New York Trio – Love You Madly (2003)

FrontCover1The vast Duke Ellington songbook is always ripe for exploration, and the New York Trio, featuring pianist Bill Charlap, bassist Jay Leonhart, and drummer Bill Stewart, is up to the task. The gorgeous ballad “The Star Crossed Lovers” is in good hands, as Charlap gently examines the facets of this gem, accompanied by Leonhart’s spacious basslines and Stewart’s whispering brushes.

The brisk run through “Love You Madly” is transformed into an extended workout instead of the brief versions typically played by its composer. Charlap’s bluesy gospel introduction to “I’m Just a Lucky So-and-So” will turn a few heads.

Even though there’s nothing new about tackling “It Don’t Mean a Thing (If It Ain’t Got That Swing)” at a racehorse tempo, this trio’s intricate workout is a bit more abstract than most recordings. Charlap’s jaunty treatment of “I Let a Song Go Out of My Heart” suggests its composer’s stride piano roots. (vy by Ken Dryden)

Another sentimental journey …

New York Trio

Personnel:
Bill Charlap (piano)
Jay Leonhart (bass)
Bill Stewart (drums)

BackCover1
Tracklist:
01. Star Crossed Lovers 4.30
02. Jump For Joy 4.46
03. In A Sentimental Mood 5.57
04. Love You Madly 8.21
05. Sophisticated Lady 4.58
06. I’m Just A Lucky So-And-So 6.48
07. Prelude To A Kiss 6.16
08. It Don’t Mean A Thing 3.55
09. C Jam Blues 4.36
10. I Let A Song Go Out Of My Heart 7.16
11. Warm Valley 5.39

All tunes written by Duke Ellington

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Duke Ellington & John Coltrane – Same (1963)

FrontCover1Duke Ellington & John Coltrane is a jazz album by Duke Ellington and John Coltrane recorded on September 26, 1962, and released in February 1963 on Impulse! Records.
It was one of Ellington’s many collaborations in the early 1960s with musicians such as Count Basie, Louis Armstrong, Coleman Hawkins, Max Roach, and Charles Mingus, and placed him with a quartet (in this case, saxophone, piano, bass, and drums), rather than a big band.

Coltrane played in a more accessible style during this time, on albums such as John Coltrane and Johnny Hartman and Ballads. Despite their differences in background, style, and age – Ellington was 63 and Coltrane 36 when the tracks were recorded – it has been said[by whom?] that the two interacted seamlessly.
The quartet was filled out by the bassist and drummer from either of their bands. The album featured Ellington standards (e.g., “In a Sentimental Mood”), new Ellington compositions, and a new Coltrane composition (“Big Nick”).

Coltrane said:
I was really honoured to have the opportunity of working with Duke. It was a wonderful experience. He has set standards I haven’t caught up with yet. I would have liked to have worked over all those numbers again, but then I guess the performances wouldn’t have had the same spontaneity. And they mightn’t have been any better! (by wikipedia)
ColtraneEllington
John Coltrane & Duke Ellington
The classic 1962 album Duke Ellington & John Coltrane showcased the rising jazz saxophone innovator performing alongside the long-established piano institution. While the pairing might have portended a dynamic clash of the musical generations, instead we got a casual, respectful, and musically generous meeting of like-minded souls. Similarly, while one might have assumed that Ellington would use his sidemen, instead producer Bob Thiele (who also produced similar albums for Ellington including pairings with Louis Armstrong and Coleman Hawkins) chose to bring in Coltrane’s own outfit for the proceedings. Consequently, the duo is backed here at various times by bassist Jimmy Garrison and drummer Elvin Jones, as well as alternates bassist Aaron Bell and drummer Sam Woodyard. The most surprising aspect of the Ellington/Coltrane date is how well suited Coltrane and his group are at playing what largely ends up being Ellington’s own material. While he was certainly in the nascency of his more avant-garde period in 1962, Coltrane had a deep understanding of traditional jazz vocabulary, having played in a swing band in the Navy in the 1940s and studied the style of artists like Hawkins and Ben Webster while coming up in Philadelphia.

Similarly, though an icon of the big-band era by the 1960s, Ellington had been on the upswing of a career resurgence ever since his dynamic performance at the 1958 Newport Jazz Festival, later released as Ellington at Newport. His meeting with Coltrane was emblematic of his renewed creativity and was one of several albums he recorded in his latter life with theretofore unexpected artists, not the least of which his other 1962 date, Money Jungle with bassist Charles Mingus and drummer Max Roach.

Here, Ellington and Coltrane play a handful of well-known Ellington book numbers, including a supremely lyrical “In a Sentimental Mood” and a soulful, half-lidded version of Billy Strayhorn’s “My Little Brown Book.” Ellington even supplied the brisk original “Take the Coltrane,” allowing plenty of room for Coltrane to let loose with knotty, angular lines. (by Matt Collar)

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Personnel:
Aaron Bell (bass on 01., 04., 05. + 07.)
John Coltrane (saxophone)
Duke Ellington (piano)
Jimmy Garrison (bass on 02., 03. + 06.)
Elvin Jones (drums on  01. – 03. +  06.)
Sam Woodyard (drums on 04., 05. +  07.)

Booklet1
Tracklist:
01. In A Sentimental Mood (Ellington) 4.14
02. Take The Coltrane (Ellington) 4.42
03. Big Nick (Coltrane) 4.30
04. Stevie (Ellington) 4.22
05. My Little Brown Book (Strayhorn) 5.20
06. Angelica (Ellington) 6.00
07. The Feeling Of Jazz (Troup/Ellington/Simon) 5.34
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Ella Fitzgerald – Sings the Duke Ellington Song Book (1957)

frontcover1Ella Fitzgerald’s outstanding songbook series has become an institution unto itself. This 1957 effort is distinguished from Fitzgerald’s other songbooks in that it is the only album in which the composer whose work she is singing actively participates.

In fact, these recordings are packed with some of the key figures in 20th century jazz. As if Ella and Duke weren’t enough, Ellington’s arranger/composer Billy Strayhorn, guest musicians Dizzy Gillespie and Oscar Peterson, and brilliant record producer Norman Granz all have a hand in the proceedings.

And what better backing band could one want than Duke’s orchestra? The usual suspects — Jimmy Hamilton, Johnny Hodges, Paul Gonsalves, Harry Carney, and Sam Woodyard, among others — contribute fine performances throughout. Duke’s spectacular catalog dazzles, and his sprightly, lush textures are transfigured under Fitzgerald’s warm-timbred voice and elegant, precise delivery. Included here are classics like “Rockin’ in Rhythm,” “Caravan,” “Satin Doll,” “Sophisticated Lady,” “Prelude to a Kiss,” and “It Don’t Mean a Thing…,” each tune as familiar as it is delightful to hear in this new context. (by allmusic.com)

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Ella Fitzgerald has been responsible for many classic vocal jazz albums, most of which on Norman Granz’s Verve label and this 1957 classic is no exception. Half of the tracks here were recorded with Duke Ellington and his orchestra which include legends like Billy Strayhorn, Paul Gonsalves, Johnny Hodges and on Take The A Train, the High Priest of Bop Dizzy Gillespie even drops in to deliver an extra sermon. The other half were recorded with small groups which include heavyweights such as Barney Kessel, Stuff Smith, Oscar Peterson, Herb Ellis, Ray Brown and the ever warm Ben Webster. Ella is clearly at home with such legendary company and turns in one winning performance after another.
On Rockin’ In Rhythm, she scats with skill and bravado which ensures she’s in command of the illustrious company present. When it’s time to Day Dream, she croons away with an ethereal tone and such emotional maturity that the listener is dreaming of his or her unrequited love too, not forgetting a tip-top solo from Mr Hodges here. When the aforementioned A Train arrives, it’s a jam session of the first rank with all the passengers frontcoversongbookswinging away; giving the listener a first-class trip to Harlem. Perdido and The E & D Blues are top-class jams from Ella and her fellas too which make any listener lost in jazz heaven. I’m Beginning To See The Light and Blip-Blip are such great expressions of joy & exuberance you can’t help but start snapping your fingers and tapping your feet too. On I Got It Bad, Ella cries her heart out making any listener weep along too.
The small group sides also provide legendary moments too. Cotton Tail, It Don’t Mean A Thing, In A Mellow Tone and Squatty Roo provide the listener more opportunities to experience Ella and her fellas to show off their A star credentials in swing. On Satin Doll, Ella takes things a step further, she swaps the Mercer lyrics with her own and a winner is produced. Just Squeeze Me is Ella at her sassiest. On Rocks In My Bed, Ella and Ben really make the listener feel the blues of having to sleep with rocks in one’s bed (Ben’s sax solo here is just iconic). Do Nothin’ Till You Hear From Me, Sophisticated Lady and Prelude To A Kiss give Ella and her fellas the chance to take the listener to a jazz club at 2am in the morning; every minute of these performances is filled with warmth, soul and class. Ella and Barney Kessel take things a step further on Solitude, Azure and In A Sentimental Mood, these tracks are saturated with so much intimacy and sincerity that this delightful duo could be crooning away right in your own living room at 4am in the morning. Lush Life gives the listener a chance to hear Ella & Oscar sigh as they pour their woes of repeated brushes with unrequited love out.

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All in all, a timeless recording that any jazz or Ella fan ought to purchase & THE place to introduce someone to jazz or Ella Fitzgerald. Arguably, Lady Ella’s best album.(by Le Real Luc Ow)

In other words: a masterpiece.

I include the songbook “Ella sings Ellington” from 1959 as a pdf file.

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Personnel:
William “Cat” Anderson (trumpet)
Ray Brown (bass)
Harry Carney (clarinet)
Willie Cook (trumpet)
Duke Ellington (piano)
Herb Ellis (guitar)
Ella Fitzgerald (vocals)
Frank Foster (saxophone)
Paul Gonsalves (saxophone)
Jimmy Hamilton (clarinet, saxophone)
Johnny Hodges (saxophone)
Quentin Jackson (trombone)
Barney Kessel (guitar)
Joe Mondragon (bass)
Ray Nance (trumpet, violin)
Oscar Peterson (piano)
Russell Procope (clarinet, saxophone)
John Sanders (trombone)
Paul Smith (piano)
Stuff Smith (violin)
Alvin Stoller (drums)
Billy Strayhorn (piano)
Clark Terry (trumpet)
Ben Webster (saxophone)
Jimmy Woode (bass)
Britt Woodman (trombone)
Sam Woodyard (drums)
+
Dizzy Gillespie (trumpet on 24.)

backcover

Tracklist:
01. Cotton Tail (Ellington) 3.26
02. Do Nothin’ Till You Hear From Me (Ellington/Russell) 7.44
03. Just A-Sittin’ And A-Rockin’ (Ellington/Gaines/Strayhorn) 3.34
04. Solitude (DeLange/Ellington/Mills) 2.09
05. Rocks in My Bed (Ellington) 3.59
06. Satin Doll (Ellington/Mercer/Strayhorn) 3.29
07. Sophisticated Lady (Ellington/Mills/Parish) 5.21
08. Just Squeeze Me (But Don’t Tease Me) (Ellington/Gaines) 4.11
09. It Don’t Mean A Thing (If It Ain’t Got That Swing) (Ellington/Mills) 4.15
10. Azure (Ellington/Mills) 2.23
11. I Let A Song Go Out Of My Heart (Ellington/Mills/Nemo /Redmond) 4.12
12. In A Sentimental Mood (Ellington/Kurtz/Mills) 2.48
13. Don’t Get Around Much Anymore (Ellington/Russell) 5.02
14. Prelude To A Kiss (Ellington/Gordon/Mills) 5.29
15. Mood Indigo (Bigard/Ellington/Mills) 3.28
16. In A Mellow Tone (Ellington/Gabler) 5.12
17. Love You Madly (Ellington) 4.41
18. Lush Life (Strayhorn) 3.41
19. Squatty Roo (Hodges) 3.41
20. Rockin’ In Rhythm (Carney/Ellington/Mills) 5.20
21. Drop Me Off In Harlem (Ellington/Kenny) 3.51
22. Day Dream (Ellington/Latouche/Strayhorn) 4.00
23. Caravan (Ellington/Mills/Tizol) 3.55
24. Take the “A” Train (Strayhorn) 6.41
25. I Ain’t Got Nothin’ But The Blues (Ellington/George)
26. Clementine (Strayhorn) 2.41
27. I Didn’t Know About You (Ellington/Russell) 4.13
28. I’m Beginning To See The Light (Ellington(George/Hodges/James) 3.28
29. Lost In Meditation (Ellington/Mills/Singer/Tizol) 3.28
30. Perdido (Drake/Lengsfelder/Tizol) 6.13
31. I’m Just A Lucky So And So (David/Ellington) 4.15
32. All Too Soon (Ellington/Sigman) 5.02
33. Everything But You (Ellington/George/James) 5.29
34. I Got It Bad (And That Ain’t Good) (Ellington/Webster) 6.15
35. Blip-Blip (Ellington/Kuller) 3.04
36. Chelsea Bridge (Strayhorn) 3.24
37. The E and D Blues (E for Ella, D for Duke) (Ellington/Strayhorn) 4.51

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Louis Armstrong & Duke Ellington – American Freedom (The Complete Louis Armstrong-Duke Ellington Sessions ) (1961)

FrontCover1Louis Armstrong and Duke Ellington were (and are) two of the main stems of jazz. Any way you look at it, just about everything that’s ever happened in this music leads directly — or indirectly — back to them. Both men were born on the cusp of the 19th and 20th centuries, and each became established as a leader during the middle ’20s. Although their paths had crossed from time to time over the years, nobody in the entertainment industry had ever managed to get Armstrong and Ellington into a recording studio to make an album together. On April 3, 1961, producer Bob Thiele achieved what should be regarded as one of his greatest accomplishments; he organized and supervised a seven-and-a-half-hour session at RCA Victor’s Studio One on East 24th Street in Manhattan, using a sextet combining Duke Ellington with Louis Armstrong & His All-Stars. This group included ex-Ellington clarinetist Barney Bigard, ex-Jimmie Lunceford swing-to-bop trombonist Trummy Young, bassist Mort Herbert, and drummer Danny Barcelona. A second session took place during the afternoon of the following day. The music resulting from Thiele’s inspired experiment is outstanding and utterly essential. That means everybody ought to hear this album at least once, and many will want to hear it again and again all the way through, for this is one of the most intriguing confluences in all of recorded jazz. Armstrong blew his horn with authority and sang beautifully and robustly. “Azalea” is a harmonically pixilated melody with complicated, peculiarly rhymed lyrics composed by Duke many years earlier with Armstrong in mind. Other highlights include the bluesy “I’m Just a Lucky So and So,” a smoking hot, scat-laden rendition of “Cotton Tail,” and “The Beautiful American,” a marvelously modern exercise composed on the spot by Ellington that leaves one with the curious impression that Armstrong has just finished sitting in with Charles Mingus.

EllingtonArmstrong

Duke Ellington + Louis Armstrong

It’s also a premonition of the Ellington/Mingus/Roach Money Jungle session that would take place the following year. Since Thiele had “borrowed” Ellington from Columbia without permission, Roulette compensated by “lending” Count Basie & His Orchestra for the big-band blowout album entitled First Time! The Count Meets the Duke. The Armstrong/Ellington master takes were originally issued on two long-playing records; Together for the First Time came out on Roulette in 1961 and The Great Reunion appeared in 1963. Both albums later resurfaced as a Roulette LP two-fer entitled The Duke Ellington/Louis Armstrong Years. This material is also available in a Roulette Jazz Deluxe Edition with The Making of The Great Summit, a fascinating supplementary disc containing an hour’s worth of rehearsals, conversations, and alternate takes. Those who truly love and respect Louis Armstrong and Duke Ellington will want to obtain, absorb, study, and cherish the Deluxe Edition of The Great Summit. (by arwulf arwulf)

booklet 02A

Personnel:
Louis Armstrong (trumpet, vocals)
Danny Barcelona (drums)
Barney Bigard (clarinet)
Duke Ellington  (piano)
Mort Herbert (bass)
Trummy Young (trombone)

OriginalFrontCover1

Original frontcover

Tracklist:
01. Duke’s Place (Ellington/Katz/Thiele) 5.08
02. I’m Just A Lucky So And So (David/Ellington) 3.11
03. Cotton Tail (Ellington) 3.47
04. Mood Indigo (Bigard/Ellington/Mills) 4.00
05. Do Nothin’ ‘Til You Hear From Me (Ellington/Russell) 2.39
06. The Beautiful American (Ellington) 3.11
07. Black And Tan Fantasy (Ellington/Miley) 4.03
08. Drop Me Off In Harlem (Ellington/Kenny) 3.52
09. The Mooche (Ellington/Mills) 3.46
10. In A Mellow Tone (Ellington/Gabler) 3.53
11. It Don’t Mean A Thing (If It Ain’t Got That Swing) (Ellington/Mills) 4.00
12. Solitude (DeLange/Ellington/Mills) 4.57
13. Don’t Get Around Much Anymore (Ellington/Russell) 3.35
14. I’m Beginning To See The Light (Ellington/George/Hodges/James) 3.39
15. Just Squeeze Me (But Don’t Tease Me) (Ellington/Gaines) 4.00
16. I Got It Bad (And That Ain’t Good) (Ellington/Webster) 5.34
17. Azalea (Ellington) 5.06

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If you love this music … you can´t vote for Donald Trump !

Duke Ellington – Mary Poppins (1964)

FrontCover1This disc is a surprising success. Duke Ellington was somehow persuaded into revising and recording a dozen songs from the score of Walt Disney’s Mary Poppins, and the results are actually quite memorable.

With such soloists as altoist Johnny Hodges, baritonist Harry Carney, trumpeter Cootie Williams, tenor saxophonist Paul Gonsalves, clarinetist Jimmy Hamilton, and trombonist Lawrence Brown getting their spots, Duke Ellington & His Orchestra turn such songs as “A Spoonful of Sugar,” “Chim Chim Cheree” (a much happier version than John Coltrane’s), “The Life I Lead,” and even “Supercalifragilisticexpialidocious” into swinging jazz. (by Scott Yanow)

ScreenshotIt’s a marvellous version of the music of the film, and it contains a few really fine numbers. Maybe you’ll think it’s only a recording for children, but it isn’t. It’s full of colours from the Ellington palette. And is recorded in one of the best periods of Ellington, you’ll find some of the Ellington Dream Team.
The super-fast supercalifragi… as you can imagine, is featuring the powerful Paul Gonsalves.
Two big ballad numbers “Feed the birds” and “Perfect Nanny” for the clarinets, Procope and Hamilton.
A really nice Chim Chimeney with the trio. (by Dani Alonso)

Recorded at Universal Studios, Chicago on September 6, 8 & 9, 1964.

AlternateFront+BackCoverAlternate front +back covers

Personnel:
Cat Anderson (trumpet)
Lawrence Brown (trombone)
Harry Carney (saxophone)
Chuck Connors (bass trombone)
Buster Cooper (trombone)
Duke Ellington (piano)
Paul Gonsalves (saxophone)
Jimmy Hamilton (clarinet, saxophone)
Johnny Hodges (saxophone)
Eddie Johnson (saxophone)
Herb Jones (trumpet)
John Lamb (bass)
Russell Procope (saxophone, clarinet)
Cootie Williams (trumpet)
Nat Woodard (trumpet)
Sam Woodyard (drums)

BackCover1Tracklist:
01. A Spoonful Of Sugar 3.13
02. Chim Chim Cher-ee 2.52
03. Feed The Birds 3.42
04. Let’s Go Fly A Kite 2.31
05. Stay Awake 2.28
06. I Love To Laugh 2.29
07. Jolly Holiday 3.04
08. Sister Suffragette 3-05
09. The Perfect Nanny 4.09
10. Step In Time 2.46
11. The Life I Lead 3.43
12. Supercalifragilisticexpialidocious 2.27

All compositions by Richard M. Sherman and Robert B. Sherman

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Duke Ellington – Blues In Orbit (1959)

FrontCover1Still riding the success of his triumphant concert at the 1956 Newport Jazz Festival, Duke Ellington in 1958 decided to reduce his touring orchestra to a nonet dubbed “the Spacemen,” and recorded this lone project with them for the Columbia label, here reissued by Mosaic Singles and heard in stereo for the first time. Perhaps inspired by the first orbiting satellites, Ellington is not taking cues from George Russell or Sun Ra, whose extraterrestrial inspirations led them to even more progressive paths. This large ensemble is playing mostly standards, but the arrangements and solos carve an integrated yet elasticized concept that allows for a more expanded role for the ensemble’s trombonists Quentin “Butter” Jackson, John Sanders, and Britt Woodman, and select soloists. One in the solo spotlight is Clark Terry on flugelhorn exclusively, putting his fabled trumpet aside. The classic material presented includes clarinetist Jimmy Hamilton’s features “Avalon” and “Early Autumn,” the slinky stripper pole blues version of “St. Louis Blues” with Ellington’s piano taking the lead, and two versions of “Body & Soul,” with tenor saxophonist Paul Gonsalves completely extrapolating and re-harmonizing the main take, while faithfully playing the original melody on the alternate selection. There’s a modified “Perdido,” an animated and perky “Midnight Sun” that deviates from any other slow and lugubrious version of the ballad, and two attempts of “Jones” — the first a real good swinger, the second with a more unified horn chart accented by a New Orleans shuffle provided by drummer Sam Woodyard. There are two originals; the blues bass of Jimmy Woode and the ‘bones with plentiful piano from Duke infusing “Bass-Ment,” and one of the more delightful of all of Ellington’s book, the poppin’ and boppin’ “Spacemen,” a bright happy horn chart led by Terry that is one of the more distinctive Ellington numbers of this time period. Perhaps in many ways a neglected recording in the vast annals of Ellingtonia, fans will certainly welcome this long out of print re-addition to the master’s CD discography. It comes highly recommended. (by Michael G. Nastos)

Personnel:
Cat Anderson (trumpet on 10. – 12., 18 – 19.)
Shorty Baker (trumpet on 10. – 12., 18 – 19.)
Harry Carney (saxophone)
Duke Ellington (piano)
Matthew Gee (trombone on 01. – 09., 13. – 17.)
Paul Gonsalves (saxophone)
Jimmy Hamilton (clarinet, saxophone)
Johnny Hodges (saxophone on 01. – 09, 11. -17.)
Jimmy Johnson – drums on 01. -09., 13. 17.)
Ray Nance (trumpet, violin)
Russell Procope (saxophone, clarinet)
Clark Terry (trumpet on on 10. – 12., 18 – 19.)
Botty Wood (trombone on 01. – 09., 13. – 17.)
Jimmy Woode (bass)
Britt Woodman (trombone)
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Fats Ford (trumpet on 11.)
Quentin Jackson – trombone on 10. – 12., 18. – 19.)
John Sanders (valve trombone on 10. – 12., 18 – 19.)
Billy Strayhorn piano (on 02. + 07.)
Sam Woodyard (drums on 10. – 12, 18. – 19.)

BackCover1Tracklist:
01. Three J’s Blues (Hamilton) 2.54
02. Smada (Ellington/Strayhorn) 2.38
03. Pie Eye’s Blues (Ellington) 3.27
04. Sweet And Pungent (Strayhorn) 4.03
05. C Jam Blues (Ellington/Bigard) 4.52
06. In A Mellow Tone (Ellington/Gabler) 2.43
07. Blues In Blueprint (Ellington) 3.43
08. The Swingers Get The Blues, Too (Ellington/Gee) 3.09
09. The Swinger’s Jump (Ellington) 3.5
10. Blues In Orbit (Strayhorn) 2.29
11. Villes Ville Is the Place, Man (Ellington) 2.33
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12. Track 360 (Ellington) 2.03
14. Sentimental Lady (Ellington) 4.02
15. Brown Penny (Ellington/La Touche) 3.02
16. Pie Eye’s Blues (alternate take) (Ellington) 3.32
17. Sweet And Pungent (alternate take) (Strayhorn) 3.52
18. The Swinger’s Jump (alternate take) (Ellington) 3.51
19. Blues In Orbit (alternate take) (Strayhorn) 2.39
20. Track 360 (alternate take) 2.01

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Louis Armstrong & Friends – What A Wonderful Christmas (1997)

FrontCover1Although this Christmas compilation is credited to “Louis Armstrong & Friends,” it’s really more aptly categorized as a various artists anthology, since Armstrong only has six of the fourteen tracks. The disc is filled out with seasonal offerings by Dinah Washington, Mel Torme, Louis Jordan, Lionel Hampton, Peggy Lee, Eartha Kitt, and Lena Horne, Duke Ellington, mostly from the 1950s. It’s pleasant pop-jazz that doesn’t rate among the highlights of any of these talented artists’ careers. But it makes for an above-average Christmas disc, especially on Lionel Hampton’s “Merry Christmas, Baby,” Louis Armstrong’s “Cool Yule,” and Louis Jordan’s “May Everyday Be Christmas,” which celebrate the holiday with more gutsy hipness than the usual Yuletide fare. (by Richie Unterberger)

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Tracklist:
01. Louis Armstrong/Benny Carter Orchestra: Christmas In New Orleans (Sherman(/v.Winkle) 2.54
02. Louis Armstrong/Gordon Jenkins Orchestra: White Christmas (Berlin) 2.39
03. Dinah Washington: Silent Night (Gruber/More) 2.23
04. Mel Torme: The Christmas Song (Tormé/Wells) 3.07
05. Louis Armstrong/Benny Carter Orchestra: Christmas Time In Harlem (Scott/Paris) 2.39
06. Peggy Lee: It´s Christmas Time Again (Burke/Elliott/Harwood) 3.00
07. Louis Armstrong/The Commanders: Cool Yule (Allen) 2.55
08. Lionel Hampton: Merry Christmas, Baby (Moore/Baxter) 3.22
09. Louis Armstrong/The Commanders: ‘Zat You, Santa Claus? (Fox) 2.40
10. Eartha Kitt/Henri Rene Orchestra: Santa Baby (P.Springer/T.Springer/Javils) 3.26
11. Duke Ellington: JIngle Bells (Pierpont) 3.00
12. Lena Horne: Santa Claus Is Coming To Town (Coots/Gillespie) 2.43
13. Louis Jordan: May Everyday Be Christmas (Jordan) 3.11
14. Louis Armstrong/Gordon Jenkins Orchestra: Winter Wonderland (Bernard/Smith) 3.00

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