Chick Corea Elektric Band
The Future Is Now

It is hard to believe that it has been nearly three years since Chick Corea passed away. At the time of his passing, he was arguably the most significant living jazz artist, and he showed no signs of slowing down. Fortunately, previously unreleased recordings of Corea with many of his groups have been gradually coming out and his musical legacy is quite huge.

Corea formed his Elektric Band in 1985. It was originally a trio with bassist John Patitucci and drummer Dave Weckl but grew permanently to a quintet in 1986 with the addition of guitarist Frank Gambale and altoist Eric Marienthal. They recorded six albums for GRP through 1991. The Elektric Band had a reunion that resulted in an album in 2002 and came back together on a more regular basis starting in 2015.

Chick Corea’s Elektric Band had several long engagements at Catalina Bar & Grill in Hollywood and six of the nine selections on the two-CD set The Future Is Now are taken from their 2016 and 2018 performances at Catalina’s; the other three numbers are from other venues during 2016-17. Corea supervised this release and, along with the other musicians, wrote some of the liner notes.

Each of the players had continued to grow through the years and, as worthy as their GRP recordings were, the Elektric Band was even better by 2016. Their ability to play lightning-fast melodies was quite impressive as was the individuality that they displayed during their solos. While one can call their music fusion, it is really adventurous modern jazz and less rock-oriented than Return To Forever. Corea, whose electric keyboard playing was always distinctive, was clearly having a great time during these spirited performances. Marienthal (who sounded at his best in this setting), Gambale, and the somewhat wondrous Patitucci solo on just about every selection. Weckl, who really drives the ensembles, also has his spots.

Included on The Future Is Now are eight Corea compositions including such stirring numbers as “Trance Dance,” “Ished” which features Marienthal at his most passionate, and the rapid and hard-swinging “Got A Match.” Special treats are their versions of “Alan Corday” (which has a memorable solo piano passage) and Jimmy Heath’s boppish “C.T.A.”

The Future Is Now, which is available as both a two-CD and a two-Lp set, is full of exciting and fun music. It is highly recommended and available from and

Dave Brubeck Quartet
Live From the Northwest 1959
(Brubeck Editions)

During his long and prolific career, pianist Dave Brubeck never released an uninteresting recording. He always stretched himself and came up with new ideas, even during the countless number of versions of “Take Five.” The same can be said about the other members of the classic Brubeck Quartet of 1958-67 which included altoist Paul Desmond, bassist Eugene Wright, and drummer Joe Morello.

The release of a previously unknown recording by Brubeck’s quartet is always a reason to celebrate. Live From the Northwest 1959 has music from the group’s April 4 and 5 performances. Their famous Time Out album (which includes the original versions of “Take Five” and “Blue Rondo A La Turk”) was still 2 ½ months in the future and they were involved at

the time in planning for their lesser-known Gone With The Wind album that would be recorded during Apr. 22-23. Three of the seven numbers on this live CD (“Basin Street Blues,” “The Lonesome Road,” and “Gone With The Wind”) would be recorded in the studio for that project which mostly focused on vintage Americana songs. One assumes that Brubeck was also considering “When The Saints Go Marching In” which he never did record in the studio but appears here.

Live From The Northwest 1959 begins with the latter and makes one wish that it had been included in the project. “The Saints” and “Basin Street Blues” are both taken uptempo and include particularly inventive solos from Desmond and Brubeck. “These Foolish Things” had been recorded by the group earlier. This time around the altoist dispenses with the theme quickly and comes up with a colorful statement. Brubeck, who is in top form throughout this release, takes honors during a faster-than-usual version of “Gone With The Wind,” engaging in lots of interplay with Desmond. The altoist sounds exuberant on “Multnomah Blues” while Brubeck takes it a bit outside. “Two Part Contention” goes through several unpredictable tempo changes before a heated rendition of “The Lonesome Road” (which has Brubeck creating a percussive solo) ends the program with a real cooker.

Live From The Northwest, 1959 which has excellent recording quality, is highly recommended to anyone who loves the playing of Dave Brubeck and Paul Desmond. It is available from

Lee Meehan
Some Of Us Are Looking At The Stars

Jazz has been a universal language ever since the 1920s and many of the more rewarding recordings of today come from countries other than the United States. While one does not necessarily think of Ireland as a jazz mecca, guitarist Lee Meehan’s Some Of Us Are Looking At The Stars serves as proof that there is some great straight ahead jazz to be heard in Dublin.

For his recording debut as a leader, Meehan is joined by four other world-class musicians: tenor-saxophonist Michael Buckley, pianist Scott Flanigan, bassist Dave Redmond, and drummer Darren A. Beckett. The music they perform (which includes five Meehan originals) is very much in the mainstream of jazz, starting with the medium-tempo blues “Boppin’ For Pat” which, as with most of these pieces, has rewarding guitar, tenor and piano solos. “Danu” includes some hints of “Impressions.” A light bossa-nova feel is heard on the melodically memorable “Some Of Us Are Looking At The Stars.” “Make It Monk” is a boppish blues that does sound like it could have been a Thelonious Monk melody. The relaxed ballad “Only Leonie,” a mellow version of Tadd Dameron’s “On A Misty Night,” and Redmond’s complex but swinging “CGBG’s” wrap up the easily enjoyable set.

Lee Meehan may be a new name to North Americans but he is an up-and-coming player who, on the evidence of Some Of Us Are Looking At The Stars, will be heard from much more in the future. His debut (available from is heartily recommended.

Umlaut Chamber Orchestra
Zodiac Suite

Mary Lou Williams composed the 12-part “Zodiac Suite” during 1944-45. Each section musically portrays the traits of those who are born under a particular sign of the Zodiac. Williams recorded the suite with her trio on June 28, 1945 and premiered it at a Town Hall concert on Dec. 31 of that year. The latter concert had her utilizing an 18-piece band and was at least partly arranged by classical violinist-bassist Milton Orent. Due to insufficient rehearsal time, there were flaws in both the arranging and the playing (some of the movements were just played by Williams with the rhythm section) although the live recording which was released many years later is worth hearing.

The new rendition of the Zodiac Suite, performed by the 21-piece Umlaut Chamber Orchestra directed by Pierre-Antoine Badaroux, is the finest recorded version ever. Badaroux corrected the errors, utilized all of the recordings and manuscripts that could be found to bring back the music as Williams intended it, added more space for solos, used world class musicians who were not only expert sight-readers but could swing, and varied the tempos more. While other attempts to revive the suite have usually been performed at universally slow tempos and with little mood variation, this Zodiac Suite ranges from warm ballads to heated moments. The concise interpretations are thoughtful but occasionally dramatic and exciting. The arrangements bring out the beauty of the melodies and the colors of the band which consists of flute, oboe, clarinet/bass clarinet/tenor, bassoon, trumpet, trombone, French horn, seven violins, two violas, two cellos, piano, bass and drums. Agathe Peyrat takes an operatic vocal on the closing “Pisces” which is a bit anticlimactic.

Even nearly 80 years later, in the hands of Pierre-Antoine Badaroux and the Umlaut Chamber Orchestra, Mary Lou Williams’ Zodiac Suite still sounds adventurous and futuristic. This valuable set is available from

Oz Noy
Triple Play
(Abstract Logix)

Oz Noy always plays intriguing guitar solos. He has a passionate rockish sound, but if one gave him the clear tone of Joe Pass, many of his solos would be thought of as creative bebop rather than fusion. As he is quoted in his bio, “It’s Jazz. It just doesn’t sound like it.”

Triple Play features Noy leading a trio that also includes bassist Jimmy Haslip and drummer Dennis Chambers. The live album has no edits or post-gig sweetening, nor does it need any. The jazz power trio performs eight originals by the guitarist plus a song apiece by Charlie Parker and Thelonious Monk. Starting off with the boppish and catchy “Zig Zag,” Oz Noy dominates the music with his flowing solos. Among the highlights are the bluesy “Groovin’ Grant,” a spacey version of Monk’s “Bemsha Swing” that is a menacing strut with lots of effects from the guitarist while still keeping the melody close by, the rhythm changes of “Boom Boo Boom,” an explorative piece in 6/4 time (“Snapdragon”), the ballad “Twice In A While,” and a well-titled “Twisted Blues.”

While Haslip and Chambers have their solo spots, Triple Play is primarily a showcase for the colorful guitarist, who on his tenth album as a leader continues to carve out his own singular path. This fine set is available from

Joshua Redman
Where Are We
(Blue Note)

Joshua Redman - Where Are We: Limited Colour Vinyl 2LP . - Blue Note Records

Tenor-saxophonist Joshua Redman has recorded steadily ever since he burst upon the jazz scene in 1992. Where Are We is an unusual release in his large discography. It is Redman’s debut recording for the Blue Note label and the first time that he has utilized a singer, the appealing and up-and-coming Gabrielle Cavassa, in a major role;. Ms. Cavassa is on nine of the 12 selections, swinging gently while displaying a lovely voice. It also has Redman’s first recorded lyrics (“After Minneapolis” and “That’s New England) and it often finds the tenor combining together aspects of two different songs.

The titles that Redman, Cavassa and the rhythm section of pianist Aaron Parks (excellent on “Alabama”), bassist Joe Sanders, and drummer Brian Blade explore mostly have cities or states in their names other than the closing “Where Are You?” The set begins with the saxophonist briefly playing Woody Guthrie’s “This Land Is Your Land” unaccompanied, an ironic introduction to his quietly angry “After Minneapolis” which is about the murder of George Floyd. Among the other selections are “Chicago Blues” (which mixes together parts of “Going To Chicago Blues” with a newer song called “Chicago”), “By The Time I Get To Phoenix,” “Do You Know What it Means To Miss New Orleans,” “Manhattan,” “My Heart In San Francisco” (“I Left My Heart In San Francisco” with an intro and outro of Thelonious Monk’s “San Francisco Holiday”), and a combination of the happy “Stars Fell On Alabama” (a vocal-tenor duet) with John Coltrane’s somber “Alabama.”

Beyond the concepts, the music is as satisfying as one would expect from a Joshua Redman album. He is in particularly fine form on the instrumental “Baltimore” and his heartfelt rendition of “Alabama.” In addition to the core group, there is one guest appearance apiece from guitarists Peter Bernstein (a version of “Manhattan” that changes keys every eight bars) and Kurt Rosenwinkel, vibraphonist Joel Ross, and trumpeter Nicholas Payton. Where Are We is consistently memorable. It is available from

Sam Ross
Live At The Mira Room

Sam Ross
Live At The Mira Rom Vol. II.

At first glance, Sam Ross’ pair of Eps (which clock in around a half-hour apiece) can be thought of high-quality trio albums. The pianist and prolific composer, who is based in Southern California, is equally comfortable performing boppish originals and soulful groove music. He is joined on these performances by bassist Simba Distis and drummer Dr Mimi Mured. The trio, which performs before an enthusiastic audience, is tight and swinging. Distis’ bass playing is stimulating throughout and Mured swings hard and makes the most of his breaks. Together they perform 11 of Ross’ originals; five on Vol. 1 and six on the second disc.

Or do they? The truth is that there is no Simba Distis or Dr Mimi Mured. Ross came up with their names as anagrams for Midi Bassist and Midi Drummer. During the COVID pandemic, the pianist mastered production and programming. For the fun of it, he programmed every note played by the bass and drums via Logic Pro X and utilizing Keyscape, Ample bass ST and Addictive Drums 2. He then played the piano parts, swinging with his one-man trio. The

sounds of the bass and drums are certainly quite lifelike, and one would never guess that everything was played by one person. Another odd part about these Eps is that there is no Mira Room. Ross had friends and family members listen to the recorded music and recorded their reactions, sounding as they would have in a club.

But beyond the novelty aspect of this “trio” date, the music is quite rewarding with enjoyable originals, inventive piano solos, and tight interplay between the parts. The first volume includes the grooving Bryan’s Room,” “Beauty Has No Ceiling” (which has an appealing melody), the joyfully funky “City Stroll,” an uptempo swinger (“Hopeful Future”), a jazz waltz (“Bear”) and “Music Is King” which is topped off with some colorful drum breaks.

Live at The Mira Room Vol. II includes the classic bebop of “Breakfast For Dinner,” soul jazz (“New Shoes”), a repeated three-note phrase that becomes a heated swinger (“What Is TOP”), some fine electric piano work on the soulful “New Socks” (which alternates between two tempos), and a fusionish romp that is a tribute to Chick Corea (“Dear Chick”).

The bassist and drummer may not actually exist but one quickly forgets that for Sam Ross is very much with us as a creative musical force. These two rewarding Eps are available from

Ernie Krivda
Back At The Dog

Ernie Krivda - Back at the Dog - CJR 1271-1273 [3 CD set] – CadNor LTD

A powerful tenor-saxophonist with a sound of his own, Ernie Krivda has been a fixture on the Cleveland jazz scene since the late 1960s, with relatively brief periods spent living in New York and Los Angeles. .

In March 2016, he performed with his quartet for four nights at the Dirty Dog Jazz Café in Grosse Point, Michigan near Detroit. Unknown to Krivda, three of the four nights were recorded by the sound man and the music is outstanding. The highlights have been released for the first time on this three CD set. Krivda is joined by either Glenn Tucker or the late Gary Shunk on piano, Marion Hayden or Jeff Halsey on bass, and drummer Rennell Gonsalves. This threefer from Cadence ( consists of 12 lengthy performances which clock in between 11:39 and 18:47. Five are originals while seven are standards. One would think that, with this much music, some of the performances would become a bit tedious or routine. But to the credit of the players, that never happens. During the modern hard bop music Ernie Krivda never runs out of creative ideas, the rhythm section (no matter who is on piano or bass) is always swinging, and the musicians really dig into these pieces, whether it is Coleman Hawkins’ “Disorder At The Border,” “East Of The Sun,” “Stardust,” or one of the originals. Krivda (who occasionally hints briefly at Ben Webster and Lew Tabackin) sounds quite original throughout as he explores the modern mainstream of jazz. Tucker and Shunk take equally rewarding solos as do Hayden and Halsey.

Despite the length of the pieces, the performances hold onto one’s interest throughout. Ernie Krivda, who has always deserved to be much better known, is heard throughout in prime form, making this an easily recommended set for those who love modern straight ahead jazz.

Will Barnes Quartet
Source Of The Severn

Will Barnes is a talented straight ahead guitarist from the United Kingdom. While he hints at Wes Montgomery (particularly when playing octaves), Grant Green, and early George Benson during parts of Source Of The Severn, he has his own sound within the jazz tradition.

This set, which is available as a double-Lp, features Barnes at the head of a fine quartet also including pianist Jack Gonsalez, bassist Clovis Phillips, and drummer James Battan. The guitarist’s nine originals, which are sometimes episodic and contain plenty of subtle surprises, are inspired by the drawings of Erin Hughes which are included in the accompanying booklet. Highlights include the catchy “Mad March Hare,” a jazz waltz that becomes a moody and thoughtful ballad (“Le Mae Trefaldwyn”), the cooking straight ahead blues “The Dragon’s Tail,” the mystical and mysterious “Marchia Wallia,” and the romantic “An Echo Of Spring” which has the feel of a gentle tango. “Source Of The Severn,” which begins in a melancholy mood before swinging, is heard twice with the second version taking up all of the fourth side as a 45 RPM rendition for audiophiles.

Will Barnes is a very good and inventive guitarist well worth discovering. Source Of the Severn is available from

Tito Puente
El Rey Bravo
(Craft Recordings)

Recently reissued as an Lp by the Craft Recordings label, Tito Puente’s 1962 album El Rey Bravo will always be best known for including the original version of his most famous composition, “Oye Come Va.” Carlos Santana made it into a giant hit and a standard eight years later. Puente’s version has flutist Johnny Pacheco in the lead, a strong brass section, and a group vocal.

The reissue of El Rey Bravo, which is a replica of the original Lp, does not list the personnel and just has general liner notes. While Puente recorded many jazz-oriented albums through the years, particularly during his later period although occasionally as early as the 1950s, this is essentially an album of Latin dance music. His band of the time included the leader on timbales, three trumpeters, trombonist Barry Rogers, five saxophonists, flutist Pacheco, pianist Gil Lopez, bass, violin, Papi Cadavieco on congas, and Jose Mangual Sr. on bongos in addition to having a few vocalists sing occasionally as a chorus.

“Oye Come Va” is performed as a cha-cha-cha while the other selections cover a variety of different tempos and rhythms. While Pacheco’s flute is often prominent, there are no major jazz solos and the focus is on the stirring rhythms and group vocals. El Rey Bravo, which was originally released on the Tico label and is now available from, will liven up any Latin dance party.

River Raisin Ragtime Revue
A Ragtime Christmas
(R4 Recordings)

While there have been many jazz recordings of Christmas songs through the years, the River Raisin Ragtime Revue offers something different on this CD, sticking to solos and the feel of ragtime rather than jazz.

The 13-piece band, which consists of two cornets, trombone, clarinet, flute/piccolo, piano, banjo, tuba (leader William Pemberton), percussion and a string quartet, performs ten Xmas tunes arranged by William R. Hayes. Their repertoire mostly consists of famous tunes such as “White Christmas,” “Silver Bells,” and “We Wish You A Merry Christmas” along with the lesser-known “Jolly Old St. Nicholas.” It is tempting to think that this is how Christmas songs might have been played by a ragtime orchestra in 1915 (if all of these pieces had been composed by then) but the music does swing a bit more here than on period recordings from 110 years ago.

While I wish that some of the tunes had individual statements and stretched out a bit more (particularly “Jingle Bells”), since this is a ragtime revue rather than a jazz band, the River Raisin Ragtime Revue sticks to its mission. The results are cheerful, melodic, swinging, and quite infectious. A Ragtime Christmas is available from

Jim Rotondi Quintet
Over Here
(Criss Cross)

Jim Rotondi has been a consistently inventive and warm-toned trumpeter and flugelhornist since at least the mid-1980s. Now based in Austria where he is an educator but still a regular visitor to New York, Rotondi is influenced most by Freddie Hubbard but adds his own musical personality to the hard bop-oriented music that he performs. Over Here is his 15th recording as a leader and eighth for the Criss Cross label.

For this set, Rotondi (who is in prime form) is featured in a quintet with tenor-saxophonist Rick Margitza, pianist Danny Grissett, and two excellent European jazzmen: bassist Joshua Ginsburg and drummer Vladimir Kostadinovic. Their individual solos are fairly concise (six of the nine pieces clock in at under six minutes) and the musicians make the most of the time they have.

Performing originals (including four by the trumpeter) and modernized versions of “I’ll Be Seeing You” (a ballad which is taken here quite uptempo) and “I Concentrate On You,” the quintet displays an attractive group sound despite not being a regularly working unit. Grissett’s piano solos are a consistent joy, Margitza’s attractive sound and modern but melodic solos work well with Rotondi’s, and the two Europeans prove to be world class players.

70 years after its formation, hard bop definitely lives, particularly on the Criss Cross label ( All of Jim Rotondi’s recordings are recommended and Over Here is no exception.

The Queen’s Cartoonists
Mozart’s Jazz Requiem
(7 Train Records)

It is fair to say that the Queen’s Cartoonists is an unusual group. The sextet primarily performs music for cartoons, whether it is recreating the original vintage soundtracks or contributing new pieces, synchronizing their high-energy music to the animated films while being inspired by Raymond Scott, Spike Jones, John Kirby, and Carl Stallings.

Mozart’s Jazz Requiem is a rather unique jazz tribute to the classical genius. The 13 pieces are based on the composer’s melodies but arranged in the style of Raymond Scott with a

healthy dose of humor. The sextet of virtuosos (pianist-arranger Joel Person, Mark Phillips on clarinet, alto, flute and soprano, Greg Hammontree doubling on trumpet and trombone, Drew Pitcher on tenor and bass clarinet, bassist Steve Whipple, and drummer Rossen Nedelchev) play complex yet colorful ensembles that take Mozart’s themes into unusual directions. Some selections add Jon Singer on xylophone and marimba or have additional brass players including bass trombonist Jennifer Wharton who appears on six numbers.

It is fair to say that the more straight-laced purists of classical music may frown at this recording, but those with a sense of humor will have plenty to chuckle about. The Queen’s Cartoonists occupies its own musical category and they are well worth discovering. Mozart’s Jazz Requiem is available from www.thequeenscartoonistscom.

Ann Hampton Callaway
Finding Beauty, Originals Volume 1
(Shanachie Entertainment)

Ann Hampton Callaway has enjoyed success in several different overlapping fields, including being a cabaret singer, an actress, a songwriter, performing jingles and voiceovers, and as a jazz singer. Her string of jazz recordings has been consistently impressive and she has long been an inventive improviser who has a beautiful voice with a wide range. Her live performances are always full of humor and fun.

Finding Beauty, Originals Volume 1 is a different type of Ann Hampton Callaway recording. She composed or co-composed all 16 pieces and the focus is on the lyrics and the storytelling. The singer/songwriter album, which sometimes looks back to the style of the late 1960s/’70s, is a departure from Callaway’s jazz recordings. The music is pop-oriented, the arrangements are often pretty, and the lyrics are philosophical, intelligent, and generally about finding love. Joined by a rhythm section that has either Christian Jacob, Josh Nelson or Jeff Babko on piano, a violinist or cellist on three songs, and (on one song apiece) singers Kurt Elling, Tierney Sutton, Niki Harris, Melissa Manchester and Jarett Johnson (with some background vocalists), Ann Hampton Callaway clearly put a lot of thought into a project that means a lot to her. Her wordless harmonizing with Sutton on “You Can’t Rush Spring,” the triumphant “Finding Beauty,” and “At The Same Time” (which was recorded by Barbra Streisand) are the highlights.

While this is not a jazz album, those who love the sound of Ann Hampton Callaway’s voice will enjoy Finding Beauty which is available from

Dick Sisto
Falling In Love

Vibraphonist Dick Sisto has had a long musical career. He discovered jazz in the late 1950s, led the Quartet Four with drummer Maurice White (who later founded Earth, Wind & Fire), spent a period living and playing in Northern California with the top local musicians, toured Europe a few time, and led the house trio at a Louisville hotel where he performed with many jazz artists for years.

Back in 1994, Sisto recorded a very good quartet album with pianist Fred Hersch, bassist Drew Gress, and drummer Tom Rainey that was originally called American Love Song when it

was released by the tiny Jazzen label. It was quickly picked up by Steeplechase and renamed Falling In Love. Now Steeplechase has reissued the set.

As with the best jazz, the music on Falling In Love has not dated in the slightest and still sounds modern and creative. Performing nine standards, Tom Harrell’s “Little Dancer” and Sisto’s memorable original “Summer’s Gone,” the quartet displays an appealing group sound and is consistently inspired. It is particularly enjoyable to hear Fred Hersch this early in his career. He comes up with fresh and swinging statements on the standards while stretching the tunes a bit.

Dick Sisto, whose playing at times hints at Milt Jackson and Bobby Hutcherson but in his own voice, is heard in top form on such numbers as “Falling In Love With Love,” “Doxy,” “Moment’s Notice,” and “If I Should Lose You.” If he had spent more time living in the bigger metropolitan areas, he would be much better known today. But on evidence of his playing throughout Falling In Love and on his other recordings, he ranks near the top of jazz vibraphonists. This recommended set is available from and

Tubby Hayes
Live At The Flamingo 1958
(Rhythm and Blues)


Tubby Hayes (1935-73) was not only one of the great British jazzmen but by the late 1950s was one of the top tenor-saxophonists in the world. His ability to play rapid lines while perfectly articulating each note, his large yet flexible tone, and his modern and hard-swinging style made him a pacesetter.

Live At The Flamingo 1958 is a previously unreleased recording of an eight-piece band that apparently only existed for one night. During 1957-59, Hayes and the other great British tenor of the time Ronnie Scott co-led the Jazz Couriers, a quintet also including pianist Terry Shannon, bassist Phil Bates (replaced by Jeff Clyne in the spring of 1958), and drummer Bill Eyden. For the Dec. 21, 1958 gig at the Flamingo in London, the group was expanded with the addition of Les Condon and Stuart Hamer on trumpets and altoist Alan Branscombe. It gave Hayes the opportunity to contribute some arrangements and to roar over the larger ensemble. The group was reportedly set for a recording date in 1959 but that never happened.

Very fortunately, a decently recorded set of tapes from the engagement has been unearthed and released on this single CD. The group plays modern versions of some swing standards (including “Stompin’ At The Savoy,” “But Not For Me,” and “Autumn In New York”), and performs a pair of Dizzy Gillespie songs (“Ow” and “Tour De Force”), Sonny Stitt’s “Sonny Sounds,” and three originals. All of the horn players have their spots with altoist Branscombe being well featured, Ronnie Scott doubling on baritone, and guest appearances on one song apiece by trumpeter Dickie Hawdon, baritonist Jackie Sharpe, and valve trombonist Ken Wray. Tubby Hayes, who does not dominate the music except with his inspiring presence, makes the most of his solos.

While this group did not last long, the music that it created during its one gig still sounds fairly modern and spirited today, 65 years later. Live At The Flamingo 1958 is available from and