The little band that plays the above selections was hand-picked by Joe Boughton, President of the Allegheny Jazz Society, also now owner of JUMP RECORDS, which has turned out, to date, 16 new issues, this being one.  It is doubtful that any other four misicians could have done a better job.

Marty Grosz, leader, acoustic guitarist and arranger, is the top choice for leader. Marty is a fine musician, is quite knowledgeable about the old music, manages to keep things moving in good order. Check out his acoustic solos on this disc for a sample of how rhythm guitar should be played.

Jon-Erik Kellso, the trumpeter, is a fine musician in any context. He is a master of the mutes, always plays with fire and imagination.

Ken Peplowski, a terrific reed man, plays clarinet exclusively on this disc. Ken, from Cleveland originally, is almost a one-man crowd in keeping the clarinet alive in jazz. Listen to his work on this disc, especially the low-register playing. Beautiful!

Finally, Vince Giordano, whether playing his aluminum string bass or the most noble of all instruments, the bass sax, is a joy to listen to. He is also a very fine tuba player, though not on this disc, and a very good vocalist.

This disc is heartily recommended to anyone who enjoys small-band jazz and fine tunes. Maybe, after listening to this disc, people will remember that Louis Armstrong was associated with much better stuff than "Mack The Knife," "It's A Wonderful World," "Blueberry Hill," etc.

Back on March 16, 1949 the Tommy Dorsey Orchestra recorded Bill Finegan's composition and arrangement of "Pussy Willow." Until Brooks Tegler took it on, I can't remember any other band recording this terrific number. The original had, I believe, a short tenor sax solo by Boomie Richman. On the Tegler recording, there is a fine baritone sax solo by John Doughten.

It was a great treat to hear another band's version of Duke Ellington's recording of "Hy'A, Sue," which was recorded for Columbia away back on August 14, 1947 by The Duke and his band, with a wonderful "Tricky Sam" Nanton-influenced trombone solo by Tyree Glenn. On the Tegler band's version, trombonist Jen Krupa (a relative of Gene?) does the growl solo in fine style.

And I never thought that any other big band could duplicate the light, airy feeling of Woody Herman's December 30, 1948 recording of the Shorty Rogers composition and arrangement "Keeper Of The Flame." Hats off to the reed and rhythm sections. Marvelous!

Other joys are"Ingie Speaks," "Jack The Bear," "Slow Freight"and "John's Idea." And hats off, also, to the fine engineering of Bob Dawson; the music jumps right out of the speakers!

The literate album notes were composed by Jerry J. Brennan, a jazz historian/archivist/writer and collector from the U. K. Good job, and good reading.

Thank you, Brooks Tegler, and everyone else involved in bringing this superior big band recording to light. I hope there is a follow-up in the works. If not, there surely should be.

A reincarnation of the Kirby band, the Howard Alden-Dan Barrett Quintet, is now playing all over the world, and the grand old Riverside Inn, located in Cambridge Springs was fortunate enough to house this amazing band Friday evening. Sponsored by the Allegheny Jazz Society, the Quintet, made up of Howard Alden on guitar; Dan Barrett on trombone; Chuck Wilson-alto sax and clarinet; Frank Tate-string bass, and Jackie Williams-drums, played three sets before a capacity crowd in the inn's well-appointed dining room.

After a romantic candle-lit buffet, the concert began at 8. The Quintet opened with an old Fats Waller number, "Up Jumped You With Love.' Buck Clayton, the veteran trumpet star with the old Count Basie band, contributed an arrangement titled "Switch Hitter." The Quintet showed its esoteric side, with three numbers from the 20s: "Oriental Strut," composed by New Orleans banjoist Johnny St. Cyr, "Washboard Blues" by Hoagy Carmichael, and Kid Ory's "Savoy Blues." The last-named item was simply beautiful, with Wilson's low-register clarinet and a muted Barrett. The first set closed with a blistering "Cottontail," composed by Duke Ellington. Drummer Williams was featured on this one. Set number two opened with something done by the Benny Goodman Sextet, "Till Tom Special." Bud Freeman's "The Eel" had fierce Barrett, fluid Alden, and great rhythm from Tate and Williams. "Isfahan," composed by Billy Strayhorn for Duke Ellington's "Far East Suite," featured Wilson on alto sax, while another Ellington gem, originally composed as a piano piece, "Dancers In Love," was a solo spot for guitarist Alden.

The Quintet has now been working together for over ten years, and it shows. Barrett, with his large tone, fierce attack, and mastery of the mutes, has developed into the premier jazz trombonist. Alden has few equals in jazz at the present time. Simply an amazing musician. Reedman Wilson, with his fluid clarinet, and his alto sax crying like a wounded thing, creates spell-binding moods. Bassman Tate uses his big tone to great effect, and is rock-solid on any occasion. The ideal rhythm man, he is also quite impressive on his arco solos. And drummer Williams continues to be the ideal small-band drummer, with his feathery touch and unobtrusive style, much in the manner of a latter-day Jo Jones. Marie and Mike Halliday, of the Riverside Inn, are to be commended for the warm and charming dining room. And, again, Allegheny Jazz Society president Joe Boughton brought another outstanding group to the area. It just gets better and better. This one will be hard to top....