Delfont, she released three discs. The third, "Jezebel", went to the top of the bestseller lists, it was her fourth disc that catapulted her to huge popularity in the UK. A complex arrangement called "Cross Hands Boogie" was released to show her virtuoso rhythmic technique, but it was the B-side, a 1900s tune written by George Botsford called "Black and White Rag", to become a radio standard. Atwell was championed by popular disc jockey Jack Jackson, who introduced her to Decca promotions manager Hugh Mendl, who launched his career as a staff producer at Decca producing Atwell's recordings.
"Black And White Rag" started a craze for her honky-tonk style of playing. The rag was performed on a concert grand for the occasion, but Atwell felt it did not sound right, so got her husband to buy a honky tonk piano for 30 shillings, which would be used for the released version of the song. Atwell's husband, former stage comedian Lew Levisohn, was vital in shaping her career as a variety star; the two had met in 1946, married soon after. They were inseparable up to Levisohn's death in Hong Kong in December 1977, he had cannily made the choice, for stage purposes, of her playing first a concert grand a beaten-up old upright piano. The latter was purchased from a Battersea junk shop for 50 shillings; this became famous as "my other piano". It would feature all over the world, from Las Vegas to the Sydney Opera House, travelling over half a million miles by air throughout Atwell's concert career. While contributing to a posthumous BBC radio appreciation of Atwell's career, Richard Stilgoe revealed that he was now the owner of the famous "other piano".
When Atwell first came to Britain, she earned only a few pounds a week. By the mid-1950s, this had shot up to over $10,000. By 1952, her popularity had spread internationally, her hands were insured with Lloyd's of London for £40,000. She signed a record contract with Decca, her sales were soon 30,000 discs a week, she was by far the biggest selling pianist of her time. Her 1954 hit "Let's Have Another Party" was the first piano instrumental to reach number one in the UK Singles Chart, she is the only holder of two gold and two silver discs for piano music in Britain, was the first black artist in the UK to sell a million records. Millions of copies of her sheet music were sold, she went on to record her best-known hits, including "Let's Have a Party", "Flirtation Waltz", "Poor People of Paris", "Britannia Rag" and "Jubilee Rag", her signature "Black and White Rag" became famous again in the 1970s as the theme of the BBC snooker programme Pot Black, which enjoyed great popularity in Australia when screened on the ABC network.
It was during this period that she persuaded Decca to sign him. Atwell's peak was the second half of the 1950s, during which her concerts drew standing room only crowds in Europe and Australasia, she played three Royal Variety Performances, appeared in every capital city in Europe, played for over twenty million people. At a private party for Queen Elizabeth II, she was called back for an encore by the monarch herself, who requested "Roll Out the Barrel", she became a firm television favourite. She had her own series in Britain; the first of these was Bernard Delfont Presents The Winifred Atwell Show. It ran for ten episodes on the new ITV network from 21 April to 23 June 1956, the BBC picked up the series the following year. On a third triumphal tour of Australia, she recorded her own Australian television series, screened in 1960–1961, her career earned her a fortune, would have extended further to the US but for issues of race. Her breakthrough appearance was to have been on The Ed Sullivan Show in 1956, but on arrival in America she was confronted with problems of selling the show in the south with a British-sounding black woman.
The appearance was never recorded. In 1955, Atwell arrived in Australia and was greete
Never Let Go
Never Let Go is a 1960 British thriller film starring Richard Todd, Peter Sellers and Elizabeth Sellars. It concerns a man's attempt to recover his stolen Ford Anglia car. Sellers plays a London villain, in one of his rare straight roles. Lionel Meadows is a London garage owner. Meadows buys log books from scrapped models has other cars corresponding to the log books stolen and the number plates replaced, he gives a list of the latest batch to young petty thief Tommy Towers, which includes a 1959 Ford Anglia. The car Tommy steals belongs to struggling cosmetics salesman John Cummings, who needs the car to keep his job, he did not insure the car against theft and becomes desperate to recover it. Put onto Tommy by a street newspaper vendor, who witnessed the crime, Cummings starts investigating the activities of Meadows and his associate Cliff. Meadows, disturbed by his inquiries, brutalizes Alfie, who commits suicide. Despite being warned off by both Meadows and the police, Cummings persists in his attempts to recover the car when his wife threatens to leave him and take the children away.
It transpires that since his demob from the army, Cummings has failed at several enterprises, though his wife has always been supportive. Cummings finds the weak link in Meadows's operation, his mistress Jackie, a teenage runaway whom, like Tommy, Meadows continually threatens and abuses. Taking Jackie under his wing, Cummings sets out to prove that he is correct and that Meadows is a major criminal, stealing dozens of cars, he convinces the police, but then, they lack interest in helping him recover his car. Cummings finds. Critical reception to Never Let Go was mixed. A 1963 review of the film in The New York Times was unfavourable, describing Sellers "grinding his way through the rubble of a drearily routine plot" and attributed his performance in the film, different from his usual comedic roles, to "That itch to play Hamlet, I suppose. Sellers was unhappy with the reception. Several other players in Never Let Go made their reputations in comedy, for example Peter Jones who plays Richard Todd's ruthless boss.
Some critics were more impressed with the film. One noted that "John Guillermin's direction is taut and has a degree of flair" whilst another praised the "persuasive" performances of Todd and Sellers. Much of the action takes place in Paddington; this and surrounding streets, which were a location for scenes in The Blue Lamp, were demolished in 1965 to make way for the Warwick Estate major housing redevelopment adjacent to Little Venice. Never Let Go was released to DVD by MGM Home Video on 7 June 2005, as a Region 1 fullscreen DVD. Never Let Go on IMDb Never Let Go at Rotten Tomatoes Never Let Go at the BFI's Screenonline
A duet is a musical composition for two performers in which the performers have equal importance to the piece a composition involving two singers or two pianists. It differs from a harmony, as the performers take turns performing a solo section rather than performing simultaneously. A piece performed by two pianists performing together on the same piano is a "piano duet" or "piano four hands". A piece for two pianists performing together on separate pianos is a "piano duo". "Duet" is used as a verb for the act of performing a musical duet, or colloquially as a noun to refer to the performers of a duet. A musical ensemble with more than two solo instruments or voices is called trio, quintet, septet, etc; when Mozart was young, he and his sister Marianne played a duet of his composition at a London concert in 1765. The four-hand, described as a duet, was in many of his compositions; the first published sonata or duet was in 1777. In Renaissance music, a duet intended as a teaching tool, to be performed by teacher and student, was called a bicinium.
Duets have always been a part of the structure of operas. Early 16th-century operas such as L'Orfeo and L'incoronazione di Poppea involve duets throughout the performance. In 17th-century Italy duets were used in comic scenes within serious operas. In Baroque France the duet was popular in tragedies, such as songs of confrontation; the love duet was characterized by singing in close harmonies of 3rds and 6ths, symbolizing unity after conflict. La clemenza di Tito by Wolfgang Amadeus Mozart La Cenerentola by Gioachino Rossini The Puritans of Vincenzo Bellini Don Pasquale by Gaetano Donizetti La traviata by Giuseppe Verdi Aida of Giuseppe Verdi Mefistofele of Arrigo Boito Manon Lescaut by Giacomo Puccini Madama Butterfly by Giacomo Puccini L'amico Fritz by Pietro Mascagni Throughout the 20th century duets have been common in the popular music of the era; some songs were written to be heard as conversations, such as "Baby, It's Cold Outside". Others were performed around a theme, for example New York in "Empire State of Mind".
Duets are an improvisation between artists, such as "Under Pressure". David Bowie and Freddie Mercury composed the lyrics in a day by improvising together. "Baby, It's Cold Outside" - Ricardo Montalbán and Esther Williams, with roles reversed, Red Skelton and Betty Garrett, 1948 "Dream a Little Dream of Me" – Louis Armstrong and Ella Fitzgerald, 1950 "I Got You Babe" – Sonny & Cher, 1965 "Ain't No Mountain High Enough" – Marvin Gaye and Tammi Terrell, 1967 "Jackson" – Johnny Cash and June Carter, 1967 "Somethin' Stupid" – Frank Sinatra and Nancy Sinatra, 1967 "Waters of March" – Elis Regina and Antonio Carlos Jobim, 1972 "Don't Go Breaking My Heart" – Elton John and Kiki Dee, 1976 "You're The One That I Want" – John Travolta and Olivia Newton-John, 1978 "Endless Love" – Diana Ross and Lionel Richie, 1981 "Under Pressure" – Queen and David Bowie, 1981 "Up Where We Belong" – Joe Cocker and Jennifer Warnes, 1982 "Ebony and Ivory" – Paul McCartney and Stevie Wonder, 1982 "Islands in the Stream" – Kenny Rogers and Dolly Parton, 1983 "Don't Give Up" – Kate Bush and Peter Gabriel, 1985 "Always" - Atlantic Starr, 1987 " The Time of My Life" – Bill Medley and Jennifer Warnes, 1987 "One Sweet Day" – Mariah Carey and Boyz II Men, 1995 "Scream" – Michael Jackson and Janet Jackson, 1995 "It's Your Love" – Tim McGraw and Faith Hill, 1997 "Tell Him" – Barbra Streisand and Celine Dion, 1997 "I'm Your Angel" – R. Kelly and Celine Dion, 1998 "When You Believe" – Whitney Houston and Mariah Carey, 1998 "Where You Are" – Jessica Simpson and Nick Lachey, 2000 "I Belong to You" – Eros Ramazzotti and Anastacia, 2006 "Beautiful Liar" – Beyoncé and Shakira, 2007 "No Estamos Solos" – Eros Ramazzotti and Ricky Martin, 2007 "Ta Voix" – Jennifer Paige and Lââm, 2008 "Limpido" – Laura Pausini and Kylie Minogue, 2013 "Hurt You" – Toni Braxton and Babyface, 2014 "Bad Things" - Machine Gun Kelly and Camila Cabello, 2016 Chisholm, Hugh, ed..
"Duet". Encyclopædia Britannica. Cambridge University Press; the dictionary definition of duet at Wiktionary
The Moody Blues
The Moody Blues are an English rock band formed in Birmingham in 1964 consisting of keyboardist Mike Pinder, multi-instrumentalist Ray Thomas, guitarist Denny Laine, drummer Graeme Edge, bassist Clint Warwick. The group came to prominence playing rhythm and blues music, they made some changes in musicians but settled on a line-up of Pinder, Edge, guitarist Justin Hayward, bassist John Lodge, who stayed together for most of the band's "classic era" into the early 1970s. Their second album, Days of Future Passed, released in 1967, was a fusion of rock with classical music which established the band as pioneers in the development of art rock and progressive rock, it has been described as a "landmark" and "one of the first successful concept albums". The group toured extensively through the early 1970s took an extended hiatus from 1974 until 1977. Founder Mike Pinder left the group a year after they re-formed and was replaced by Swiss keyboardist Patrick Moraz in 1978. In the following decade they took on a more synth-pop sound and produced The Other Side of Life in 1986, which made them the first act to earn each of its first three top 10 singles in the United States in a different decade.
Health troubles led to a diminished role for founder Ray Thomas throughout the 1980s, though his musical contributions rebounded after Moraz departed in 1991. Thomas retired from the band in 2002; the band's most recent album was a collection of Christmas music. They continued to tour throughout the first decade of the 2000s, they still regroup for periodic events, one-off concerts, short tours, cruises; the Moody Blues' most successful singles include "Go Now", "Nights in White Satin", "Tuesday Afternoon", "Question", "Your Wildest Dreams". The band has sold 70 million albums worldwide, which includes gold LPs, they were inducted into the Rock and Roll Hall of Fame in 2018. The Moody Blues formed in 1964 in a suburb of Birmingham in the county of Warwickshire. Ray Thomas, a young John Lodge and Mike Pinder had been members of the Rebels, they disbanded when Lodge, the youngest member, went to technical college and Pinder joined the army. Pinder rejoined Thomas to form the Krew Cats. Back from a disappointing spell in the Hamburg region a few months the pair recruited guitarist/vocalist Denny Laine and band manager-turned-drummer Graeme Edge.
Pinder and Thomas approached their former El Riot bandmate John Lodge about being the bass player, but Lodge declined as he was still in college. They instead recruited bassist Clint Warwick; the five appeared as the Moody Blues for the first time in Birmingham in 1964. The name developed from a hoped-for sponsorship from the Mitchells & Butlers Brewery which failed to materialise, the band calling themselves both "The M Bs" and "The M B Five", was a subtle reference to the Duke Ellington song "Mood Indigo". In an interview it was revealed that the band was named "Moody Blues" because Mike Pinder was interested in how music changes people's moods and due to the fact that the band was playing blues at the time. Around this time the band were the resident group at the Carlton Ballroom to become rock music venue Mothers on Erdington High Street; the band soon obtained a London-based management company,'Ridgepride', formed by Alex Murray, in the A&R division of Decca Records. Their recording contract was signed in the spring of 1964 with Ridgepride, which leased their recordings to Decca.
They released a single, "Steal Your Heart Away", that year. They appeared on the cult TV programme Ready Steady Go! Singing the uptempo'B' side "Lose Your Money", but it was their second single, "Go Now", that launched their career, being promoted on TV with one of the first purpose-made promotional films in the pop era and directed by Alex Wharton. The single became a hit in Britain and in the United States, where it reached No. 10. The band encountered management problems after the chart-topping hit and subsequently signed to Decca Records in the UK directly as recording artists. A four-track extended play release titled "The Moody Blues" featuring both sides of their first two Decca singles was issued in a colour picture sleeve in early 1965, their debut album The Magnificent Moodies, produced by Denny Cordell with a strong Merseybeat/R&B flavour, was released on Decca in mono only in 1965. It contained the hit single together with one side of classic R&B covers, a second side with four Laine-Pinder originals.
Alex Wharton left the management firm, the group released a series of unsuccessful singles. They enjoyed a minor British hit with a cover of "I Don't Want To Go on Without You" in February 1965, while the Pinder-Laine original "From the Bottom of My Heart" produced by Denny Cordell was issued as a UK single in May 1965 and did a little better, but "Everyday", another Pinder-Laine song, stalled at No. 44 in October 1965 and no further British singles were released for about a year. The group was still in demand for live gigs and they had chart success in the US and in Europe during those months when "Bye Bye Bird" was lifted from their album in December 1965 as an overseas single in France. In June 1966, Warwick retired from the music business, he was replaced by Rod Clark, but in early October, Denny Laine departed from t
The Marquee Club was a music venue first located at 165 Oxford Street, England when it opened in 1958 with a range of jazz and skiffle acts. Its most famous period was from 1964 to 1988 at 90 Wardour Street in Soho, it closed when at 105 Charing Cross Road in 1996, though the name has been revived unsuccessfully three times in the 21st century, it was always a small and cheap club, located in the heart of the music industry in London's West End, used to launch the careers of generations of rock acts. It was a key venue for early performances by bands who were to achieve worldwide fame in the 1960s and remained a venue for young bands in the following decades, it was the location of the first-ever live performance by The Rolling Stones on 12 July 1962. The club was established by Harold Pendleton, an accountant whose love of jazz had led him to become secretary of the National Jazz Federation, it was located in the Marquee Ballroom in the basement of the Academy Cinema in Oxford Street, where dances had been held since the early 1950s.
Its decor was designed by Angus McBean with a striped canopy to imitate a marquee. Pendleton took over management of the ballroom, the first Jazz at the Marquee night was held on 19 April 1958. Johnny Dankworth, Chris Barber, Alexis Korner and Cyril Davies were early resident performers, Tubby Hayes and Joe Harriott were regular performers. In 1962 the club began a regular R&B night that featured visiting American musicians such as Muddy Waters. Pendleton launched the National Jazz Festival in 1961 in Richmond. By 1963 the club had become most noted for its R&B acts, including Davies, Brian Auger and Manfred Mann–who played there a record 102 times between 1962 and 1976–but Pendleton was forced to find a new venue when his lease expired. In March 1964 the club moved a short distance to what became its most famous venue with an entrance at 90 Wardour Street, with the actual music venue housed over two buildings. Here every major rock band of note played over the next 25 years on the tiny stage.
‘The Marquee in Wardour Street did not have an alcohol license until 1970. Jack Barrie along with Kenny Bell came up with the idea of opening a private bar above The Marquee at 100 Wardour Street, called La Chasse. Band residencies during the late 1960s included Alexis Korner, Cyril Davies, Chris Barber, The Rolling Stones, The Yardbirds, Led Zeppelin, The Who, King Crimson, The Syn, Mabel Greer's Toyshop, Jethro Tull, The Jimi Hendrix Experience and Pink Floyd. Another band that made regular appearances was The Manish Boys featuring David Bowie, who first played there in November 1964. To find out, playing on any given night, you could just call in at the'Ship' pub a few doors away. In 1964 Moody Blues manager/producer Alex Murray used a homemade studio in the garage at the back of the club to produce the classic "Go Now" single, which shot to No. 1 at Christmas 1964, filmed for it the first UK pop promo video. The development of Marquee Studios was financed by profits from this record; the studio was used by Elton John, The Groundhogs, The Clash and others.
The Rolling Stones, who first appeared at the club in January 1963, returned there on 26 March 1971 after an eight-year hiatus to film a television special. John Gee, a former accountant and journalist, became the manager of the Marquee Club during the 1960s and was a pivotal part of helping create what the Melody Maker termed "the most important venue in the history of pop music." Gee championed certain groups that played at the club such as Ten Years After and Jethro Tull, wrote the liner notes for Ten Years After’s eponymous 1967 debut album. Jethro Tull named the B-side of their second single, "A Song For Jeffrey", a jazz-flavoured instrumental, "One for John Gee." Gee introduced the bands to the audience. He left the Marquee Club in 1970 to take a job in the offices of Radio Luxembourg. Jack Barrie, the former manager of the Soho bar La Chasse took over as the manager of the Marquee in 1970; the Marquee Club nurtured a large social scene based around the record industry, with record company heads and their A&R representatives visiting the venue on a daily basis talent spotting.
The venue attracted many famous musicians and recording artists who used the VIP Bar to socialise in. The Marquee staff became an integral part of the club as much as the bands; the Faces performed at The Marquee on 7 December 1970. Queen performed at the club three times in the beginning of their career. First on 8 January 1971 on 20 December 1972, on 9 April 1973, as their first gig after signing with the Trident record company. In 1972, Status Quo took to the stage with a blistering set, including "Paper Plane", the video for, filmed during this gig. On 18, 19 & 20 October 1973, Be-Bop Deluxe and String Driven Thing appeared on the same bill in 1974, David Bowie filmed The 1980 Floor Show at the Marquee for the American NBC TV late night show The Midnight Special. NBC used the Marquee Studios as dressing rooms for the cast. Although never a seminal punk venue, the club embraced the burgeoning punk rock movement of the late 1970s and promoted punk and new wave nights into the 1980s. Bands such as Sex Pistols, X Ray Spex, The Boys and the Hot Rods, The Stranglers, Generation X, The Police, XTC, The Sinceros, the early Adam & the Ants, The Jam, Joy Division, The Sound and The Cure all trod the fa
Alfred Cornelius Lynch was an English actor on stage and television. Lynch was born in Whitechapel, the son of a plumber. After attending a Roman Catholic school, he worked in a drawing office as a draughtsman before entering national service. Whilst working in a factory, he attended theatre acting evening classes, at which he met his life partner, James Culliford. In 1958 he joined the Royal Court Theatre and acted in a number of plays, including original productions of Chicken Soup with Barley and The Kitchen by Arnold Wesker. Lynch starred in Joan Littlewood’s production of Brendan Behan’s The Hostage in London and New York. After 1960 his career moved more into film and television, for example appearing with Sean Connery in the 1961 film On the Fiddle and the 1965 film The Hill, he had a sizeable role in the 1963 film 55 Days at Peking and a starring role in West 11. He appeared in the 1968 adaptation of The Sea Gull, the 1990 film The Krays; some of his television credits include reading children's stories on Jackanory, the title role in Hereward the Wake, Going Straight, Pie in the Sky and the Doctor Who serial The Curse of Fenric as Commander Millington.
After Culliford's stroke in 1972, Lynch moved from London to Brighton until Culliford's death in 2002. Lynch died from cancer in 2003. Alfred Lynch on IMDb Obituary from The Guardian
Victor Stanley Feldman was an English jazz musician who played piano and percussion. He began performing professionally during childhood earning acclaim in the UK jazz scene as an adult. Feldman emigrated to the United States in the mid-1950s, where he continued working in jazz and as a session musician with a variety of pop and rock performers. Feldman was born in Edgware on 7 April 1934, he caused a sensation as a musical prodigy, aged seven. His family were all musical and his father founded the Feldman Swing Club in London in 1942 to showcase his talented sons. Feldman performed from a young age: "from 1941 to 1947 he played drums in a trio with his brothers, he featured in the films King Arthur Was a Theatre Royal. In 1944 he was featured at a concert with Glenn Miller's AAAF band, as "Kid Krupa", he appeared in the 1942 comedy filmKing. He "took a prominent role in the musical Piccadilly Hayride", his drums teacher Carlo Krahmer encouraged Feldman to play the vibraphone which he did first in the Ralph Sharon Sextet and in the Roy Fox band.
Feldman played with Ted Heath. Feldman played with Sharon including for performances in Switzerland. There were further overseas trips with Ronnie Scott, Harry Parry, he played with Parry in the UK from October 1953 to January 1954. From 1954, when he recorded with Jimmy Deuchar, played again with Scott, "he was working as a pianist and vibraphonist, he was a notable percussionist, but it was as a pianist and vibraphone player that he became best known. Before leaving the UK to work in the US, Feldman recorded with Ronnie Scott's orchestra and quintet from 1954 to 1955, which featured other important British jazz musicians such as Phil Seamen and Hank Shaw, it was Scott who recommended that Feldman emigrate to the US, which he did in 1955. Once there, his first steady work was with the Woody Herman Herd, he had frequent return trips to the UK over the following years. His 8-week visit in 1956–57 included studio recording sessions and club appearances. After Herman he joined Buddy DeFranco for a short time.
In 1958, he had his own working band on the west coast, which included the innovative bassist Scott LaFaro. His 1958 album The Arrival of Victor Feldman includes Stan Levey on drums, he recorded with many jazz artists, including Benny Goodman, George Shearing, Cannonball Adderley and Miles Davis, most notably on Davis' 1963 album Seven Steps to Heaven, the title tune being his own composition. Davis invited Feldman to join his group full-time, but Feldman declined, preferring the stability of studio work to the career of a touring musician; the 5-CD Shelly Manne Black Hawk set released on LP in September 1959, is a good representation of Feldman's unmistakable driving "comping" behind the soloists, helping to define the session as a valuable hard bop genre element. In 1957 Feldman settled in Los Angeles permanently and specialised in lucrative session work for the US film and recording industry, he branched out to work with a variety of musicians outside of jazz, recording with artists such as Frank Zappa in 1967, Steely Dan and Joni Mitchell in the 1970s and Tom Waits and Joe Walsh in the 1980s.
It is Feldman's percussion work on Steely Dan's song "Do It Again" that gives the song its Latin groove. Feldman's vibraphone soloing is featured extensively on the Grammy Award-winning The Music from Peter Gunn, with AllMusic writing, "There's some impressive work by drummer Shelly Manne and vibes player Victor Feldman, whose cool, understated playing seems to deliberately recall that of Milt Jackson."Feldman died at his home in Los Angeles, aged 53, following an asthma attack. In 2009, he was inducted in the Musicians Hall of Museum in Nashville. Main source: With Pepper Adams California Cookin' With Cannonball Adderley Cannonball Adderley and the Poll Winners The Cannonball Adderley Quintet at the Lighthouse Live in Europe Paris 1960 The Cannonball Adderley Quintet Plus With Nat Adderley A Little New York Midtown Music With Curtis Amy Way Down With James Clay A Double Dose of Soul With Bob Cooper Coop! The Music of Bob Cooper With Miles Davis Seven Steps to Heaven Quiet Nights With The Doobie Brothers Livin' on the Fault Line With The Free Movement I've Found Someone of My Own With Woody Herman At the Monterey Jazz Festival With Paul Horn Impressions of Cleopatra With Milt Jackson Memphis Jackson, 1969)With J. J. Johnson A Touch of Satin Concepts in Blue With Plas Johnson This Must Be the Plas With Quincy Jones The Hot Rock OST Roots With Sam Jones The Chant With Stan Kenton Hair With Barney Kessel Let's Cook!
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