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By 1962, when these particular installments of Steve Allen's Jazz Scene USA series aired, the West Coast Jazz zeitgeist that had gripped California for nearly a decade had begun to wan, and the surf was up for many of the mainstays of the era. Most of the musicians featured here would go on to lucrative studio and soundtrack work to pay the bills and not return to their roots until the jazz revivals of the '80s.

That said, these two bands, giants of their era, Shelly Manne and Shorty Rogers, turn in fantastic performances, and the sidemen featured (Conte Candoli, Russ Freeman, and Richie Kamuca, among others) are inspired as well. Rogers and crew's reading of "Greensleeves," in particular, is an interesting amalgamation of John Coltrane's fiery rendition and the West Coast "cool" aesthete. The snappy black-and-white photography adds to the mood and harkens back to a time when things really did swing. --Kristian St. Clair

From the Back Cover
Jazz Scene USA's broadcast over nationally syndicated television in 1962 was cause for joy among jazz fans, and acclaimed at the time by most critics as the finest program of its kind. The brainchild of lifelong jazz devotee Steve Allen, the series showcases many of the very best California-based jazz performers, not to mention rare TV appearances by outstanding national acts as well. All are featured without commercial restraints in a relaxed, casual atmosphere created by hipster host, singer Oscar Brown Jr. Uncompromising in its use of imaginative camera angles, the visual style is on par with the creativity of the music. Never available before, these shows are jazz capsules to treasure from America's golden age of televised jazz.

Shelly Manne (1920-1984) was the busiest drummer in Hollywood during his heyday in the 1950's and 1960's. In addition to a full schedule in the studios for record, film and TV dates, he found the time to lead a top-notch jazz combo, maintain his own nightclub (Shelly's Manne-hole), and raise horses on his Northridge, California ranch. Among the name bands Shelly drummed for in the early 40's are ghost of Benny Goodman, Raymond Scott, Coleman Hawkins, and Dizzy Gillespie. A Valuable 6-year association with Stan Kenton starting in 1946 followed by work with George Shearing, Charlie Ventura, Bill Harris and Woody Herman laid the foundation for Shelly's great versatility (he would later even record with Ornette Coleman). The 1962 lineup - one of Shelly's finest - included Conte Condoli (trumpet), Richie Kamuca (tenor), Russ Freeman (piano) and Monty Budwig (bass). The King of Swings and The Isolated Pawn were composed by John Williams for TV's Checkmate, Fantan is a Russ Freeman original, and Speak Low is from the pen of Kurt Weill.

Another leading light on the West Coast scene was Shorty Rogers, who likewise apprenticed in big bands during his formative years. Born Nilton Rajonsky in 1924 in Massachusetts, he served with Will Bradly and Red Norbo while still in his teens. and enjoyed a close association with Woody Herman's celebrated first and second herds in the late 40's, plus a stint with Stan Kenton in 1950. He contributed a number of fine scores to both bands before establishing himiself in Los Angeles where his arranging assignments included scoring the films The Wild Ones and The Man With The Golden Arm. He never turne dhis back on Jazz, however, as this fine 1962 session underscores. His flugelhoarn playing is assured, and his sidemen are first-rate. Lou Levy (piano), Gary Peacock (bass), and Larry Bunker (drums) are the rhythm team, and Gary LeFebvre (tenor and flute) joins Shorty in the front line. The program reflects Shorty's eclecticism: folk tune Greensleeves, Latin American standard Time Was, Shorty's original blues Martians Go Home and Gary LaFebvre's boppish The Outsider.

1. Start Program
2. Shelly Manne and his Men
3. The King Swings
4. Fantan
5. The Isolated Pawn
6. Speak Low
7. Shorty Rogers and his Giants
8. Greensleeves
9. Time Was
10. Martians Go Home
11. The Outsider

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