1.Samba Do Lorinho (Lorito's Samba)
2.Chega De Saudade (No More Sadness)
3.Samba Triste (Melancholy Samba)
4.Samba De Uma Nota So (One Note Samba)
5.Pao De Assucar (Sugar Loaf)
6.Samba Do Empashgi (Empashgi's Samba)
7.O Amor E A Rosa (Love Is A Rose)
8.So Voce (Only You)
9.Chora Tua Tristeza (Cry Your Sadness)
10.So Um Amor (Only One Love)
11.O Menino Desce O Morro (Little Boy Brown)

Alto Saxophone – Bud Shank, Paul Horn 
Bass – Joe Mondragon 
Drums – Milt Holland, Shelly Manne 
Flute – Bud Shank, Paul Horn 
Guitar – Laurindo Almeida 
Percussion – Chico Guerrero, Emil Richards 
Piano – Pete Jolly 
Sleeve Notes – Laurindo Almeida 
Trombone – Kenneth Shroyer, Richard Leith 
Vibraphone – Larry Bunker
Trumpet – Joe Burnett, Oliver Mitchell, Shorty Rogers

Like Stan Kenton, Shorty Rogers led a big band that featured some of the greatest names in West Coast jazz. No less than Shelley Manne, Jimmy Giuffre, and Bob Shank appeared on early classics like The Big Shorty Rogers Express and Portrait of Shorty. However, Rogers’ band always seemed like a lot more fun to be in than Kenton’s, since Rogers exhibited a goofy sense of experimentation and a knack for writing peppy horn charts that exhibited a great deal of hyper energy.

Rogers eventually made concept albums his forte, and albums like The Swingin’ Nutcracker and Courts the Count matched great songs with clever arranging, usually successfully. Once Rogers took his band to the Atlantic label, however, it appeared that all the good players were gone—as were the marketable ideas. Bossa Nova must have appeared fresh at the time—it was recorded in 1962, a year before the Brazilian music craze—but now seems buried in a pack of like-minded albums. Rogers did have the presence of mind to recruit a guitarist and a few percussionists to give the music an authentic flavor, and the music is earnestly played. However, bossa nova works best with a less rambunctious approach.

Rogers never seemed capable of approaching anything delicately, and he overwhelms the melodies with brassy riffs. Not bad, but when you’re tempted to reach for a big band or a bossa nova record, Bossa Nova won’t come to mind in either case.

As on Bossa Nova, vibraphonist Larry Bunker is given more solo space than usual for a Rogers project. Rogers, never a great instrumentalist to begin with, treats each solo like a tightrope walk. Unfortunately, those eager to seek out more of Rogers work will have a hard task before them; precious little of Rogers’ work is currently available domestically. It’s a pity to think that some unsuspecting buyer might think this is the best Rogers had to offer. ---David Rickert, allaboutjazz.com

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1. I'm Gonna Go Fishin' (4:34)
2. Greensleeves (5:28)
3. Walk on the Wild Side (4:18)
4. Witchcraft (2:57)
5. Be as Children (3:36)
6. Jazz Waltz (4:07)
7. Echoes of Harlem (4:44)
8. A Taste of Honey (2:53)
9. Terrence's Farewell (3:35)
10. The Streets of Laredo (4:07)

Shorty Rogers — fluegelhorn
Ray Triscari — trumpet
Al Porcino — trumpet
Ollie Mitchell — trumpet
Joe Burnett — trumpet
Milt Bernhardt — trombone
Harry Betts — trombone
Kenny Shroyer — bass trombone
George Roberts — bass trombone
Joe Mani — alto sax
Bud Shank — alto sax
Bob Cooper — tenor sax
Bill Perkins — tenor sax
Bill Hood — bass sax
Lou Levy — piano
Mel Lewis — drums
Joe Mondragon — bass
Larry Bunker — vibes

Shorty Rogers' Jazz Waltz is exactly that, an exploration of ten compositions played in waltz settings. Only these big-band charts are hardly the waltzes heard on Lawrence Welk's long-running television series. Rogers kicks off with a swinging number ("I'm Gonna Go Fishin'") written by Duke Ellington for the soundtrack to the film Anatomy of a Murder and featuring the leader's rich flügelhorn. The lyrical take of the centuries-old folk melody "Greensleeves" alternates between the tense rhythm section and Bud Shank's gorgeous flute solo. Rogers' delightful "Be as Children" almost sounds as if it was adapted from a gospel song. The brisk treatment of Ellington's "Echoes of Harlem," featuring Paul Horn on flute, is refreshing. Only Bobby Scott's "A Taste of Honey" is the least bit disappointing, simply because this arrangement isn't quite as adventurous as the rest of the album. Originally issued by Reprise in 1962 and out of print for decades, this album was finally reissued by Collectables in a compilation with another LP by Rogers, Bossa Nova. ---Ken Dryden, Rovi

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1. I've Never Been In Love Before
2. Casa De Luz
3. Down With Love
4. Paul's Pal
5. Spring Will Be A Little Late This Year
6. Morning Fun
7. Martians Go Home
8. I Hadn't Anyone Till You
9. Time Was
10. Popo
11. If I Were A Bell
12. What Is This Thing Called Love
13. What Is This Thing Called Love (alternative)

Musicians:
Jeri Southern - vocals (tracks #3, 5, 8)
Shorty Rogers - trumpet, flugelhorn
Harold Land, Gary LeFebvre - sax (tenor)
Gary Peacock, David Dyson - bass
Mike Wofford, Amos Trice - piano
Larry Bunker – drums

The first of four CD's taken from radio transcriptions used in the show "The Navy Swings" features trumpeter/flugelhornist Shorty Rogers playing with two versions of his quintets in 1962, just prior to him greatly de-emphasizing his playing in favor of full-time writing for the studios. The 13 selections generally clock in around three minutes so the cool bop performances are quite concise. Jeri Southern has three warm vocals and Rogers shares the frontline with either Harold Land or Gary Lefebvre on tenors. The results are not quite essential but will be enjoyed by Shorty's fans; highlights include "Paul's Pal," "Martian's Go Home," "Popo" and two versions of "What Is This Thing Called Love." ---Scott Yanow, Rovi

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