Look up hampton in Wiktionary, the free dictionary.

Hampton may refer to:

Places[link]

From the Saxon words meaning "homestead" and "enclosure".

In Antarctica[link]

• Mount Hampton

In Australia[link]

• Hampton, Queensland
• Hampton, Victoria
• Hampton East, Victoria
• Hampton Island
• Hampton Park, Victoria

In Canada[link]

• Hampton, New Brunswick
• Hampton, Nova Scotia
• Hampton, Ontario
• Hampton, Prince Edward Island

In the United Kingdom[link]

• Hampton Green, Cheshire
• Hampton Heath, Cheshire
• Hampton Fields, Gloucestershire
• Hampton Bishop, Herefordshire
• Hampton Gay, Oxfordshire
• Hampton Poyle, Oxfordshire
• Hamptons, Kent (note final 's')
• Hampton, Herne Bay, Kent
  • Hampton-on-Sea, Herne Bay, Kent (drowned settlement at the above location)
• Hampton, London, London Borough of Richmond upon Thames
  • Hampton Hill, London Borough of Richmond upon Thames
  • Hampton Wick, London Borough of Richmond upon Thames
  • Hampton Court Palace, London Borough of Richmond upon Thames
  • Hampton Court Palace Flower Show, an annual Flower Show held by the Royal Horticultural Society
  • Hampton & Richmond Borough F.C. Football Club
• Hampton, Peterborough in Cambridgeshire
• Hampton, Shropshire
• Hampton-in-Arden in Solihull, West Midlands
• Hampton Loade, Shropshire
• Hampton Lucy, Warwickshire
• Hampton-on-the-Hill, Warwickshire
• Hampton Magna, Warwickshire
• Hampton, Worcestershire
• Hampton Lovett, Worcestershire

In the United States[link]

• Hampton, Arkansas
• Hampton, Connecticut
• Hampton, Florida
• Hampton, Georgia
• Hampton, Illinois
• Hampton, Iowa
• Hampton, Maryland
• Hampton, Minnesota
• Hampton, Missouri
• Hampton, Nebraska
• Hampton, New Hampshire
• Hampton, New Jersey
• Hampton, New York
• Hampton, Oregon
• Hampton, Pennsylvania
• Hampton, South Carolina
• Hampton, Tennessee
• Hampton, Virginia
  • Hampton University

• Collinston, Utah, also known as Hampton

See also[link]

• East Hampton (disambiguation)
• Easthampton
• Hampton Cove, Alabama
• Hampton Falls
• Hampton Township (disambiguation)
• Littlehampton
• New Hampton (disambiguation)
• North Hampton (disambiguation)
• Northampton (disambiguation)
• Southampton (disambiguation)
• South Hampton (disambiguation)
• The Hamptons
• Welshampton
• Westhampton (disambiguation)

People[link]

• Christopher Hampton — British playwright
• Dan Hampton — National Football League defensive tackle
• Dave Hampton — National Football League running back
• David Hampton — U.S. con artist
• Fred Hampton — African American activist and deputy chairman of the Illinois chapter of the Black Panther Party
• Howard Hampton, leader of the Ontario New Democratic Party
• Ike Hampton — Major League Baseball catcher
• James Hampton (artist) — American folk artist
• James Hampton (actor) — television and film actor
• Jean Elizabeth Hampton — American philosopher
• John Hampton — Australian politician
• Kimberly Hampton — the first female military pilot to be shot down and killed in U.S. service
• Lionel Hampton — U.S. jazz musician
• Martin L. Hampton — Architect
• Michael Hampton — guitarist for Funkadelic
• Michael Hampton (punk musician) — member of Embrace (Washington DC)
• Mike Hampton — an American baseball player
• Millard Hampton — U.S. athlete
• Rodney Hampton — National Football League running back
• Trevor Hampton — founded the first scuba diving center in Britain
• Wade Hampton (disambiguation) — three generations of South Carolina planters, politicians and military leaders
• William Hampton (cricketer) — English cricketer

Other[link]

• Hampton (car), a British automobile produced from 1912 to 1933
• Hampton (horse), a British Thoroughbred racehorse
• Hampton National Historic Site — Towson, Maryland
• Hampton School — London Borough of Richmond upon Thames
• Hampton University — Virginia
• Hampton Inn — a hotel chain
• USS Hampton, various United States Navy ships

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Lionel Hampton
Lionel Hampton at the 1979 North Sea Jazz Festival
Background information
Birth name	Lionel Leo Hampton
Also known as	"Hamp", "Mad Lionel"
Born	(1908-04-20)April 20, 1908 Louisville, Kentucky, United States
Died	August 31, 2002(2002-08-31) (aged 94) New York City, New York, United States
Genres	Swing Big band Mainstream jazz New York blues
Occupations	Multi-instrumentalist Actor Composer
Instruments	Vibraphone Drums Piano Vocals
Years active	1927–2002
Labels	Decca
Associated acts	Benny Goodman, Teddy Wilson, Quincy Jones, Louis Armstrong, Gloria Parker

Lionel Leo Hampton (April 20, 1908 – August 31, 2002) was an American jazz vibraphonist, pianist, percussionist, bandleader and actor. Like Red Norvo, he was one of the first jazz vibraphone players. Hampton ranks among the great names in jazz history, having worked with a who's who of jazz musicians, from Benny Goodman and Buddy Rich to Charlie Parker and Quincy Jones. In 1992, he was inducted into the Alabama Jazz Hall of Fame.

Biography[link]

Early life[link]

Lionel Hampton was born in Louisville, Kentucky, in 1908, and was raised by his grandmother. Shortly after he was born, he and his mother moved to her hometown Birmingham, Alabama.^[1][2][3] He spent his early childhood in Kenosha, Wisconsin before he and his family moved to Chicago, Illinois in 1916. As a youth, Hampton was a member of the Bud Billiken Club, an alternative to the Boy Scouts of America, which was off limits because of racial segregation.^[4] During the 1920s—while still a teenager—Hampton took xylophone lessons from Jimmy Bertrand and started playing drums.^[5] Hampton was raised Roman Catholic, and started out playing fife and drum at the Holy Rosary Academy near Chicago.^[6][7]

Early career[link]

Lionel Hampton began his career playing drums for the Chicago Defender Newsboys' Band (led by Major N. Clark Smith) while still a teenager in Chicago. He moved to California in 1927 or 1928, playing drums for the Dixieland Blues-Blowers. He made his recording debut with The Quality Serenaders led by Paul Howard, then left for Culver City and drummed for the Les Hite band at Sebastian's Cotton Club. During this period he began practicing on the vibraphone. In 1930 Louis Armstrong came to California and hired the Les Hite band, asking Hampton if he would play vibes on two songs. So began his career as a vibraphonist, popularizing the use of the instrument ever since.^[8]

While working with the Les Hite band, Hampton also occasionally did some performing with Nat Shilkret and his orchestra. During the early 1930s he studied music at the University of Southern California. In 1934 he led his own orchestra, and then appeared in the 1936 Bing Crosby film Pennies From Heaven alongside Louis Armstrong (wearing a mask in a scene while playing drums).^[9]

With Benny Goodman[link]

Also in November 1936,^[11] the Benny Goodman Orchestra came to Los Angeles to play the Palomar Ballroom. When John Hammond brought Goodman to see Hampton perform, Goodman invited him to join his trio, which thus became the celebrated Benny Goodman Quartet with Teddy Wilson and Gene Krupa completing the lineup. The Trio and Quartet were among the first racially integrated jazz groups to record and play before wide audiences,^[12][13] and were a leading small-group in an era when jazz was dominated by big bands.

Lionel Hampton Orchestra[link]

Lionel Hampton during a concert in Aachen (Germany) on May 19, 1977

While Hampton worked for Goodman in New York, he recorded with several different small groups known as the Lionel Hampton Orchestra, as well as assorted small groups within the Goodman band. In 1940 Hampton left the Goodman organization under amicable circumstances to form his own big band.^[14]

Hampton's orchestra became popular during the 1940s and early 1950s. His third recording with them in 1942 produced a classic version of "Flying Home", featuring a solo by Illinois Jacquet that anticipated rhythm & blues. The selection became very popular, and so in 1944 Hampton recorded "Flying Home, Number Two" featuring Arnett Cobb. The song went on to become the theme song for all three men. Guitarist Billy Mackel first joined Hampton in 1944, and would perform and record with him almost continuously through the late 1970s.^[15] In 1947 he recorded "Stardust" at a "Just Jazz" concert with Charlie Shavers and Slam Stewart produced by Gene Norman.

From the mid-1940s until the early 1950s, Hampton led a lively rhythm & blues band whose Decca Records recordings included numerous young performers who later achieved fame. They included bassist Charles Mingus, saxophonist Johnny Griffin, guitarist Wes Montgomery, vocalist Dinah Washington and keyboardist Milt Buckner. Other noteworthy band members were trumpeters Dizzy Gillespie, Cat Anderson, and Kenny Dorham, trombonists Snooky Young and Jimmy Cleveland, and saxophonists Illinois Jacquet and Jerome Richardson.

The Hampton orchestra that toured Europe in 1953 included Clifford Brown, Gigi Gryce, Anthony Ortega, Monk Montgomery, George Wallington, Art Farmer, Quincy Jones, and singer Annie Ross. Hampton continued to record with small groups and jam sessions during the 1940s and 1950s, with Oscar Peterson, Art Tatum, Buddy DeFranco, and others. In 1955, while in California working on The Benny Goodman Story he recorded with Stan Getz and Art Tatum for Norman Granz as well as with his own big band.

Hampton performed with Louis Armstrong and Italian singer Lara Saint Paul at the 1968 Sanremo Music Festival in Italy. The performance created a sensation with Italian audiences, as it broke into a real jazz session.^[16] That same year, Hampton received a Papal Medal from Pope Paul VI.

Later career[link]

President George W. Bush honors Lionel Hampton during a ceremony recognizing Black Music Month in the East Room of the White House on June 30, 2001.

During the 1960s, Hampton's groups were in decline; he was still performing what had succeeded for him during the 1930s, 1940s, and 1950s. He did not fare much better in the 1970s, though he recorded actively on the Who's Who Record label.^[17]

Beginning in February 1984, Hampton and his band played at the University of Idaho's annual jazz festival, which was renamed the Lionel Hampton Jazz Festival the following year. In 1987 the UI's school of music was renamed for Hampton, the first university music school named for a jazz musician.

Hampton remained active until a stroke in Paris in 1991 led to a collapse on stage. That incident, combined with years of chronic arthritis, forced him to cut back drastically on performances. However, he did play at the Smithsonian National Museum of American History in 2001 shortly before his death.^[18][19][20]

Personal life[link]

On November 11, 1936, in Yuma, Arizona, Lionel Hampton married Gladys Riddle (c. 1910-1971).^[21] Gladys was Lionel's business manager throughout much of his career. Many musicians recall that Lionel ran the music and Gladys ran the business.

During the 1950s he had a strong interest in Judaism and raised money for Israel. In 1953 he composed a King David suite and performed it in Israel with the Boston Pops Orchestra. Later in life Hampton became a Christian Scientist.^[22] He had a love for puppies and in fact owned 30. He named half of them Bill and half Sharon. Hampton was a Thirty-third degree Prince Hall freemason in New York, also.^[23] In January 1997, his apartment caught fire and destroyed his awards and belongings; Hampton escaped uninjured.^[24]

The grave of Lionel Hampton

Lionel Hampton died from congestive heart failure on August 31, 2002 at Mount Sinai Hospital in New York City, and was interred in the Woodlawn Cemetery, Bronx, New York. His funeral was held on September 7, 2002 and featured a performance by Wynton Marsalis and David Ostwald's Gully Low Jazz Band at Riverside Church in Manhattan; the procession began at The Cotton Club in Harlem.^[25][26]

Charity[link]

Lionel Hampton Houses housing project in Harlem (far right). Photo by Jordan Davis

Hampton was deeply involved in the construction of various public housing projects, and founded the Lionel Hampton Development Corporation. Construction began with the Lionel Hampton Houses in Harlem, New York in the 1960s, with the help of then Republican governor Nelson Rockefeller. Hampton's wife—Gladys Hampton—also was very involved in construction of a housing project in her name—the Gladys Hampton Houses. Gladys died in 1971. In the 1980s, Hampton built another housing project called Hampton Hills in Newark, New Jersey.

Hampton was a staunch Republican and served as a delegate to several Republican National Conventions.^[27] He served as Vice-Chairman of the New York Republican County Committee for some years^[28] and also was a member of the New York City Human Rights Commission.^[29] Hampton donated almost $300,000 to Republican campaigns and committees throughout his lifetime.^[30]

Awards[link]

• 2001 - Harlem Jazz and Music Festival's Legend Award
• 1996 - National Medal of Arts presented by President Bill Clinton
• 1995 - Honorary Commissioner of Civil Rights by George Pataki
• 1995 - Honorary Doctorate from the New England Conservatory of Music
• 1993 - Honorary Doctorate from the University of Maryland Eastern Shore
• 1992 - Inducted into the Alabama Jazz Hall of Fame
• 1992 - "Contributions To The Cultural Life of the Nation" award from the John F. Kennedy Center for the Performing Arts
• 1988 - The National Endowment for the Arts Jazz Masters Fellowship
• 1988 - The National Association of Jazz Educators Hall of Fame Award
• 1987 - Honorary Doctorate of Humanities from the University of Idaho - UI's School of Music renamed "Lionel Hampton School of Music."
• 1987 - The Roy Wilkins Memorial Award from the NAACP
• 1986 - The "One of a Kind" Award from Broadcast Music, Inc.
• 1984 - Jazz Hall of Fame Award from the Institute of Jazz Studies
• 1984 - Honorary Doctorate of Music from USC
• 1983 - The International Film and Television Festival of New York City Award
• 1983 - Honorary Doctorate of Humane Letters from the State University of New York
• 1982 - Hollywood Walk of Fame Star
• 1981 - Honorary Doctorate of Humanities from Glassboro State College
• 1979 - Honorary Doctorate of Music from Howard University
• 1978 - Bronze Medallion from New York City
• 1976 - Honorary Doctorate of Humanities from Daniel Hale Williams University
• 1975 - Honorary Doctorate of Music from Xavier University of Louisiana
• 1974 - Honorary Doctorate of Fine Arts from Pepperdine University
• 1968 - Papal Medal from Pope Paul VI
• 1966 - George Frederick Handel Medal
• 1957 - American Goodwill Ambassador by President Dwight D. Eisenhower
• 1954 - Israel's Statehood Award

Discography[link]

Compilations

Filmography[link]

References[link]

External links[link]

• Lionel Hampton Library Collection, part of the International Jazz Collections at the University of Idaho Library
• Christopher Popa, "Lionel Hampton: Music Was His Fountain of Youth," Big Band Library
• Interview with Lionel Hampton by Felix Grant in 1982
• Lionel Hampton's Gravesite
• Lionel Hampton: His Life and Legacy at University of Idaho
• Lionel Hampton at Drummersworld
• Gene Krupa - What's New(s)
• Lionel Hampton Band - Midnight Sun 1947, Decca 28059 on YouTube
• Lionel Hampton Jazz Festival at University of Idaho
• Lionel Hampton at IMDB
• Official website of the Alabama Jazz Hall of Fame
• Photos at Jazzhouse.org

Hampton Hawes
Birth name	Hampton Barnett Hawes, Jr.
Born	(1928-11-13)November 13, 1928
Origin	Los Angeles, California, USA
Died	May 22, 1977(1977-05-22) (aged 48)
Genres	Soul-jazz Hard bop Bebop Jazz-funk Mainstream jazz Jazz fusion
Occupations	Pianist
Instruments	Piano
Labels	Discovery, Contemporary Records, Fantasy Records
Associated acts	Wardell Gray, Charles Mingus, Dexter Gordon, Art Pepper, Jim Hall, Barney Kessell, Shorty Rogers

Hampton Hawes (November 13, 1928^[1] – May 22, 1977) was an American bebop and hard-bop jazz pianist, recognized as one of the finest and most influential of the 1950s.^[2]

Biography[link]

Hampton Barnett Hawes, Jr. was born November 13, 1928 in Los Angeles, California.^[1] His father, Hampton Hawes, Sr., was minister of Westminster Presbysterian Church in Los Angeles. His mother, the former Gertrude Holman, was Westminster's church pianist.

Hawes' first experience with the piano was as a toddler sitting on his mother's lap while she practiced. He was reportedly able to pick out fairly complex tunes by the age of three. Entirely self-taught, by his teens Hawes was playing with the leading jazz musicians on the West Coast, including Dexter Gordon, Wardell Gray, Art Pepper, Shorty Rogers, and Teddy Edwards. His second professional job, at 19, was playing for eight months with the Howard McGhee Quintet at the Hi De Ho Club, in a group that included Charlie Parker.

After serving in the U.S. army in Japan from 1952–1954, Hawes formed his own trio, with the bassist Red Mitchell and drummer Chuck Thompson. The three-record Trio sessions made by this group in 1955 on Contemporary Records were considered some of the finest records to come out of the West Coast at the time. The next year, Hawes added guitarist Jim Hall for the All Night Sessions - three records made during a non-stop recording session at the Contemporary Studios in Los Angeles.

After a six-month national tour in 1956, Hawes won the 'New Star of the Year' award in Down Beat magazine, and 'Arrival of the Year' in Metronome magazine. The following year, Hawes recorded in New York City with Charles Mingus on the album "Mingus Three" (Jubilee JLP 1054, 1957).

Struggling for many years with a heroin addiction, Hawes became the target of a federal undercover operation in Los Angeles in 1958. The Drug Enforcement Agency bargained that Hawes would inform on suppliers in L.A. rather than risk a successful music career. Hawes was arrested on heroin charges on his 30th birthday, but refused to cooperate, and was sentenced to ten years in a federal prison hospital - twice the mandatory minimum. In the weeks between his trial and sentencing, Hawes recorded an album of spirituals and gospel songs, The Sermon, for Contemporary Records.

After serving three years at Fort Worth Federal Medical Facility in Texas, in 1961 Hawes was watching President Kennedy's inaugural speech on television, when he became convinced that Kennedy would pardon him. In an almost miraculous turn, President Kennedy granted Hawes Executive Clemency in 1963, the 42nd of only 43 such pardons given in the final year of Kennedy's presidency.

After his release from prison, Hawes resumed playing and recording. During a world tour in 1967-68, the pianist was surprised to discover that he had become a legend among jazz listeners overseas. During a ten-month tour of Europe, Asia and the Middle East, Hawes recorded nine albums, played sold out shows and concert halls in ten countries, and was covered widely in the press, appearing on European television and radio.

Raise Up Off Me, Hawes' autobiography, written with Don Asher and published in 1974, shed light on his heroin addiction, the bebop movement, and his friendships with some of the leading jazz musicians of his time. The book won the prestigious ASCAP Deems Taylor Award for music writing in 1975. Critic Gary Giddins, who wrote the book's introduction, calls Raise Up Off Me "a major contribution to the literature of jazz." The Penguin Guide to Jazz cites it as "one of the most moving memoirs ever written by a musician, and a classic of jazz writing."

In the 1970s, Hawes experimented with electronic music (Fender-Rhodes made a special instrument for him), although eventually he returned to playing the acoustic piano.

As a pianist Hawes' style is instantly recognizable - for its almost unparalleled swing, unique approach to time and harmony, and its depth of emotional expression, particularly in a blues context. Hawes influenced a great number of prominent pianists, including André Previn, Oscar Peterson, Horace Silver, Claude Williamson, Pete Jolly, Toshiko Akiyoshi and others. Hawes' own influences came from a number of sources, including the gospel music and spirituals he heard in his father's church as a child, and the boogie-woogie piano of Earl Hines. He also learned much from pianists Bud Powell and Nat King Cole among others. By Hawes' own account, however, his principal source of influence was his friend Charlie Parker.

Hampton Hawes died suddenly of a brain hemorrhage in 1977, at only 48 years old. He is buried next to his father, Hampton Hawes, Sr., who had died just five months earlier, at Lincoln Memorial Cemetery. In 2004, the City Council of Los Angeles passed a resolution declaring November 13 'Hampton Hawes Day' throughout the City of Los Angeles.

Selected discography[link]

As leader[link]

• Hampton Hawes Early Years Trio and Quartet Sessions 1951-56 (Fresh Sounds Records CD 369)
• The Hampton Hawes Memorial Album (Xanadu 161) 1952–1956
• Hampton Hawes Trio, Vol. 1 - The Trio (Contemporary C 3505; Fantasy OJC 316, OJCCD 316-2) 1955
• This Is Hampton Hawes, Vol. 2 - The Trio (Contemporary C 3515; Fantasy OJC 318, OJCCD 318-2)
• Everybody Likes Hampton Hawes, Vol. 3 - The Trio (Contemporary C 3523; Fantasy OJC 421, OJCCD 421-2)
• All Night Session!, Vol. 1-3 (1956)
• Four! (Contemporary C 3553, S 7553; Stereo S 7026; Fantasy OJC 165, OJCCD 165-2) 1957
• The Sermon (Contemporary) 1958
• For Real! (Contemporary M 3589, S 7589; Fantasy OJCCD 713-2), 1958
• The Green Leaves of Summer (Contemporary C 3614, S 7614; Fantasy OJC 476, OJCCD 476-2) 1964
• The Seance (Contemporary C 3621, S 7621; Fantasy OJC 455, OJCCD 455-2) 1966
• Blues for Bud (Black Lion (J) TKCB 30073)
• Playin' in the Yard (Prestige P 10077) 1973
• Live at the Great American Music Hall (Concord Jazz CJ 222) 1975
• Hampton Hawes at the Piano (Contemporary S 7637) 1976 (released 1978)
• Curtis Fuller and Hampton Hawes with French Horns (Status ST 8305; Fantasy OJCCD 1942-2) 1957
• Hampton Hawes, Martial Solal - Key for Two (BYG (F) 529 125) 1968
• Northern Windows (1974, Prestige)
• At the Piano (1976, Contemporary)
• As Long as There's Music (1977, Artists House, with Charlie Haden)
• A Little Copenhagen Night Music
• Live at the Montemarte
• This Guy's in Love with You
• Bird Song (1999, Contemporary OJCCD-1035-2) (Two prev. unreleased sessions 1956, 1958)

As sideman[link]

• The Early Show by Art Pepper (1952; Xanadu Records)
• Red Mitchell - Red Mitchell (Bethlehem) 1955
• Charles Mingus - Mingus Three (Jubilee JLP 1054) 1957
• Prestige All Stars - Baritones and French Horns (Prestige PRLP 16-6) 1957
• Sonny Rollins and the Contemporary Leaders (Contemporary C 3564, S 7564; Fantasy OJC 340, OJCCD 340-2; 1958)
• Sonny Criss - I'll Catch the Sun! (Prestige) 1969
• Living Legend by Art Pepper (Contemporary S 7633) 1975 (released 1976)
• On the Road by Art Farmer (Contemporary S 7636) 1976

Selected bibliography[link]

128-page Hampton Hawes biography/discography was published in England in 1987, co-authored by Roger Hunter and Mike Davis.

References[link]

External links[link]

Biography portal

• Hampton Hawes Discography
• Jazz Script review of his autobiography
• Hampton Hawes at Find a Grave

Shelly Manne
Shelly Manne, ca. December 1946
Background information
Birth name	Sheldon Manne
Born	(1920-06-11)June 11, 1920 New York City, New York, United States
Died	September 26, 1984(1984-09-26) (aged 64) Los Angeles, California, United States
Genres	Jazz, cool jazz, third stream
Occupations	Drummer, percussionist, composer, bandleader
Instruments	Drums, percussion
Years active	1939–1984

Shelly Manne (June 11, 1920 – September 26, 1984), born Sheldon Manne in New York City, was an American jazz drummer. Most frequently associated with West Coast jazz, he was known for his versatility and also played in a number of other styles, including Dixieland, swing, bebop, avant-garde jazz and fusion, as well as contributing to the musical background of hundreds of Hollywood films and television programs.

Family and origins[link]

Manne's father and uncles were drummers. In his youth he admired many of the leading swing drummers of the day, especially Jo Jones and Dave Tough.^[1] Billy Gladstone, a colleague of Manne's father and the most admired percussionist on the New York theatrical scene, offered the teenage Shelly tips and encouragement.^[2] From that time, Manne rapidly developed his style in the clubs of 52nd Street in New York in the late 1930s and 1940s.^[3] His first professional job with a known big band was with the Bobby Byrne Orchestra in 1940.^[4] In those years, as he became known, he recorded with jazz stars like Coleman Hawkins, Charlie Shavers, and Don Byas. He also worked with a number of musicians mainly associated with Duke Ellington, like Johnny Hodges, Harry Carney, Lawrence Brown, and Rex Stewart.^[5]

In 1943, Manne married a Rockette named Florence Butterfield (known affectionately to family and friends as "Flip").^[6] The marriage would last 41 years, until the end of Manne's life.

When the bebop movement began to change jazz in the 1940s, Manne loved it and adapted to the style rapidly, performing with Dizzy Gillespie and Charlie Parker.^[7] Around this time he also worked with rising stars like Flip Phillips, Charlie Ventura, Lennie Tristano, and Lee Konitz.

Manne rose to stardom when he became part of the working bands of Woody Herman and, especially, Stan Kenton in the late 1940s and early 1950s, winning awards and developing a following at a time when jazz was the most popular music in the United States.^[8] Joining the hard-swinging Herman outfit allowed Manne to play the bebop he loved. The controversial Kenton band, on the other hand, with its "progressive jazz", presented obstacles, and many of the complex, overwrought arrangements made it harder to swing.^[9] But Manne appreciated the musical freedom that Kenton gave him and saw it as an opportunity to experiment along with what was still a highly innovative band.^[10] He rose to the challenge, finding new colors and rhythms, and developing his ability to provide support in a variety of musical situations.^[11]

In California[link]

In the early 1950s, Manne left New York and settled permanently on a ranch in an outlying part of Los Angeles, where he and his wife raised horses. From this point on, he played an important role in the West Coast school of jazz, performing on the Los Angeles jazz scene with Shorty Rogers, Hampton Hawes, Red Mitchell, Art Pepper, Russ Freeman, Frank Rosolino, Chet Baker, Leroy Vinnegar, Pete Jolly, Howard McGhee, Bob Gordon, Conte Candoli, Sonny Criss, and numerous others.^[12] Many of his recordings around this time were for Lester Koenig's Contemporary Records, where for a period Manne had a contract as an "exclusive" artist (meaning that he could not record for other labels without permission).

Manne led a number of small groups that recorded under his name and leadership. One consisting of Manne on drums, trumpeter Joe Gordon, saxophonist Richie Kamuca, bassist Monty Budwig, and pianist Victor Feldman performed for three days in 1959 at the famous Black Hawk club in San Francisco. Their music was recorded on the spot, and four LPs were issued. Highly regarded as an innovative example of a "live" jazz recording,^[13] the Black Hawk sessions were reissued on CD in augmented form years later.

West Coast jazz[link]

Manne is often associated with the frequently criticized West Coast school of jazz.^[14] He has been considered "the quintessential" drummer in what was seen as a West Coast movement, though Manne himself did not care to be so pigeonholed.^[15] In the 1950s, much of what he did could be seen as in the West Coast style: performing in tightly arranged compositions in what was a cool style, as in his 1953 album named The West Coast Sound, for which he commissioned several original compositions. Some of West Coast jazz was experimental, avant-garde music several years before the more mainstream avant-garde playing of Cecil Taylor and Ornette Coleman (Manne also recorded with Coleman in 1959); a good deal of Manne's work with Jimmy Giuffre was of this kind. Critics would condemn much of this music as overly cerebral.^[16]

Another side of West Coast jazz that also came under critical fire was music in a lighter style, intended for popular consumption.^[17] Manne made contributions here too. Best known is the series of albums he recorded with pianist André Previn and with members of his groups, based on music from popular Broadway shows, movies, and television programs. (The first and most famous of these was the one based on My Fair Lady, recorded by Previn, Manne, and bassist Leroy Vinnegar in 1956. See My Fair Lady (Shelly Manne album).) The music—with each album devoted to a single show—was improvised in the manner of jazz, but always in a light, immediately appealing style aimed at popular taste, which did not always go over well with aficionados of "serious" jazz music, which may be one reason why Manne has been frequently overlooked in accounts of major jazz drummers of the 20th century.^[18] Much of the music produced on the West Coast in those years, as Robert Gordon concedes, was in fact imitative and "lacked the fire and intensity associated with the best jazz performances".^[19] But Gordon also points out that there is a level of musical sophistication, as well as an intensity and "swing", in the music recorded by Manne with Previn and Vinnegar (and later Red Mitchell) that is missing in the many lackluster albums of this type produced by others in that period.^[20]

West Coast jazz, however, represented only a small part of Manne's playing. In Los Angeles and occasionally returning to New York and elsewhere, Manne recorded with musicians of all schools and styles, ranging from those of the swing era through bebop to later developments in modern jazz, including hard bop, usually seen as the antithesis to the cool jazz frequently associated with West Coast playing.^[21]

Collaborations[link]

From the 78-rpm recordings of the 1940s to the LPs of the 1950s and later, to the hundreds of film soundtracks he appeared on, Manne's recorded output was enormous and often hard to pin down.^[22] According to the jazz writer Leonard Feather, Manne's drumming had been heard on well "over a thousand LPs"—a statement that Feather made in 1960, when Manne had not reached even the midpoint of his 45-year-long career.^[23]

An extremely selective list of those with whom Manne performed includes Benny Carter, Earl Hines, Clifford Brown, Zoot Sims, Ben Webster, Maynard Ferguson, Wardell Gray, Lionel Hampton, Junior Mance, Jimmy Giuffre, and Stan Getz. In the 1950s, he recorded two solid albums with Sonny Rollins—Way Out West (Contemporary, 1957) received particular acclaim and helped dispel the notion that West Coast jazz was always different from jazz made on the East Coast^[24]—and, in the 1960s, two with Bill Evans. Around the same time in 1959, Manne recorded with the traditional Benny Goodman and the iconoclastic Ornette Coleman, a striking example of his versatility.

One of Manne's most adventurous 1960s collaborations was with Jack Marshall, the guitarist and arranger celebrated for composing the theme and incidental music for The Munsters TV show in that period. Two duet albums (Sounds Unheard Of!, 1962, and Sounds!, 1966) feature Marshall on guitar, accompanied by Manne playing drums and a wide variety of percussion instruments unusual in jazz, from "Hawaiian slit bamboo sticks", to a Chinese gong, to castanets, to piccolo Boo-Bam.

Another example of Manne's ability to transcend the narrow borders of any particular school is the series of trio albums he recorded with guitarist Barney Kessel and bassist Ray Brown as "The Poll Winners". (They had all won numerous polls conducted by the popular publications of the day; the polls are now forgotten,^[25] but the albums endure, now reissued on CD.) Manne even dabbled in Dixieland and fusion, as well as "Third Stream" music. He participated in the revival of that jazz precursor ragtime (he appears on several albums devoted to the music of Scott Joplin), and sometimes recorded with musicians best associated with European classical music. He always, however, returned to the straight-ahead jazz he loved best.

Style and influences[link]

In addition to Dave Tough and Jo Jones, Manne admired and learned from contemporaries like Max Roach and Kenny Clarke, and later from younger drummers like Elvin Jones and Tony Williams. Consciously or unconsciously, he borrowed a little from all of them, always searching to extend his playing into new territory.^[26]

Despite these and numerous other influences, however, Shelly Manne's style of drumming was always his own—personal, precise, clear, and at the same time multilayered,^[27] using a very broad range of colors.^[28] Manne was often experimental, and had participated in such musically exploratory groups of the early 1950s as those of Jimmy Giuffre and Teddy Charles.^[29] Yet his playing never became overly cerebral, and he never neglected that element usually considered fundamental to all jazz: time.^[30]

Whether playing Dixieland, bebop, or avant-garde jazz, in big bands or in small groups, Manne's self-professed goal was to make the music swing.^[31] His fellow musicians attested to his listening appreciatively to those around him and being ultra-sensitive to the needs and the nuances of the music played by the others in the band,^[32] his goal being to make them—and the music as a whole—sound better, rather than calling attention to himself with overbearing solos.^[33]

Manne refused to play in a powerhouse style, but his understated drumming was appreciated for its own strengths. In 1957, critic Nat Hentoff called Manne one of the most "musical" and "illuminatively imaginative" drummers.^[34] Composer and multi-instrumentalist Bob Cooper called him "the most imaginative drummer I've worked with".^[35] In later years this kind of appreciation for what Manne could do was echoed by jazz notables like Louie Bellson, John Lewis, Ray Brown, Harry "Sweets" Edison, and numerous others who had worked with him at various times. Composer, arranger, bandleader, and multi-instrumentalist Benny Carter was "a great admirer of his work". "He could read anything, get any sort of effect", said Carter, who worked closely with Manne over many decades.^[36]

Though he always insisted on the importance of time and "swing", Manne's concept of his own drumming style typically pointed to his melody-based approach.^[37] He contrasted his style with that of Max Roach: "Max plays melodically from the rhythms he plays. I play rhythms from thinking melodically".^[38]

Manne had strong preferences in his choice of drum set. Those preferences, however, changed several times over his career. He began with Gretsch drums. In 1957, intrigued by the sound of a kind of drum made by Leedy (then owned by Slingerland), he had a line made for him that also became popular with other drummers. In the 1970s, after trying and abandoning many others for reasons of sound or maintainability, he settled on the Japanese-made Pearl Drums.^[39]

Singers[link]

Manne was also acclaimed by singers. Jackie Cain, of the vocal team of Jackie and Roy ("Roy" being Roy Kral), claimed that she had "never heard a drummer play so beautifully behind a singer".^[40] Jackie and Roy were only two of the many singers he played behind, recording several albums with that husband-and-wife team, with their contemporary June Christy,^[41] and with Helen Humes, originally made famous by her singing with the Count Basie orchestra.

Over decades, Manne recorded additional albums, or sometimes just sat in on drums here and there, with renowned vocalists like Ella Fitzgerald,^[42] Mel Tormé,^[43] Peggy Lee, Frank Sinatra, Ernestine Anderson,^[44] Sarah Vaughan,^[45] Lena Horne,^[46] Blossom Dearie,^[47] and Nancy Wilson.^[48] Not all the singers Manne accompanied were even primarily jazz artists. Performers as diverse as Teresa Brewer,^[49] Leontyne Price,^[50] Tom Waits,^[51] and Barry Manilow^[52] included Manne in their recording sessions.

Film and television[link]

At first, jazz was heard in film soundtracks only as jazz bands performed in the story. Early in his career, Manne was occasionally seen and heard in the movies, for example in the 1942 film Seven Days Leave, as the drummer in the highly popular Les Brown orchestra (soon to be known as "Les Brown and His Band of Renown").

In the 1950s, however, jazz began to be used for all or parts of film soundtracks, and Manne pioneered in these efforts, beginning with The Wild One (1953). As jazz quickly assumed a major role in the musical background of films, so did Manne assume a major role as a drummer and percussionist on those soundtracks. A notable early example was 1955's The Man with the Golden Arm; Manne not only played drums throughout but functioned as a personal assistant to director Otto Preminger and tutored star Frank Sinatra.^[53] The Decca soundtrack LP credits him prominently for the "Drumming Sequences".

From then on, as jazz became more prominent in the movies, Manne became the go-to percussion man in the film industry;^[54] he even appeared on screen in some minor roles. A major example is Johnny Mandel's jazz score for I Want to Live! in 1958.^[55]

Soon, Manne began to contribute to film music in a broader way, often combining jazz, pop, and classical music. Henry Mancini in particular found plenty of work for him; the two shared an interest in experimenting with tone colors, and Mancini came to rely on Manne to shape the percussive effects in his music. Breakfast at Tiffany's (1961), Hatari! (1962) and The Pink Panther (1963) are only a few of Mancini's films where Manne's drums and special percussive effects could be heard.

Manne frequently collaborated with Mancini in television as well, such as in the series Peter Gunn (1958–1961) and Mr. Lucky (1959–1960). Although Mancini developed such a close partnership with Manne that he was using him for practically all his scores and other music at this time,^[56] the drummer still found time to perform on movie soundtracks and in TV shows with music by others, including the series Richard Diamond (music by Pete Rugolo, 1959–1960), and Checkmate (music by John Williams, 1959–1962), and the film version of Leonard Bernstein's West Side Story (1961).

In the late 1950s, Manne began to compose his own film scores, such as that for The Proper Time (1959), with the music also played by his own group, Shelly Manne and His Men, and issued on a Contemporary LP. In later years, Manne divided his time playing the drums on, adding special percussive effects to, and sometimes writing complete scores for both film and television. He even provided a musical setting for a recording of the Dr. Seuss children's classic Green Eggs and Ham (1960) and later performed in and sometimes wrote music for the backgrounds of numerous animated cartoons. For example, he joined other notable jazz musicians (including Ray Brown and Jimmy Rowles) in playing Doug Goodwin's music for the cartoon series The Ant and the Aardvark (1969–1971).^[57] Notable examples of later scores that Manne wrote himself and also performed in are, for the movies, Young Billy Young, 1969, and, for television, Daktari, 1966–1969. With these and other contributions to cartoons, children's stories, movies, television programs (and even commercials), Manne's drumming became woven into the popular culture of several decades.^[58]

Later career[link]

A star in Stan Kenton's famous orchestra in the 1940s and 1950s, as well as that of Woody Herman, also in the 1940s, and winner of numerous awards, Manne slipped from public view as jazz became less central in popular music.^[59] In the 1960s and early 1970s, however, he helped keep jazz alive on the Los Angeles scene as part owner of the nightclub Shelly's Manne-Hole. There, the house band was Shelly Manne and His Men, which featured some of his favorite sidemen, such as Russ Freeman, Monty Budwig, Richie Kamuca, Conte Candoli, and later Frank Strozier and Mike Wofford, among many other notable West Coast jazz musicians. Also appearing was a roster of jazz stars from different eras and all regions, including Ben Webster, Rahsaan Roland Kirk, Les McCann, Bill Evans, John Coltrane, Sonny Stitt, Thelonious Monk, Michel Legrand, Carmen McRae, Milt Jackson, Teddy Edwards, Monty Alexander, Lenny Breau, Miles Davis, and many, many others. Stan Getz was the last to be featured (at a briefly occupied second location), when, late in 1973, Manne was forced to close the club for financial reasons.^[60]

From that point, Manne refocused his attention on his own drumming. It might be argued that he never played with more taste, refinement, and soulful swing than in the 1970s,^[61] when he recorded numerous albums with musicians like trumpeter Red Rodney, pianist Hank Jones, saxophonists Art Pepper and Lew Tabackin, and composer-arranger-saxophonist Oliver Nelson.^[62]

From 1974 to 1977 he joined guitarist Laurindo Almeida, saxophonist and flutist Bud Shank, and bassist Ray Brown to perform as the group The L.A. Four, which recorded four albums before Manne left the ensemble.

In the 1980s, Manne recorded with such stars as trumpeter Harry "Sweets" Edison, saxophonist Zoot Sims, guitarists Joe Pass and Herb Ellis, and pianist John Lewis (famous as the musical director of the Modern Jazz Quartet).

Meanwhile, he continued to record with various small groups of his own. Just one representative example of his work in this period is a live concert recorded at the Los Angeles club "Carmelo's" in 1980 with pianists Bill Mays and Alan Broadbent and bassist Chuck Domanico. With their enthusiasm and spontaneity, and the sense that the audience in the intimate ambience of the club is participating in the music, these performances share the characteristics that had been celebrated more than two decades before in the better-known Black Hawk performances.^[63] Although this phase of his career has frequently been overlooked, Manne, by this time, had greatly refined his ability to back other musicians sympathetically, yet make his own musical thoughts clearly heard.^[64]

Manne's heavy load of Hollywood studio work sometimes shifted his attention from his mainstream jazz playing. Even in lackluster films, however, he nevertheless often succeeded in making art of what might be called hackwork.^[65] Still, for all his tireless work in the studios, Manne's labor of love was his contribution to jazz as an American art form, to which he had dedicated himself since his youth and continued to work at almost to the last day of his life.^[66]

Manne died somewhat before the popular revival of interest in jazz had gained momentum. But in his last few years, his immense contribution to the music regained at least some local recognition, and the role Manne had played in the culture of his adopted city began to draw public appreciation.^[67] Two weeks before his sudden death of a heart attack, he was honored by the City of Los Angeles in conjunction with the Hollywood Arts Council when September 9, 1984 was declared "Shelly Manne Day".^[68]

Selected discography[link]

(dates are those of the original recordings)

As leader[link]

• Shelly Manne & His Men, The West Coast Sound (1953–55, Contemporary)
• Shelly Manne & His Men, Swinging Sounds (1956, Contemporary)
• Shelly Manne & His Men, More Swinging Sounds (1956, Contemporary)
• Shelly Manne & His Friends, My Fair Lady (1956 Contemporary)
• Shelly Manne & His Friends, Li'l Abner (1957 Contemporary)
• Shelly Manne & His Friends, Bells are Ringing (1958, Contemporary)
• Shelly Manne & His Men, The Gambit (1958, Contemporary)
• Shelly Manne & His Men, At The Black Hawk (5 CDs, 1959, Contemporary)
• Shelly Manne & His Men, Shelly Manne & His Men Play Peter Gunn (1959, Contemporary)
• Shelly Manne & His Men, At The Manne Hole (2 CDs, 1961, Contemporary)
• Shelly Manne, 2-3-4 (1962, Impulse!)
• Shelly Manne, My Son the Jazz Drummer (1962, Contemporary; reissued as Steps to the Desert, 2004)
• Shelly Manne & His Men, Boss Sounds! (1966, Atlantic)
• Shelly Manne, Daktari (1967, Contemporary)
• Shelly Manne, Perk Up (1967; released 1977, Concord)
• Shelly Manne, Double Piano Jazz Quartet in Concert at Carmelo's (2 CDs, 1980, Trend)
• Russ Freeman & Shelly Manne, One on One (1982, Atlas; reissued 2001, Contemporary)

As sideman[link]

• Art Pepper and Shorty Rogers, Popo (1951; Xanadu Records)
• Sonny Rollins, Way Out West (1957, Contemporary)
• Benny Carter, Jazz Giant (1957, 1958, Contemporary)
• Howard McGhee, Maggie's Back in Town (1961, Contemporary)
• Bill Evans, Empathy and A Simple Matter of Conviction (2 LPs [1962 and 1966] reissued on one CD, Verve; Manne was credited as co-leader on Empathy)
• Lalo Schifrin, Gone with the Wave (Colpix, 1964)
• Lalo Schifrin, Music from Mission: Impossible (Dot, 1967)
• Ella Fitzgerald, Whisper Not (1967, Verve)
• Lalo Schifrin, There's a Whole Lalo Schifrin Goin' On (Dot, 1968)
• Sonny Criss, I'll Catch the Sun (1969, Prestige)
• John Klemmer, Constant Throb (Impulse!, 1971)
• Art Pepper, Living Legend (1975, Contemporary)
• The Three, The Three with Joe Sample and Ray Brown (1975, East Wind; reissued 2005, Test of Time)
• Brass Fever, Brass Fever (1975, ABC Records)
• Tom Waits, Small Change (1976, Asylum Records)
• Tom Waits, Foreign Affairs (1977, Asylum Records)
• Hank Jones, Just for Fun (1977, Galaxy)
• Itzhak Perlman, André Previn, Jim Hall, and Red Mitchell, A Different Kind of Blues (1980, Angel; reissued 1992)
• Tom Waits, One from the Heart (1982, CBS Records)
• The John Lewis Group, Kansas City Breaks (1982, Finesse)
• Bill Mays Quintet, Tha's Delights (1983, Trend)

Notes[link]

References[link]

• Arganian, Lillian. Stan Kenton: The Man and His Music (Artistry Press, 1989)
• Balliett, Whitney. Collected Works: A Journal of Jazz 1954-2001 (St. Martin's Press, 2002)
• Brand, Jack. Shelly Manne: Sounds of the Different Drummer (Discography and filmography by Bill Korst) (Percussion Express, 1997)
• Collier, James Lincoln. The Making of Jazz: A Comprehensive History (Dell Publishing Co., 1978)
• Feather, Leonard. The Encyclopedia of Jazz (Horizon Press, 1960)
• Gioia, Ted. West Coast Jazz: Modern Jazz in California 1945-1960 (Oxford University Press, 1992)
• Gordon, Robert. Jazz West Coast: The Los Angeles Jazz Scene of the 1950s (Quartet Books, 1986)
• Lees, Gene. Singers and the Song II (Oxford University Press, 1998)
• Meeker, David. Jazz in the Movies (Da Capo Press, 1981)
• Simon, George T. The Big Bands: Revised Edition (Macmillan Publishing Co., 1974)

External links[link]

• Bailey, C. Michael. Review of The Best of Shelly Manne (Web site all about jazz)
• Library of Congress. Shelly Manne Collection (U.S. Library of Congress Web site)
• Manne, Shelly. "Shelly Manne Offers His Concept of Jazz Drums" (12/14/1955; posted on Web site downbeat.com)
• Shelly Manne Exhibit (Web site of the Percussive Arts Society)
• Shelly Manne pictures and biography (Web site Drummers Unlimited)
• Strain, James. "Shelly Manne" (Web Site Drummerworld)
• Yanow, Scott. "Shelly Manne" (Web site allmusic)

William "Bill" Burr (born June 10, 1968) is an American stand-up comedian, radio host and actor.

Life and career[link]

Burr was born in Canton, Massachusetts. His father was a dentist, and Bill worked as a hygienist for a short time. He began stand-up at age 23 after attending Emerson College, where he majored in Radio. Burr also had a early morning slot on college radio during this period. In 1995, he moved to New York City and lived there for eight months. Burr then moved to Los Angeles, California, where he worked on a number of film and television projects. He returned to New York in 1999 and moved back to Los Angeles in 2008, where he currently resides. Burr stands 5'10" in height, is left handed, and is of German and Irish descent.

He performs over three hundred shows annually, had two movies released in 2006, and has performed on The Late Show with David Letterman, Late Night with Conan O'Brien, and The Tonight Show with Conan O'Brien. In early 2004, he appeared in two episodes of Chappelle's Show, and in September 2005, his HBO One Night Stand special aired. Along with many other projects, Burr has also been a guest comedian on the Bob and Tom Show as well as on the Opie and Anthony Show on XM Satellite Radio, sometimes sitting in when third member Jim Norton is away. He has also performed on the Comedy Central Presents show.

On December 16, 2006, Burr hosted a three-hour radio show on Opie and Anthony's XM radio channel program The Virus (channel 202) titled "Uninformed with Bill Burr & Joe DeRosa" from 9pm-12am.^[2] The second Uninformed show aired February 10, 2007 from 9pm-12am, and the show has continued to run on an irregular schedule about once a month. Since Burr's move to Los Angeles, it has primarily been a pre-taped show, rather than live. The show's collection of free podcasts can be found at uninformedradio.com.^[3]

In September 2007, Burr signed with Colorado independent label What Are Records?. An expanded version of his 2003 debut album Emotionally Unavailable was released October 16, 2007. Emotionally Unavailable carries content previously available only in Burr’s stand-up shows. It features a completely unedited set with Burr covering topics from rednecks to inadvertent racism to relationship books to crazy people on the subway. The Expanded Edition augments that album with previously unreleased highlights from a different tour - the Houston stop of the I’m Rich Biatch Tour which Bill co-headlined with Chappelle's Show cast mates Charlie Murphy and Donnell Rawlings. Much of the material from this tour later turned up on Burr’s HBO stand-up special.

As with other comics associated with The Opie & Anthony Show, in 2008, Burr's voice was featured in the game Grand Theft Auto IV. In the game, Bill plays Jason Michaels of the biker gang the The Lost MC in the mission "No Love Lost". In 2009, he reprised his role in the game's expansion pack The Lost and Damned.

Burr's most recent special is entitled "Let It Go". It premiered on Comedy Central on September 18, 2010 and was shot at the Fillmore in San Francisco, California.

Bill Burr has been referred to as a "comedian's comedian" by observers of the US stand-up comedy circuit, meaning a comedian whose work is being followed and appreciated by fellow professional comedians.^[4][5] He is a Boston Bruins fan and periodically blogs for NHL.com.

Burr's brother, Robert, is a selectman from Canton, Massachusetts and was briefly a candidate to fill the Massachusetts' vacant seat in the United States Senate after the death of Ted Kennedy in 2009.^[6][7]

Burr appeared in the movie Date Night as Detective Walsh. He also appeared in season 4 of AMC's Breaking Bad as Kuby.^[8]

The Monday Morning Podcast[link]

Since May 2007, Bill Burr has recorded a weekly one-hour podcast, in which he speaks without reservation and off the cuff about his past and recent experiences, going on tour, and sports.^[9] Occasionally, he is joined by his girlfriend Nia Hill, depending on whether she is present in their house or not. Burr also appears as a guest on other comedians' podcasts, such as The Adam Carolla Show,^[10] The Joe Rogan Experience,^[11][12] WTF with Marc Maron,^[13] and Chris Hardwick's Nerdist podcast.^[14] Burr was also the very first guest on Tom Green's podcast. On April 18, 2011 he guest hosted the Hollywood Babble-On podcast alongside Ralph Garman, taking the place of a sick Kevin Smith.^[15]

Discography[link]

• Emotionally Unavailable (2003) [CD]
• Emotionally Unavailable: Expanded Edition (2007) [CD]
• Why Do I Do This? (2008) [CD/DVD]
• Let It Go (2010) [CD/DVD]

References[link]