EDDIE SOUTH – 1937-1941 | The Classics Chronological Series – 737 (1993) FLAC (tracks+.cue), lossless

The 20 recordings on the 1937-1941 volume were cut variously in Paris during 1937; Hilversum, Holland, in 1938; and New York in 1940 and 1941. The French and Dutch recordings represent South's final European sessions before his return to the United States in 1938 -- that's Django Reinhardt strumming along on the two Parisian sides, "Fiddle Blues" and "Interpretation Sing du Premier Mouvement du Concerto en Re Mineur de Jean-Sebastien Bach-Part 2," with Stephane Grappelli joining him on violin. South's own quintet (including the extraordinarily sweet piano of David Martin) is featured on the four Hilversum sides, all of which -- "Honeysuckle Rose," "On the Sunny Side of the Street," the delightful "Fiddleditty," and the extraordinary "Black Gypsy," a track worthy of Jascha Heifetz -- are worth the price of this disc. South's New York-based Columbia and Okeh sides never sold as well as what he did for Swing, but they're equally worthwhile. The disc closes out with his hot rendition of "Lady Be Good" and a mellow version of "Stompin' at the Savoy." Bruce Eder    Tracklist + Credits :

ROY ELDRIDGE – 1945-1947 | The Classics Chronological Series – 983 (1998) FLAC (tracks+.cue), lossless

As far as Roy Eldridge's big bands go, this was the peak. With arrangements by Buster Harding and a stable of powerful young players, the Roy Eldridge Orchestra must have been formidable in live performance. Most of the recordings they made for the Decca label represent the ultimate in extroverted big-band swing. The explosive "Little Jazz Boogie" is one of the hottest records Roy Eldridge ever made. The flip side, "Embraceable You," bears witness to his profound abilities as an interpreter of ballads. Three sides by the Roy Eldridge Little Jazz Band recorded for V-Disc on November 14, 1945, allow for more intimate interplay. "Roy Meets Horn" -- the title is a takeoff on "Boy Meets Horn," Ellington's feature for Rex Stewart -- and "Old Rob Roy" are late-period swing or "prebop" numbers, anticipating stylistic changes that were in the wind at the time. With Nick Caiazza blowing tenor sax, Ernie Caceres wielding a clarinet, and Trigger Alpert and Specs Powell in the rhythm section, this was one exciting little jam band. "I've Found a New Baby" is a full-blown stomp employing traditional swing polyphony. Contrary to what the discography claims, there is no spoken introduction by Eddie "Rochester" Anderson. Back in the Decca studios on January 31, 1946, the big band generated huge gusts of sound, employing lots of in-your-face brass. "Ain't That a Shame" is a fine cool blues graced with one of Eldridge's hippest vocals. The session of May 7, 1946, opened with the rowdy "Hi Ho Trailus Boot Whip" and eased into "Tippin' Out" -- the apparent obverse of "Tippin' In," a big hit for Erskine Hawkins. During his solo on "Yard Dog," tenor saxophonist Tom Archia quotes from Fats Waller's hit record "There's Honey on the Moon Tonight." On the other hand, "Les Bounce" is not a very inventive melody. The band compensates by blowing hard and Eldridge tries using a portion of the melodic line from his famous "Little Jazz." The material recorded on September 24, 1946, signals a return to dependable jazz standards of the day. This band had alto saxophonists Sahib Shihab and Joe Eldridge, Cecil Payne on baritone, and pianist Duke Jordan. The disc closes with the WNEW Saturday Night Swing Session broadcast live on May 31, 1947. "Honeysuckle Rose" is played by just the rhythm section of Al Casey, Eddie Safranski, and Specs Powell. "Flip and Jazz" is nearly nine minutes of hot jamming in the company of tenor saxophonist Flip Phillips. "How High the Moon" is, well, a visit to bop city as Eldridge brings in the melody known as "Ornithology." "Lover" is played bright and fast with lots of block chords hammered out by pianist Mike Coluchio's right hand. "Buck Still Jumps," played once again just by the rhythm section, is Al Casey's sequel to "Buck Jumpin'," his famous feature number from Fats Waller days. arwulf arwulf
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RED NORVO AND HIS ORCHESTRA – 1944-1945 | The Classics Chronological Series – 1356 (2004) FLAC (tracks+.cue), lossless

Anyone who listens through the previous six volumes of Red Norvo on Classics will likely experience a visceral sense of excitement from 1943 onward as Norvo switches from xylophone to vibraphone and adopts a noticeably modern attitude toward the music. Norvo underwent a profound artistic transformation in 1944-1945, his many years of experience enabling him to settle into a new role as established recording artist and bandleader with an open-minded respect for young artists bearing new ideas. Norvo's remarkable skills as an improviser coupled with a willingness to participate in what music critics call the bop revolution often placed him squarely within the eye of the rapidly evolving cultural hurricane of modern music. This seventh album in the Norvo chronology delivers an unprecedented dosage of top-notch jazz, documenting the historical swing-to-bop phenomenon in 16 wonderful tracks. With five Keynote sides, two V-Discs, and an epochal meeting with Charlie Parker and Dizzy Gillespie, topped off by Norvo's Nonet/Quintet set at the fabulous 1945 Town Hall Jazz Concert, this is by far the best volume in the Classics chronology of his recorded works, and might very well be the greatest all-purpose Red Norvo album ever released to the public. arwulf arwulf  
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RED NORVO AND HIS ORCHESTRA – 1945-1947 | The Classics Chronological Series – 1386 (2005) FLAC (tracks+.cue), lossless

 Volume eight in the Classics Red Norvo chronology opens with two extended jams from Timme Rosenkrantz's Town Hall Jazz Concert of June 9, 1945. A wild romp on "Seven Come Eleven" runs for ten-and-a-half minutes while "In a Mellotone" lasts more than a quarter-of-an-hour. This particular Town Hall event was audio-documented by Milt Gabler and the recordings eventually appeared on his Commodore record label. Unlike most of the concerts held at Town Hall during the '40s and organized by staunch traditionalist Eddie Condon, this gig resounded with music of a slightly more modern and bop-informed nature, with Specs Powell, Slam Stewart, Remo Palmieri, Teddy Wilson, and Red Norvo providing steamy support for trumpeter Shorty Rogers, trombonist Eddie Bert, clarinetist Aaron Sachs, and tenor saxophonist Flip Phillips, who cuts loose in ways that anticipate his behavior at JATP concerts a few years later. The inclusion of these two precious live jams makes this installment in the Norvo chronology extra special. Most of the rest of the material was recorded for the Capitol label in Los Angeles between October 13 and December 18, 1947. For the October 13 session the band, billed as "Ten Cats and a Mouse," engaged in a peculiar experiment, as everybody swapped instruments. This meant, for example, that Red Norvo played piano, Paul Weston blew the clarinet, Benny Carter played tenor sax, and Peggy Lee (the "Mouse") played drums! On the following day, the instruments all returned to their rightful owners and Kansas City legend Jesse Price was behind the drum kit. On November 28, 1947, Norvo's Septet included cool guitarist Barney Kessel and young saxophonists Dexter Gordon and Jimmy Giuffre, as well as visionary pianist Dodo Marmarosa. Both "I'll Follow You" and "Bop!" are more modern-sounding than anything Norvo had previously presented to the public. The fascinating overlap between bop and R&B is evident on the other two tracks from this date, issued as by Jesse Price and his Blues Band, with shout blues vocals by Price. For the two ultra-modern sessions from mid-December 1947, Norvo switched back to the drier sound of the xylophone in front of smooth ensembles playing arrangements (suitable for film noir soundtrack purposes) written by Johnny Thompson. Even the old "Twelfth Street Rag," handled here by an ensemble equipped with a pair of French horns, comes across as bracingly futuristic. One expects Art Pepper and Warned Marsh to come in at any moment. This excellent compilation closes with two previously omitted V-Disc jams from November 1944 and February 1945, originally issued under Paul Baron's name but featuring the vibraphone of Red Norvo. arwulf arwulf  
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PEARL BAILEY – 1947-1950 | The Classics Chronological Series – 1293 (2003) FLAC (tracks+.cue), lossless

The second volume in Classics' welcome wrap-up of Pearl Bailey's early career begins at the end of 1947, with Bailey fresh from the success of her film debut, Variety Girl, and its career-making song, "Tired." During the next two years, she would refine her approach to jive rhythm and sweet singing, a relaxed sense of vocal cool that fused the exquisite phrasing of Billie Holiday to the hip majesty of Cab Calloway. The first two sessions include her usual studio orchestra of the time, led by Mitchell Ayres and featuring great work from Peanuts Hucko on clarinet and the Charioteers on vocal backing. Most of the rest are small-group dates, during which she recorded some of her finest material; present are two of her best performances, the gloriously swinging, exuberant duets "Baby, It's Cold Outside" featuring Hot Lips Page and "Saturday Night Fish Fry" featuring Moms Mabley. Even the obscure songs from this period are filled with great moments, as on the solos "Johnson Rag" and "Not Tonight," as well as her appearance with Tony Pastor on "Mamie Is Mimi." Fans looking to find more excellent material after enjoying a collection like Ain't She Sweet! will find much to love here on these sides, originally recorded for Columbia and Harmony. John Bush
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TEDDY WILSON – 1942-1945 | The Classics Chronological Series – 908 (1996) FLAC (tracks+.cue), lossless

Pianist Teddy Wilson was the epitome of style in jazz. He stuck to his pristine brand of swing throughout a long career, never really seeming out of place in the process. After working with the likes of Billie Holiday, Roy Eldridge, and Benny Goodman, Wilson formed his own big band in 1939, only to have to fold it in 1940. Thankfully, Wilson returned to combo settings, which seemed to suit him best. This Classics disc features a mix of those small-group dates from the mid-'40s, along with some solo piano sides and a few vocal cuts featuring Helen Ward and Maxine Sullivan. Also on hand to contribute top-notch work are trumpeter Charlie Shavers, clarinetist Edmond Hall, tenor great Ben Webster, and trombonist Benny Morton. An optimal and highly enjoyable disc to start your Wilson collection. Stephen Cook
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BENNY GOODMAN AND HIS ORCHESTRA – 1942-1944 | The Classics Chronological Series – 1335 (2003) FLAC (tracks), lossless

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BENNY GOODMAN AND HIS ORCHESTRA – 1944-1945 | The Classics Chronological Series – 1345 (2004) FLAC (tracks), lossless

This segment of the Benny Goodman chronology documents the recordings he made with his trio, quartet, quintet, sextet, and "All Star Band" for V-Disc and Columbia from the end of June 1944 through the first week of February 1945. The disc opens with a magnificent instrumental version of "After You've Gone" played by a 16-piece ensemble featuring trumpeters Roy Eldridge, Charlie Shavers, and Yank Lawson; baritone saxophonist Ernesto "Ernie" Caceres; Teddy Wilson at the piano; and Gordon "Specs" Powell behind the drums. As if to preface the recording industry's postwar infatuation with star vocalists, Goodman waxed a side with ex-Ted Weems crooner Perry Como and two additional titles with vocalist Mildred Bailey. Backed only by his rhythm section, Goodman concluded the day's work by frying up one of the hottest versions of Vincent Youmans' "Hallelujah" ever captured on record. The rest of this compilation is devoted to a wonderful series of small-group V-Disc and Columbia sessions, most of which feature Mildred Bailey's ex-husband Red Norvo on the vibraphone. Interspersed with occasional sweet vocals by Jane Harvey and Peggy Mann, the instrumental numbers are small-band swing of the highest order. The Goodman sextet in particular was greatly enhanced by the presence of bassist Slam Stewart. arwulf arwulf  
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BILLY TAYLOR – 1945-1949 | The Classics Chronological Series – 1137 (2000) FLAC (tracks+.cue), lossless

Many jazz fans don't realize how long ago Billy Taylor began his career; this French anthology assembles five separate sessions that he led as a young man between 1945 and 1949, as well as one date as a sideman. In 1945 he shows the influence of both Art Tatum and Teddy Wilson in the lightly swinging take of "Night and Day," while his campy approach to "Alexander's Ragtime Band" is rather refreshing. His lyrical solo interpretation of "The Very Thought of You" from 1946 demonstrates his considerable growth as a pianist. Taylor also wrote seven of the songs, which include two versions of his easygoing "Stridin' Down the Champs-Elysees," the flashy blues "Well Taylor-Ed," and two rare vocals by Taylor on the Nat King Cole-like "I Don't Ask Questions, I Just Have Fun" and "So You Think You're Cute." The four tracks featuring Taylor as a sideman in the Walter Thomas Orchestra find him pretty much relegated to a supporting role, although the presence of Doc Cheatham, Eddie Barefield, and Hilton Jefferson makes the music of interest. But Taylor's quintet session with the infrequently recorded tenor saxophonist John Hardee (who is in great form) is hampered somewhat by the unnecessary addition of organist Milt Page, who proves to be more of a distraction with his uninspired playing. Because so much of the valuable material within this collection has been next to impossible to find, it will be of significant interest to fans of Billy Taylor. Ken Dryden  
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CHARLIE VENTURA – 1945-1946 | The Classics Chronological Series – 1044 (1999) FLAC (tracks+.cue), lossless

Philadelphia native Charlie Ventura was born Charles Venturo in 1916. Following in his father's footsteps, he worked at first for the Stetson hat company. Inspired by tenor saxophonist Leon "Chu" Berry, he took up the sax on his own and eventually made his first appearance on records as a member of Berry's ensemble. After extensive nocturnal gigging while working at the Philadelphia Navy Yard, Venturo sat in with Roy Eldridge and soon began recording with Gene Krupa's orchestra. It was Krupa who first brought Venturo to Los Angeles. This wonderful compilation presents a wealth of precious material recorded between March 1945 and March 1946 in both L.A. and New York. These are the first records that Venturo issued under his own name, and they all used the original spelling. He wasn't presented on records as "Charlie Ventura" until September of 1946. Teamed at first with Howard McGhee and then with Buck Clayton, Venturo cut eight sides for the small-time Sunset and Black & White labels. These were followed by five episodes for tenor and rhythm section recorded in New York for the rapidly rising Savoy label. While Chu Berry was his prime influence, Venturo's progress paralleled that of Coleman Hawkins as swing evolved rapidly into bop. Here Venturo demonstrates his remarkable prowess as both balladeer and front burner. The drumming of Gordon "Specs" Powell enhances and fortifies the two sessions from August of 1945. A loose-limbed live "Jam Session Honoring Charlie Venturo" resulted in extended versions of "The Man I Love" and "Stompin' at the Savoy," and were brought out on the Lamplighter and Crystalette labels by producer Ted Yerxa. The omission of Ventura's famous performance at Town Hall in 1945 -- issued on Commodore and reissued by Atlantic -- is puzzling and somewhat disappointing, but the rest of the material is so rare and excellent as to compensate for the gap. Back with Black & White in March of 1946, Venturo led a sextet including trumpeter Red Rodney and Jimmie Lunceford's star alto saxophonist, Willie Smith. There are several contenders for "best Charlie Ventura compilation," but this one, documenting his first year as leader of his own recording ensembles, rates among the very best. arwulf arwulf  
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JESS STACY – 1944-1950 | The Classics Chronological Series – 1175 (2001) FLAC (tracks+.cue), lossless

Real jazz happens when the musicians really listen to one another. You, the listener after the fact, can hear this communication woven into the music itself. "D.A. Blues," played by Pee Wee Russell's Hot 4 with Jess Stacy at the piano, moves slowly enough for this dynamic to be spelled out as big as skywriting. "Keepin' Out of Mischief Now" works like a charm. The interplay among the four -- and especially between pianist and clarinetist -- is remarkable. It's emblematic of everything that Commodore Records ever stood for. The next session in the Jess Stacy chronology resulted in a fine crop of piano and drum duets. It is strange that Commodore didn't issue them at the time, but such decisions often seem odd many years later. These are really piano solos with gently percussive accompaniment -- about as gentle as Specs Powell ever played on record, in fact. That is, until the fast-paced "Ridin' Easy" and "Song of the Wanderer," where Stacy runs his hands like lightning over the keys and Powell responds with steamy licks of his own. What a shame it is that Jess Stacy's big band only managed to record enough music to fit on both sides of a single, 10" 78 rpm platter. "Daybreak Serenade" is a very pretty instrumental and Stacy's wife Lee Wiley sings "Paper Moon" splendidly. Just imagine what they could have accomplished given the opportunity to wax a few more sides. Instead what we get are one dozen examples of the Jess Stacy Quartet, recording for Capitol and Columbia during the summer of 1950. These are gorgeous reveries, heavily featuring the guitar of George Van Eps. This makes the second-half of the CD decidedly cool and relaxing, friendly and unobtrusive. Bassist Morty Corb walks briskly through the changes of "I'm Gonna Sit Right Down and Write Myself a Letter," a melody still associated with Fats Waller even though he didn't write it. Waller's "Keepin' Out of Mischief Now" reappears, joyously stir-fried to perfection. This handsome collection of top-notch piano jazz ends with a virtuoso realization of Bix Beiderbecke's "In a Mist," something like Chantilly cream over strawberries after four courses. arwulf arwulf
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GEORGE AULD – 1940-1945 | The Classics Chronological Series – 1322 (2003) FLAC (tracks+.cue), lossless

Smooth and sometimes flashy tenor saxophonist Georgie Auld was heavily featured with Benny Goodman, Bunny Berigan, and Artie Shaw, whose band Auld attempted to front after Shaw, suffering psychological distress at finding himself mobbed by hyper-appreciative fans, retreated to Mexico in order to obtain some sort of privacy. Eight sides from January and February 1940 sound a lot like the previous Shaw orchestra; Kay Foster's vocals sweeten up five of these, while "This Is Romance," "Juke Box Jump," and "Sweet Sue" are solid, danceable big-band instrumentals. The orchestra was not a success and soon threw in the towel, partly because, unlike Shaw's previous material, these records came out on the little Varsity label rather than Victor's Bluebird imprint. Cut to the spring of 1944, and music of an entirely different sort. A "saxtet" co-led by Auld, Ben Webster, and Coleman Hawkins makes four sides for the progressive Apollo label, with Charlie Shavers, Israel Crosby, and Specs Powell in the band, among others. Hawkins naturally steers, with Webster riding shotgun. "Porgy" and "Uptown Lullaby" are languid ballads, while the exciting "Pick-Up Boys," with its off-mike vocal interjections, is perfectly matched by "Salt Peanuts," which in 1944 placed these musicians on the cutting edge of new jazz. This exquisite session makes the whole package worth having. The rest of the chronological survey shows Auld leading his orchestra in an up-to-date fashion. Five sides were recorded for Apollo only five days after the "saxtet" date, now bolstered with groovin' arrangements by Budd Johnson. The presence of Al Cohn and Howard McGhee doesn't hurt, either. Auld shows off a bit on a luxuriant "Concerto for Tenor" and steams up the place during "Taps Miller." "I Can't Get Started," bifurcated so as to fit on either side of a 10" record, is essentially Auld's homage to Coleman Hawkins. In February and March of 1945, Auld gathered together an exceptionally hot band for a brief spate of recordings issued on the Guild label. Auld's perceptive personnel choices included Dizzy Gillespie, Billy Butterfield, Freddy Webster, Trummy Young, Al Cohn, Manny Albam, Chubby Jackson, Erroll Garner, and Shadow Wilson! Patti Powers had a pretty little voice while Gordon Drake, whose droopy balladeering bordered on the soporific, served as a sort of laudanum poultice on "I Fall in Love Too Easily." Not surprisingly, the instrumentals ("Georgie Porgie," "In the Middle," and "Co-Pilot") provide more excitement and gratification. arwulf arwulf
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JOE BUSHKIN – 1940-1946 | The Classics Chronological Series – 1434 (2007) FLAC (tracks+.cue), lossless

Joe Bushkin (1916-2004) was a fine swing pianist who operated in a groove similar to that of Teddy Wilson, Jess Stacy or Joe Sullivan. He worked with Bunny Berigan, Billie Holiday, Artie Shaw and Eddie Condon, then with Tommy Dorsey and young Frank Sinatra until 1942 whereupon he transferred most of his energies to the war effort by blowing trumpet in the United States Army Air Corps Band until 1946. Bushkin's postwar career would involve him briefly with Benny Goodman's band, in an excursion to Brazil with tenor saxophonist Bud Freeman and subsequently in New York's theater and nightclub scene. In 2007, the Classics Chronological Series took on the Joe Bushkin discography, beginning with his first solo Commodore session of May 17, 1940 (tracks one through five); lining up master takes from three subsequent Commodore dates and rounding off the album with four solid Savoy sides cut in Los Angeles at some undetermined point during the year 1946. Some of these recordings are uncommon and have been sought after for years by jazz lovers. Bushkin's harmonic sensibilities make his "Serenade in Thirds" the most attractive of the 1940 solos. An inspired threesome, Joe Bushkin's Blue Boys waxed five titles on March 28, 1941. "Morgan's Blues" spotlights string bassist Al Morgan and trumpeter Hot Lips Page is featured on the other four tunes. On May 23, 1944 Joe Bushkin waxed another five sides for Commodore, this time with bassist Sid Weiss and drummer Cozy Cole. The following day Bushkin, Weiss and drummer Specs Powell backed trumpeter Ernie Thomas Figueroa, trombonist Bill Harris and 18-year-old tenor saxophonist Zoot Sims; what a thrill to hear a teenage Zoot riding the swift and straightforward changes of "Pickin' at the Pic." The Savoy session of 1946 (tracks twenty through twenty-three) resulted in four choice cuts, rendered pleasantly cool by the lightly amplified guitar of Barney Kessel with subtle support from bassist Harry Babasin. Bushkin's technique at this point brings to mind the dexterity of Nat King Cole, a master pianist who would soon all but abandon the instrument in order to focus his energies on singing pop tunes for mass consumption. The next leg of Joe Bushkin's career would find him recording for V-Disc, MGM, Atlantic, Columbia and Capitol. Hearing this artist's recordings laid out neatly session by session is a wonderful treat for which many listeners are and will continue to be grateful. arwulf arwulf
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JOHN KIRBY AND HIS ORCHESTRA – 1941-1943 | The Classics Chronological Series – 792 (1994) FLAC (tracks+.cue), lossless

The third John Kirby CD from the European Classics label has 21 performances that trace Kirby's unique sextet from the peak of its popularity in 1941 through the war years. In addition to a dozen songs originally released by Victor, this set has nine rarer numbers that appeared on V-Discs. With trumpeter Charlie Shavers, clarinetist Buster Bailey, and altoist Russell Procope (along with pianist Billy Kyle and drummer O'Neil Spencer), Kirby was able to form an unusual and very distinctive group sound that, although comprised of swing virtuosos, looked toward the cool jazz of the 1950s. The band was starting to come apart a bit by the later tracks of this CD, with first Specs Powell and then Bill Beason replacing the late Spencer, George Johnson ably filling in for Procope, and Shavers departing before the final number; however, the group sound remained intact. Among the many highlights of this CD are "Coquette," "Royal Garden Blues," "Night Whispers," "St. Louis Blues," and "9:20 Special." Scott Yanow
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BILLIE HOLIDAY – 1945-1948 (1999) The Classics Chronological Series – 1040 | FLAC (tracks+.cue), lossless

Trading in the loose combo swing of her Columbia recordings for some sophisticated charts by Sy Oliver and Gordon Jenkins, Billie Holiday cut some of her best sides while at Decca during the latter half of the '40s. And even though Decca's own two-disc Complete Recordings set is highly recommended, this single volume still offers a fine overview for those not quite ready to fully commit. The absence of "God Bless the Child" notwithstanding, the mix covers most of Lady Day's Decca highlights, including "Deep Song," "Big Stuff," "Porgy," and her own "Don't Explain." There's also some quality duet work with Louis Armstrong and fine contributions from clarinetist Edmond Hall, trumpeter Billy Butterfield, and guitarist Mundell Lowe. A fine and generous sampling of Holiday at her peak. Stephen Cook
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1 Don't Explain 3:20
Billie Holiday / Arthur Herzog, Jr.
2 Big Stuff 2:55
Leonard Bernstein
3 You Better Go Now 2:32
Robert Graham / Bickley S. Reichmer
4 What Is This Thing Called Love? 3:03
Cole Porter
5 Good Morning Heartache 3:04
Ervin Drake / Dan Fisher / Irene Higginbotham
6 No Good Man 6:06
Dan Fisher / Sammy Gallop / Irene Higginbotham
7 Big Stuff 2:28
Leonard Bernstein
8 Baby, I Don't Cry Over You 3:07
Morton Krouse
9 I'll Look Around 3:11
George Cory / Douglass Cross
10 The Blues Are Brewin' 2:58
Louis Alter / Eddie DeLange
11 Guilty 3:09
Harry Akst / Gus Kahn / Richard A. Whiting
12 Do You Know What It Means to Miss New Orleans? 6:29
Louis Alter / Eddie DeLange
13 Don't Explain 2:37
Billie Holiday / Arthur Herzog, Jr.
14 Deep Song 3:08
George Cory / Douglass Cross
15 here Is No Greater Love 2:55
Isham Jones / Marty Symes
16 Easy Living 3:09
Ralph Rainger / Leo Robin
17 Solitude 3:07
Eddie DeLange / Duke Ellington / Irving Mills
18 Weep No More 3:18
Tom Adair / Gordon Jenkins
19 Girls Were Made to Take Care of Boys 3:10
Ralph Blane
20 Porgy 2:53
George Gershwin / Ira Gershwin / DuBose Heyward
21 My Man 2:54
Jacques Charles / Channing Pollack / Albert Willemetz / Maurice Yvain