The Manhattan Transfer -

The Manhattan Transfer are an American vocal group from N.Y.C., formed in 1969 by swing enthusiast Tim Hauser. The original lineup, a five-piece with songwriter Gene Pistilli, issued one album of retro jazz and pop on Capitol in 1971. Hauser then recruited singers Alan Paul, Janis Siegel, and Laurel Massé, establishing the two man/two woman format. This lineup released three albums of slick jazz-pop on Atlantic between 1975 and 1978. With Massé’s replacement, Cheryl Bentyne, the Manhattan Transfer entered its most popular phase with the 1979–83 albums Extensions, Mecca for Moderns, and Bodies and Souls.

Members: Tim Hauser (1969-2014), Gene Pistilli (1969-72), Marty Nelson (1969-72), Pat Rosalia (1969-72), Erin Dickens (1969-72), Alan Paul (1972-present), Janis Siegel (1972-present), Laurel Massé (1972-79), Cheryl Bentyne (1979-present), Wayne Johnson (lead guitar, 1979-present), Yarón Gershovsky (keyboards, 1979-present)

Background

The original Manhattan Transfer was formed in 1969 by vocalist Tim Hauser (1941–2014). He took the name from the 1925 urban-development novel Manhattan Transfer by John Dos Passos. The original lineup included singers Gene Pistilli, Marty Nelson, Pat Rosalia, and Erin Dickens.

Hauser first recorded with the doo-wop group The Criterions, which issued two singles (“I Remain Truly Yours” and “Don’t Say Goodbye”) on small-press Cecilia in 1959. He then cut the 1963 folk-pop single “You Can Tell The World” (b/w “Mary Mild”) as part of the Coventry Lads, which also included future singer/songwriter Jim Croce and songwriter/producer Tommy West, who later formed a country-pop combo with Pistilli and Terry Cashman. The latter trio, under the name Buchanan Brothers, charted with “Medicine Man” in 1969.

Jukin’

The five-piece Manhattan Transfer issued their singular album, Jukin’, on Capitol in 1971. Due to Pistilli’s name-recognition going into the project, the group is credited here as The Manhattan Transfer & Gene Pistilli. The album features 10 songs, including four co-written by Pistilli: “One More Time Around Rosie,” “Roll Daddy, Roll,” “Chicken Bone Bone,” and the Cashman/West/Pistilli composition “Rosianna.” Covers include chestnuts by Fats Waller (“Vipers Drag“), Ira Gershwin (“Sunny Disposish“), and Oakland/Drake (“Java Java,” a 1940 hit for The Ink Spots).

Stylistically, Jukin’ encompasses ’50s country (“Fair and Tender Ladies“), Dixieland (“Sunny Disposish“), swing (“Vipers Drag“), and doo wop (“Guided Missiles“). The exuberant opener, “Chicken Bone Bone,” trades trumpet blasts (courtesy of the Memphis Horns) with strummed, harmonized precision. Dickens takes the mic on Pistilli’s piano-laden torch song “I Need a Man,” singing in a sultry yet more subdued manner than her female counterparts in later lineups of the group. Nelson plays clarinet on three numbers, most prominently on the bluesy “One More Time Around Rosie.”

Though its mid-century arrangements were odd for the US music scene of 1971, Jukin’ foreshadows assorted acts on the mid-’70s UK pub scene, including purveyors of retro country (The Kursaal Flyers, Chilli Willi & the Red Hot Peppers) and Tin Pan Alley (Deaf School). “Rosianna” adds a touch of Western swing (violin) to a neo-’50s barroom-rock arrangement, presaging the Fabulous Poodles.

Reflecting the group’s retro leanings, Jukin’ sports a cover reminiscent of 1940s movie posters, complete with the tagline “Tingling with tunes! Sizzling with swing! Romping with rhythms!” With the exception of “Fair and Tender Ladies” (recorded April 1969, Hit Factory, NYC), the album was recorded Jan-Feb 1971 at A&R Recording Studio (NYC) and Woodlawn Sound Studios (Nashville) and produced by Scottish-Canadian songwriter, arranger, and studio tech Adam Mitchell, whose other production credits from this period include albums by McKendree Spring and Fludd.

The Manhattan Transfer

The Manhattan Transfer released their self-titled second album on April 2, 1975, on Atlantic–WEA.

It marked the first album by the definitive lineup of Tim Hauser, Laurel Massé, Alan Paul, and Janis Siegel, establishing the close-harmony jazz vocal style that became their signature through the late 1970s.

Sessions paired the quartet with producer Ahmet Ertegun and a large team of New York studio musicians under musical director and arranger Ira Newborn. Keyboard duties were handled by Don Grolnick (piano, clavinet), Murray Weinstock (organ), and Richard Tee (organ, electric piano). The rhythm section featured bassist Andy Muson and drummer Roy Markowitz, with guitarist Jerry Friedman and conguero Daniel Ben Zebulon. Tenor saxophonists Michael Brecker, Zoot Sims, and Mike Rod made guest appearances alongside a full brass and reed section of top Manhattan session players, including trumpeters Randy Brecker and Marvin Stamm and alto saxophonist David Sanborn.

Tim Hauser co-produced the album and contributed to vocal arrangements with Massé, Paul, and Siegel. The group wrote one number (“Clap Your Hands”) with Newborn, while the rest of the set consists of mid-century standards and R&B numbers associated with big band, doo-wop, and gospel eras. They reinterpret songs popularized by Glenn Miller (“Tuxedo Junction”), The Chiffons (“Sweet Talking Guy”), Sister Wynona Carr (“Operator”), The Cadillacs (“Gloria”), and The Ink Spots (“Java Jive”).

The material alternates between jazz revivals and nostalgic pop. “Tuxedo Junction” opens the album in precise four-part harmony modeled after the 1940 Glenn Miller arrangement. “Operator” merges gospel fervor with modern production and became their first major hit. “Candy” and “Blue Champagne” evoke 1940s ballroom swing, while “That Cat Is High” and “You Can Depend on Me” draw from prewar jump-blues phrasing. The Toussaint-penned “Occapella” adds a contemporary soul inflection, balancing the group’s archival reach with current influences.

A1. “Tuxedo Junction” (3:01) — Erskine Hawkins, William Johnson, Buddy Feyne, Julian Dash; originated as a 1939 instrumental by Erskine Hawkins and His Orchestra, later popularized by Glenn Miller’s 1940 version
A2. “Sweet Talking Guy” (2:25) — Doug Morris, Elliot Greenberg; originated as a 1966 hit for The Chiffons
A3. “Operator” (3:09) — William Spivery; derived from “Operator, Operator” by Sister Wynona Carr, first issued in 1954
A4. “Candy” (3:26) — Mack David, Joan Whitney, Alex Kramer; first popularized by Big Maybelle in 1956
A5. “Gloria” (2:57) — Esther Navarro; first recorded by The Cadillacs in 1954
A6. “Clap Your Hands” (2:55) — Ira Newborn, The Manhattan Transfer

B1. “That Cat Is High” (2:53) — J. M. Williams; written for The Ink Spots in 1938
B2. “You Can Depend on Me” (3:30) — Earl Hines, Charles Carpenter; originated as a 1932 recording by Louis Armstrong and His Orchestra
B3. “Blue Champagne” (2:21) — Frank Ryerson, Grady Watts, Jimmy Eaton; introduced by Jimmy Dorsey and His Orchestra in 1941
B4. “Java Jive” (2:44) — Milton Drake, Ben Oakland; originally cut by The Ink Spots in 1940
B5. “Occapella” (3:04) — Allen Toussaint; first recorded by Lee Dorsey in 1972
B6. “Heart’s Desire” (2:36) — Hugh X. Lewis, George Cox, James Dozier, Ralph Ingram, Bernard Purdie

Sessions occurred at Atlantic Studios in New York City with production by Tim Hauser and Ahmet Ertegun and engineering by Lew Hahn. Additional engineering was handled by Geoffrey Haslam and Gene Paul.

Atlantic promoted the album with “Operator” (b/w “You Can Depend on Me”), which reached No. 22 on the Billboard Hot 100. “Tuxedo Junction” followed, reaching No. 24 on the UK pop chart.

The Manhattan Transfer peaked at No. 33 on the Billboard Top Pop Albums chart, marking the group’s breakthrough and defining the polished, multi-era vocal sound that would carry through their subsequent Atlantic releases.

Coming Out

The Manhattan Transfer released their third album, Coming Out, on August 19, 1976, on Atlantic.

It continued The Manhattan Transfer’s revivalist approach to pre-rock vocal forms with an expanded stylistic range that merged 1940s swing harmonies, Latin and doo-wop influences, and select contemporary pop adaptations.

Sessions featured Tim Hauser, Laurel Massé, Alan Paul, and Janis Siegel supported by an extensive ensemble under producer Richard Perry. Key players included keyboardists Bill Payne, Clarence McDonald, and Dr. John, guitarist and arranger Ira Newborn, bassist Andy Muson, and multiple drummers, among them Ringo Starr, Jim Keltner, Jim Gordon, and Rick Shlosser. Percussion came from Ralph MacDonald, Bobbye Hall, and Nicky Marrero, with the Brecker Brothers providing tenor sax and trumpet accents.

Hauser handled vocal arrangements on most tracks and co-devised the concept for “Poinciana (The Song of the Tree)” with Paul. Siegel contributed arrangements across eight songs, while Massé arranged her balladic solo feature “It Wouldn’t Have Made Any Difference.” The group combined new material with covers of songs popularized by the Four Tops (“Helpless”), Michael Franks (“Popsicle Toes”), and Todd Rundgren (“It Wouldn’t Have Made Any Difference”). They also revived earlier standards by artists including Jesse Stone (“Don’t Let Go”), Al Castellanos (“The Speak Up Mambo”), and The Kingston Trio (“Scotch and Soda”).

The album’s material alternates between bright swing revivals, doo-wop throwbacks, and contemporary soft pop. “Don’t Let Go” opens with harmonized jump blues phrasing. “Zindy Lou” reimagines a 1940s-style harmony number with Latin-funk rhythm and chanting. “Helpless” captures Holland–Dozier–Holland’s Motown structure in tight, four-voice voicing. The French novelty “Chanson d’Amour” offers the set’s most ornate interplay, while “Poinciana (The Song of the Tree)” closes the first side as a languid, summery ballad with a saxophone feature by Michael Brecker. Laurel Massé’s performance on “It Wouldn’t Have Made Any Difference” highlights the group’s turn toward contemporary singer-songwriter influences.

A1. “Don’t Let Go” (2:45) — Jesse Stone; originated as a 1958 R&B single by Roy Hamilton
A2. “Zindy Lou” (2:50) — Johnny Moore, Eddie Smith; first recorded in 1955 by The Chimes; this version reworks the doo-wop original with Latin percussion and chant elements
A3. “Chanson d’Amour” (2:55) — Wayne Shanklin; originated as a 1958 single by Art and Dotty Todd; performed here in multilingual call-and-response format
A4. “Helpless” (3:07) — Holland–Dozier–Holland; 1966 Four Tops song, rendered in the style of The Supremes
A5. “Scotch and Soda” (2:59) — Dave Guard; first recorded by The Kingston Trio on their 1958 debut
A6. “Speak Up Mambo (Cuentame)” (3:05) — Al Castellanos; first cut in 1956 by Al Castellanos and His Orchestra

B1. “Poinciana (The Song of the Tree)” (4:11) — Nat Simon, Buddy Bernier; derived from the 1936 Cuban-inspired standard popularized by Ahmad Jamal in 1958
B2. “S.O.S.” (3:10) — Ron Roker, Gerry Shury, Phil Swern
B3. “Popsicle Toes” (4:16) — Michael Franks; adapted from Franks’s 1975 album The Art of Tea
B4. “It Wouldn’t Have Made Any Difference” (3:30) — Todd Rundgren; first recorded on Rundgren’s 1972 album Something / Anything?
B5. “The Thought of Loving You” (2:56) — David White; originally cut in 1968 by The Crystal Mansion

Sessions occurred at multiple Los Angeles studios under producer Richard Perry with engineering by Douglas Botnick, Lew Hahn, Rick Rowe, and Howard Steele. Tim Hauser served as assistant producer, and mastering was handled by Allen Zentz.

Art direction was by Bob Defrin and Abie Sussman with cover photography by Suze Randall.

Atlantic promoted Coming Out with “Chanson d’Amour” (b/w “Poinciana”), which topped the UK chart for three weeks and became the group’s biggest international hit.

Coming Out consolidated The Manhattan Transfer’s reputation as modern interpreters of swing, vocal jazz, and pop nostalgia, bridging vintage material and 1970s studio craft through precise four-part vocal architecture.

Pastiche

The Manhattan Transfer released their fourth album, Pastiche, on January 19, 1978, on Atlantic.

The album blends swing, vocal jazz, and nostalgic pop covers arranged with big band instrumentation and layered harmonies. It marked the group’s final studio recording with original member Laurel Massé, who departed after a 1979 car accident.

Vocalists Tim Hauser, Laurel Massé, Alan Paul, and Janis Siegel front the album with orchestral backing that features multiple guitarists, keyboardists, reedists, and brass players, including trumpeter Randy Brecker, trombonist Urbie Green, and reedist Don Menza.

Hauser produced most tracks with Siegel and Andy Muson as co-producers; Steve Barri handled two numbers. Siegel arranged the vocal parts on select tracks.

The album primarily covers vintage standards by composers like Cole Porter, Duke Ellington, and Holland–Dozier–Holland, along with contemporary selections by Rupert Holmes and John Klemmer.

Notable songs include a brassy revival of Jimmy Giuffre’s “Four Brothers,” an urbane rendition of Cole Porter’s “Love for Sale,” and a smooth, descending-chorus reading of “Walk in Love,” first heard on David Batteau’s 1976 album. Their version of “Where Did Our Love Go” reinterprets the Supremes’ 1964 hit in jazz–pop form, while “Je voulais te dire que je t’attends” translates a 1976 Michel Jonasz ballad for English listeners.

A1. “Four Brothers” (3:47) – Jimmy Giuffre
A2. “A Gal in Calico” (2:41) – Arthur Schwartz, Leo Robin — introduced in the 1946 film The Time, the Place and the Girl
A3. “Love for Sale” (3:57) – Cole Porter — introduced by Kathryn Crawford in the 1930 Broadway musical The New Yorkers; sung from the perspective of a prostitute
A4. “Je voulais te dire que je t’attends” (4:20) – Michel Jonasz, Millmer Peter — originally recorded in 1976 by French singer Michel Jonasz
A5. “On a Little Street in Singapore” (3:15) – Peter DeRose, Billy Hill — popular 1930s standard recorded by Frank Sinatra with Harry James, Glenn Miller, and later Bob Dylan
A6. “In a Mellow Tone” (3:12) – Duke Ellington, Milt Gabler — 1940 jazz standard based on the 1917 piece “Rose Room”

B1. “Walk in Love” (3:04) – John Klemmer, David Batteau — subdued ballad with descending modulated chorus, first appearing on Batteau’s 1976 album
B2. “Who, What, When, Where, Why” (3:28) – Rupert Holmes — from Holmes’ 1976 album Singles, written from the jilted lover’s perspective
B3. “It’s Not the Spotlight” (3:37) – Gerry Goffin, Barry Goldberg
B4. “Pieces of Dreams” (2:53) – Dick Addrisi, Don Addrisi
B5. “Where Did Our Love Go” (2:45) – Holland–Dozier–Holland — originally a 1964 No. 1 hit for the Supremes
B6. “Single Girl” (3:07) – Tim Hauser, Laurel Massé, Alan Paul, Janis Siegel

Sessions occurred between December 1976 and September 1977 at Studio 55 and Clover Recording Studios (Los Angeles), Kendun Recorders (Burbank), Atlantic Studios and A&R Recording (New York), The Sound Lab (Nashville), and EMI Studios 301 (Sydney). Tim Hauser produced most tracks with Steve Barri handling two; Larry Emerine and Phil Kaye engineered with Gene Paul and Toby Scott. Mastering took place at Allen Zentz Mastering in San Clemente, California.

Cover art was designed by Fayette Hauser with photography by Gary Merrin, Roger Sandler, and Gai Terrell.

Atlantic promoted Pastiche with “Walk in Love” (b/w “Who, What, When, Where, Why”), which reached the UK Top 20 in early 1978.

The Manhattan Transfer Live (1978)

In May 1978, The Manhattan Transfer released their first live album on Atlantic.

Captured during concerts in Manchester, Bristol, and at London’s Hammersmith Odeon Theatre, the set preserves the quartet’s intricate stage blend of jazz harmonies, swing-era standards, and pop crossovers. It was the final release to feature founding member Laurel Massé before her 1979 departure.

The live ensemble included Dave Wallace (keyboards), Wayne Johnson (guitar), Michael Schnoebelen (bass guitar and contrabass), and Peter Johnson (drums), with a full horn section of five saxophonists, four trumpeters, and three trombonists, led by contractor David Katz.

The program mixes mid-century vocal standards with R&B novelties and contemporary material. It includes renditions of Bob Troup’s “Snootie Little Cutie,” Jule Styne’s “Sunday,” and the group’s versions of The Ink Spots’ “Java Jive” and Erskine Hawkins’ “Tuxedo Junction.” They also revisit their earlier successes “Operator” and “Chanson d’Amour,” and intersperse humor through brief spoken interludes such as “15 Minute Intermission” and “Freddy Morris Monologue.”

A1. “That Cat Is High” (3:15) — J.M. Williams; originated as a 1930s side by The Ink Spots.
A2. “Snootie Little Cutie” (3:19) — Bob Troup
A3. “Four Brothers” (3:56) — Jimmy Giuffre, Jon Hendricks; adapted from the Woody Herman orchestra staple with Hendricks’ vocalese lyrics.
A4. “On a Little Street in Singapore” (3:36) — Billy Hill, Peter De Rose
A5. “Java Jive” (2:54) — Milton Drake, Ben Oakland; first popularized by The Ink Spots in 1940.
A6. “Walk in Love” (3:20) — David Batteau, John Klemmer
A7. “Chanson d’Amour” (2:36) — Wayne Shanklin; revived from Art and Dotty Todd’s 1958 hit recording.
A8. “Speak Up Mambo (Cuentame)” (3:21) — Al Castellanos
A9. “15 Minute Intermission” (1:36) — Sonny Skylar

B1. “In the Dark” (4:14) — Lil Green, Bill Broonzy; originally recorded by Lil Green in 1941.
B2. “Je Voulais (Te Dire Que Je T’Attends)” (4:49) — Michel Jonasz, Pierre Grosz
B3. “Sunday” (0:41) — Jule Styne, Chester Cohn, Bennie Krueger, Ned Miller
B4. “Candy” (3:35) — Mark David, Joan Whitney, Alex Kramer
B5. “Well, Well, Well” (1:52) — Terry Shand, Billy Moll, Dick Robertson
B6. “Freddy Morris Monologue” (1:07) — Alan Paul
B7. “Bacon Fat” (3:33) — Andre Williams; originally recorded by Andre Williams and His New Group in 1956.
B8. “Turn Me Loose” (2:50) — Doc Pomus, Mort Shuman; first made popular by Fabian in 1959.
B9. “Operator” (3:52) — William Spivery; a cover of The Friendly Brothers’ gospel piece.
B10. “Tuxedo Junction” (3:01) — Erskine Hawkins, William Johnson, Buddy Feyne, Julian Dash; originated as a 1939 Erskine Hawkins Orchestra number later revived by Glenn Miller.

Concerts were recorded using The Rolling Stones Mobile Unit and remixed by Keith Grant at Olympic Studios in London. Tim Hauser produced the album with Janis Siegel as associate producer.

The standard Atlantic edition features a cartoon drawing of the four members; the Mobile Fidelity Sound Lab issue replaced it with a photographic silhouette of the group at dusk.

Originally withheld from U.S. release, the album appeared domestically in 1979 as an audiophile Original Master Recording through Mobile Fidelity, and was finally issued on CD by Wounded Bird Records in 2005.

Extensions

The Manhattan Transfer released their fifth studio album, Extensions, on October 31, 1979, on Atlantic.

The album fuses vocal jazz with contemporary pop and funk elements, expanding the group’s repertoire beyond swing-era stylings. It marked their first project with vocalist Cheryl Bentyne, who replaced Laurel Massé earlier that year, and their first collaboration with producer Jay Graydon.

Tim Hauser, Alan Paul, Janis Siegel, and Bentyne perform layered four-part arrangements with accompaniment by multiple Los Angeles session players, including guitarist Jay Graydon, keyboardists Michael Omartian and David Foster, bassist David Hungate, and drummer Jeff Porcaro.

Graydon produced the album and contributed as guitarist, arranger, and co-writer on several tracks. Paul co-wrote one of the group’s signature numbers, and Siegel arranged several vocal sections. The album features covers of works by Weather Report (“Birdland”) and Tom Waits (“Foreign Affair”).

“Birdland” opens the album as a vocalese adaptation of the 1977 Weather Report fusion classic, with Jon Hendricks’ lyrics and unison swing harmonies. “Nothin’ You Can Do About It,” a sharp, piano-driven number by Foster and Graydon, mixes jazz rhythm with pop precision. “Twilight Zone/Twilight Tone” merges disco-pop production with Rod Serling samples and noir-inspired lyrics sung by Bentyne. “Shaker Song,” adapted from Spyro Gyra’s 1977 instrumental, follows a restless narrator seeking escape from heartbreak.

A1. “Birdland” (6:00) – Jon Hendricks, Joe Zawinul — buoyant vocal interpretation of Weather Report’s 1977 jazz fusion classic, reimagined with unison harmonies
A2. “Wacky Dust” (3:10) – Stanley Adams, Oscar Levant
A3. “Nothin’ You Can Do About It” (4:25) – David Foster, Jay Graydon, Steve Kipner — piano-based Tin Pan Alley-inspired number with angular vocal lines and jazz-funk pulse; later re-recorded by Foster and Graydon for their 1980 Airplay album
A4. “Coo Coo-U” (2:13) – Bill Loughborough, David “Buck” Wheat
A5. “Body and Soul” (4:26) – Frank Eyton, Johnny Green, Edward Heyman, Robert Sour — jazz standard first recorded by Coleman Hawkins in 1939, one of the most covered ballads in the genre
B1. “Twilight Zone / Twilight Tone” (6:05) – Bernard Herrmann, Jay Graydon, Alan Paul — two-part disco-pop suite; features Rod Serling’s sampled voice from The Twilight Zone
B2. “Trickle Trickle” (2:19) – Clarence Bassett — 1958 single by the Videos, revived with fast-paced vocal interplay
B3. “Shaker Song” (4:30) – is an upbeat, debonair jazz-pop number about a gentleman who flees a failed romance and attempts to outrun memory with radio noise and nightclub distractions, but his obsessive heart keeps replaying her words and blocks every escape; first recorded as a 1977 instrumental by Spyro Gyra, witten by Jay Beckenstein, David Lasley, Allee Willis.
B4. “Foreign Affair” (3:54) – Tom Waits — cover of Waits’ 1977 lounge ballad from Foreign Affairs

Sessions occurred at Dawnbreaker Studios (San Fernando, California) with producer Jay Graydon, who also mixed and oversaw overdub tracking at Garden Rake Studios (Studio City). Joseph Bogan and Bill Thomas engineered the basic tracks; Bernie Grundman mastered the album at A&M Studios in Hollywood.

Front cover illustration was done by Pater Sato, with art direction and design by Tako Ono and photography by Matthew Rolston. Costumes were designed by Jean-Paul Gaultier.

Atlantic promoted Extensions with “Twilight Zone/Twilight Tone” (b/w “Body and Soul”), which reached No. 4 on the Billboard Disco chart and No. 30 on the Hot 100. “Trickle Trickle” followed, reaching No. 73 on the Hot 100.

“Birdland” won the 1981 Grammy Award for Best Jazz Fusion Performance, with Siegel receiving a separate Grammy for her vocal arrangement. The album reached No. 55 on the Billboard Top LPs chart.

A1. “Birdland” Jon Hendricks, Joe Zawinul 6:00) boyant vocal interpretation of this 1977 Weather Report classic with unison swing-style harmonies2. “Wacky Dust” Stanley Adams, Oscar Levant 3:103. “Nothin’ You Can Do About It” David Foster, Jay Graydon, Steve Kipner 4:25) piano-based Tin Pan Alley number with angular vocal lines and jazz-funk drive; re-recorded by FOster and Graydon for their 1980 Airplay album4. “Coo Coo-U” Bill Loughborough, David “Buck” Wheat 2:135. “Body and Soul” Frank Eyton, Johnny Green, Edward Heyman, Robert Sour 4:26B1. “Twilight Zone / Twilight Tone” Bernard Herrmann / Jay Graydon, Alan Paul 6:05) disco-pop thriller in two parts, Janis sings the verses with feisty delivery; sampled voice of Rod Serling during the Twilight Zone theme insertions7. “Trickle Trickle” Clarence Bassett 2:198. “Shaker Song” Jay Beckenstein, David Lasley, Allee Willis 4:30) an upbeat, debonair jazz-pop number about a gentleman who flees a failed romance, drives away to drown it in radio noise and nightclub distractions, but his obsessive heart keeps replaying her words and blocks every escape.; first recorded as a 1977 instrumental by Spyro Gyra

Mecca for Moderns

The Manhattan Transfer released their sixth studio album, Mecca for Moderns, in June 1981 on Atlantic.

The album continues the group’s fusion of vocal jazz and pop sophistication, balancing doo-wop revivalism with noir-tinged funk and big band modernism. It was their second consecutive collaboration with producer and guitarist Jay Graydon, who led a team of Los Angeles session players in a polished studio production that bridged the precision of pop fusion and the flair of swing-era vocal arranging.

Vocalists Tim Hauser, Janis Siegel, Alan Paul, and Cheryl Bentyne perform in close four-part harmonies with arrangements that alternate between sleek pop textures and intricate jazz voicings. Graydon produced and co-arranged much of the material with keyboardists David Foster and Greg Mathieson. The instrumental roster includes drummer Steve Gadd, Toto guitarist Steve Lukather, bassist Abraham Laboriel, and percussionist Alex Acuña.

Graydon co-wrote four songs, including “On the Boulevard,” “Spies in the Night,” and “Smile Again,” with additional input from Foster, Page, Champlin, and Jordan. They also cover songs by the Ad Libs (“The Boy from New York City”), Freddie Green (“Until I Met You (Corner Pocket)”), Charlie Parker (“(The Word of) Confirmation”), and Eric Maschwitz (“A Nightingale Sang in Berkeley Square”).

The album alternates between slick, rhythm-driven numbers and lush ballads. “On the Boulevard” opens in jazz-funk time with alternating leads from Paul and Bentyne. Siegel fronts a reimagined version of “The Boy from New York City,” rendered with layered harmonies and brass accents. “(Wanted) Dead or Alive” plays like a Caribbean spy pastiche, while “Spies in the Night” blends cinematic motifs and mock suspense. “Smile Again” closes the first side in tranquil, modulated form. The second side shifts to jazz repertoire with “Until I Met You (Corner Pocket)” and Parker’s bebop classic “(The Word of) Confirmation,” followed by the urbane original “Kafka” and the choral closer “A Nightingale Sang in Berkeley Square.”

A1. “On the Boulevard” (4:08) — written by Richard Page, Jay Graydon, and Marc Jordan; uptempo jazz-funk track with alternating Alan Paul and Cheryl Bentyne vocals that build to a falsetto refrain
A2. “The Boy from New York City” (3:40) — written by George Davis and John T. Taylor; originated as a 1965 hit for the Ad Libs and later revived by Darts; led by Janis Siegel in a bright, brass-laden reworking
A3. “(Wanted) Dead or Alive” (3:27) — written by Art DeCoteau and Slinger Francisco; playful Kid Creole–style escapade built around a foreign espionage theme
A4. “Spies in the Night” (3:59) — written by David Foster and Jay Graydon; tongue-in-cheek thriller piece with noir inflections and interpolations of the “James Bond Theme”
A5. “Smile Again” (4:33) — written by Bill Champlin, David Foster, Jay Graydon, and Alan Paul; gentle mid-tempo ballad that swells on a key-modulated chorus

B1. “Until I Met You (Corner Pocket)” (5:17) — written by Freddie Green and Don Wolf; a Count Basie–era standard reinterpreted with crisp vocal phrasing and rhythmic swing
B2. “(The Word of) Confirmation” (3:14) — written by Charlie Parker; a vocalese translation of Parker’s bebop line with Siegel’s rapid phrasing and scatting by Jon Hendricks
B3. “Kafka” (4:08) — written by Bernard Kafka and Jay Graydon; sleek, atmospheric fusion piece with abstract lyrics and modernist harmonies
B4. “A Nightingale Sang in Berkeley Square” (3:46) — written by Eric Maschwitz and Manning Sherwin; arranged by Gene Puerling as a layered a cappella finale

Sessions occurred at Dawnbreaker Studios in San Fernando, California, with producer Jay Graydon and engineer Joseph Bogan. Overdubs and mixing took place at Garden Rake Studios (Studio City) and mastering at A&M Studios in Hollywood by Bernie Grundman.

Atlantic promoted Mecca for Moderns with “The Boy from New York City” (b/w “Kafka”), which reached No. 7 on the Billboard Hot 100 and won the Grammy for Best Pop Performance by a Duo or Group With Vocals. “Spies in the Night” followed, peaking at No. 103 on the Bubbling Under chart. “Until I Met You (Corner Pocket)” earned the group the Grammy for Best Jazz Vocal Performance, and “A Nightingale Sang in Berkeley Square” won for Best Vocal Arrangement for Two or More Voices.

The album title originated from a phrase found on Duke Ellington’s Live at the Blue Note 1952, where liner notes described the club as “the real mecca for moderns.”

A1. “On the Boulevard” Richard Page, Jay Graydon, Marc Jordan 4:08) uptempo jazz funk with Alan-sung mezzo verses, cut to an airy pre-chorus by Cheryl, who soars on the falsetto “you/me” chorus2. “The Boy from New York City” George Davis, John T. Taylor 3:40) Janis leads this slick recreation of the 1965 Ad Libs classic, a recent UK hit for Darts3. “(Wanted) Dead or Alive” Art DeCoteau, Slinger Francisco 3:27) Kid Creole-style foreign espionage caper4. “Spies in the Night” David Foster, Jay Graydon 3:59) another noir “thriller” track (ala Twilight Zone) with comedic suspense sounds and a surprise chorus5. “Smile Again” Bill Champlin, David Foster, Jay Graydon, Alan Paul 4:33) tranquile ballad that soars on the modulated chorus

Bodies and Souls

The Manhattan Transfer released their seventh studio album, Bodies and Souls, in September 1983 on Atlantic.

The album marked a stylistic shift toward contemporary R&B and West Coast soul, expanding their jazz-pop sound with layered synthesizers, electronic drums, and funk-inflected rhythms. It balances high-tech production with traditional vocal interplay, dividing the record between uptempo “Bodies” tracks and reflective “Souls” material.

The group—Cheryl Bentyne, Tim Hauser, Alan Paul, and Janis Siegel—collaborated with producer Richard Rudolph, co-producing several tracks themselves. The sessions feature an array of top Los Angeles session players, including Toto drummer Jeff Porcaro, bassist Nathan East, keyboardists Greg Phillinganes and Michael Boddicker, and trumpeter Jerry Hey. Stevie Wonder contributes harmonica to the opening track, while Frankie Valli appears on “American Pop.”

Rod Temperton contributed two songs, “Spice of Life” and “Mystery,” both originally written for Michael Jackson’s Thriller. Canadian songwriter Marc Jordan and keyboardist John Capek co-wrote three numbers, including “This Independence,” “American Pop,” and “Soldier of Fortune.” Alan Paul co-wrote “Code of Ethics” and “Malaise en Malaisie,” while Fletcher Henderson’s “Down South Camp Meetin’” and Robert Kraft’s “The Night That Monk Returned to Heaven” complete the set of covers and tributes.

The “Bodies” side emphasizes glossy R&B textures and narrative vignettes. “Spice of Life” opens with synth-funk propulsion and Wonder’s harmonica flourish. “This Independence” builds tension through staccato keyboards and rising harmonies, while “Mystery” blends mid-tempo R&B with angular refrains. “American Pop,” featuring Valli, recalls the nostalgic urban storytelling of “The Boy from New York City.” “Soldier of Fortune” closes the side with a cinematic sweep of electronic percussion and koto textures. The “Souls” sequence introduces broader instrumentation—dark orchestral buildups on “Code of Ethics,” Gainsbourg’s bilingual cool on “Malaise en Malaisie,” and Monk’s commemorative finale.

A1. “Spice of Life” (3:40) — written by Derek Bramble and Rod Temperton; sleek soul-funk opener with synth interplay, driving bass, bright brass, and a harmonica solo by Stevie Wonder
A2. “This Independence” (5:01) — written by John Capek and Marc Jordan; high-tech piece with staccato keyboards and a rising, suspenseful chorus
A3. “Mystery” (5:00) — written by Rod Temperton; supple R&B ballad with angular harmonies, later covered by Anita Baker on Rapture
A4. “American Pop” (3:34) — written by John Capek and Marc Jordan; atmospheric intro leads into a 1960s-themed narrative featuring guest vocals by Frankie Valli
A5. “Soldier of Fortune” (4:21) — written by John Capek and Marc Jordan; art-pop arrangement with koto and layered choral refrains, later covered by John Paul Young

B1. “Code of Ethics” (5:06) — written by Wayne Johnson, Alan Paul, and Randy Waldman; epic fusion track with dark verses and orchestral, syncopated choruses
B2. “Malaise en Malaisie” (3:58) — written by Alain Chamfort, Serge Gainsbourg, and Alan Paul; French-language number with cool continental atmosphere
B3. “Down South Camp Meetin’” (3:00) — written by Fletcher Henderson, Jon Hendricks, and Irving Mills; lively update of the 1930s jazz standard
B4. “Why Not! (Manhattan Carnival)” (2:33) — written by Michel Camilo, Julie Elgenberg, and Hilary Koski; Latin jazz instrumental with percussive brightness
B5. “Goodbye Love” (3:04) — written by Jeremy Lubbock and Richard Rudolph; string-accompanied torch song with subdued pacing
B6. “The Night That Monk Returned to Heaven” (3:23) — written by Robert Kraft; reflective closing tribute to Thelonious Monk with vocal textures and ethereal atmosphere

Sessions occurred at Westlake Studios, Sunset Sound, and Boddifications in Los Angeles, with additional work at United Western Recorders, Baby ’O, and T.A.P.E. Recorders in Hollywood. Richard Rudolph and The Manhattan Transfer produced most tracks, with Tim Hauser and Greg Mathieson producing “Down South Camp Meetin’.” Kevin Clark engineered and mixed the majority of the album, and Bernie Grundman mastered at A&M Studios in Hollywood.

Atlantic promoted Bodies and Souls with “Spice of Life” (b/w “Mystery”), which reached No. 32 on the Billboard R&B chart and No. 40 on the Hot 100. “Mystery” followed, peaking at No. 80 R&B and No. 102 pop. A 12-inch single of “This Independence” also appeared later that year.

“The Night That Monk Returned to Heaven” serves as a closing homage to Thelonious Monk, concluding the group’s most R&B-oriented album and their first to appear on the Billboard R&B chart.

A1. “Spice of Life” Derek Bramble, Rod Temperton 3:40) slick modern West Coast soul-funk (ala George Benson) with wiggly synths, driving bass, piping brass, vocoderm, and Stevie Wonder’s harmonica solo 2. “This Independence” John Capek, Marc Jordan 5:01) hi-tech number with stacatto synth and suspensful buildup across the Paul-sung, minor-key verses and intensified chorus harmonies3. “Mystery” Rod Temperton 5:00) contemporary R&B jazz-pop with an angular chorus, later covered by Anita Baker4. “American Pop” John Capek, Marc Jordan 3:34) “mysterious” intro (ala Twilight Zone) leads to another 1960s vignette (ala BFNYC) about an uptown girl and her potential suitor5. “Soldier of Fortune” John Capek, Marc Jordan 4:21) hi-tech art-pop epic with stacotto koto, call-and-response verses, and a grand harmonized chorus, covered soon after by John Paul YoungSide two: “Souls”6. “Code of Ethics” Wayne Johnson, Alan Paul, Randy Waldman 5:06) epic number with dark, open-cadence verses and cinematic buildup to the orchestral, syncopated chorus

Bop Doo-Wopp

The Manhattan Transfer released their eighth studio album, Bop Doo-Wopp, in 1984 on Atlantic.

The album pairs four New York–recorded studio tracks with six live performances from their 1983 world tour, balancing their modern vocal-jazz sound with doo-wop revival elements. Five of the live numbers stem from the group’s November 1983 concerts at Nakano Sun Plaza in Tokyo, later issued in expanded form on Man-Tora! Live in Tokyo. A sixth, “Duke of Dubuque,” came from a PBS Evening at Pops broadcast, while “Safronia B” was captured in Sydney that December.

Keyboardist and conductor Yaron Gershovsky handled most musical arrangements alongside vocalists Tim Hauser, Janis Siegel, Alan Paul, and Cheryl Bentyne. Instrumental backing features guitarists Ira Newborn and Wayne Johnson, bassists Alex Blake and Andy Muson, and drummers Jim Nelson and Art Rodriguez, with Don Roberts on woodwinds.

The set combines classic jazz, R&B, and vocal pop sources. They cover Bobby Troup’s “Route 66,” Duke Pearson and Oscar Brown Jr.’s “Jeannine,” the 1940s novelty “My Cat Fell in the Well,” and Calvin Boze’s jump-blues “Safronia B.” “Unchained Melody” closes the album in tight four-part harmony, while their rendition of “Baby Come Back to Me (The Morse Code of Love)” revives an early-’60s-style doo-wop written by Nick Santamaria and originally recorded by the Capris.

A1. “Route 66” (3:20) — originated as a 1946 Nat King Cole Trio single written by Bobby Troup; later covered by Chuck Berry and the Rolling Stones.
A2. “Jeannine” (5:30) — adapted from Duke Pearson’s 1960 jazz standard with new lyrics by Oscar Brown Jr.
A3. “My Cat Fell in the Well (Well! Well! Well!)” (2:45)
A4. “The Duke of Dubuque” (2:20)
A5. “How High the Moon” (1:58) — composed by Nancy Hamilton and Morgan Lewis in 1940; a 1951 hit for Les Paul and Mary Ford.

B1. “Baby Come Back to Me (The Morse Code of Love)” (2:52) — written and first recorded in 1982 by the Capris; the lyrics celebrate courtship through playful radio-call metaphors.
B2. “Safronia B” (2:08) — a 1950 jump-blues number by Calvin Boze.
B3. “Heart’s Desire” (2:40)
B4. “That’s the Way It Goes” (2:49)
B5. “Unchained Melody” (2:30) — written by Alex North and Hy Zaret for the 1955 film Unchained; later popularized by the Righteous Brothers in 1965.

Sessions occurred at studios in New York City under producer Tim Hauser, with Richard Perry co-producing “My Cat Fell in the Well.” Elliot Scheiner oversaw tracking and remixing, and Bernie Grundman mastered the finished album at A&M Studios in Los Angeles.

Atlantic promoted Bop Doo-Wopp with “Baby Come Back to Me (The Morse Code of Love),” which entered the Billboard Hot 100 at No. 83 in early 1985. Earlier, their version of “Route 66” (originally released in 1982 for Sharky’s Machine) reached No. 78 on the Hot 100 and won the group a Grammy for Best Jazz Vocal Performance, Duo or Group.

Vocalese

The Manhattan Transfer released their ninth studio album, Vocalese, in 1985 on Atlantic.

The album marked the group’s most ambitious jazz project, devoted entirely to the art of vocalese—setting lyrics to established jazz solos and instrumental themes. Across eleven tracks, the quartet reinterprets works by Dizzy Gillespie, Benny Golson, Sonny Rollins, Quincy Jones, Count Basie, and others, performing intricate multi-voice arrangements that emulate the phrasing, tone, and rhythmic precision of the original instrumental lines.

The lineup—Cheryl Bentyne, Tim Hauser, Alan Paul, and Janis Siegel—worked under producers Hauser and Martin Fischer with a large ensemble of veteran jazz players. The Count Basie Orchestra appears on two numbers under Thad Jones’ supervision. Guest musicians include pianists McCoy Tyner, Tommy Flanagan, and Walter Davis Jr.; bassist Ron Carter; drummer Grady Tate; and trumpeter Dizzy Gillespie, who reprises his own 1940s classic on “Another Night in Tunisia.” Vocalist Bobby McFerrin contributes percussion and harmony on “Ray’s Rockhouse,” while lyricist Jon Hendricks, a founder of the vocalese style, appears as guest singer on “Rambo” and “Ray’s Rockhouse.”

Hendricks wrote all lyrics, adapting solos by Rollins (“Airegin”), Golson (“That’s Killer Joe,” “I Remember Clifford”), Jones (“Meet Benny Bailey,” “To You”), and Brown (“Sing Joy Spring”). He also co-wrote “Another Night in Tunisia” with Gillespie and contributed new text to pieces by Count Basie (“Blee Blop Blues”) and Ray Charles (“Ray’s Rockhouse”).

The material divides between hard-swinging ensemble showcases and intimate tributes. “That’s Killer Joe” and “Meet Benny Bailey” open with complex choral interplay modeled on brass voicings, while “Airegin” races through bebop changes with verbal dexterity. “To You” and “Oh Yes, I Remember Clifford” form a reflective midsection with string phrasing emulated by layered harmonies. “Another Night in Tunisia” and “Ray’s Rockhouse” fuse scatting, rhythmic exchanges, and shifting vocal percussion. “Sing Joy Spring” closes the album with extended tempo shifts and contrapuntal structure.

A1. “That’s Killer Joe” (5:02) — originated as a 1960 Benny Golson composition; Hendricks’ lyrics portray the cool assurance of a jazzman archetype.
A2. “Rambo” (3:19) — based on J. J. Johnson’s composition, featuring the Count Basie Orchestra.
A3. “Airegin” (3:19) — from Sonny Rollins’ 1954 hard-bop classic, its title spelling “Nigeria” backward; the lyric celebrates creative resilience and African roots.
A4. “To You” (3:53) — Thad Jones ballad reimagined with backing vocals by The Four Freshmen.
A5. “Meet Benny Bailey” (3:29) — Quincy Jones’ tribute to trumpeter Benny Bailey, given rapid-fire lyric exchanges.
A6. “Another Night in Tunisia” (4:12) — reworking of Dizzy Gillespie’s “A Night in Tunisia” with new lyrics by Hendricks; features Gillespie on trumpet and McFerrin on supporting vocals.

B1. “Ray’s Rockhouse” (5:06) — adapted from Ray Charles’ “Let’s Go Get Stoned” progression; McFerrin provides bass vocal and vocal percussion.
B2. “Blee Blop Blues” (3:01) — Count Basie number transformed into an onomatopoeic vocal workout.
B3. “Oh Yes, I Remember Clifford” (3:45) — Benny Golson’s elegy for trumpeter Clifford Brown, rendered with reverent restraint.
B4. “Sing Joy Spring” (7:07) — Clifford Brown composition arranged with alternating time feels and shifting lead lines.
B5. “Move” (2:49) — Denzil Best’s bebop standard from 1949, closing with ensemble scatting over tight rhythmic pacing.

Sessions occurred at The Village Recorder, Ocean Way Recording, and Bill Schnee Studios in Los Angeles, with additional recording at Craig Harris Music in Studio City, Fantasy Studios in Berkeley, Can-Am Recorders in Tarzana, and Clinton Recording Studios in New York. Elliot Scheiner engineered and mixed the album at Sound Labs in Hollywood, and Bernie Grundman mastered at his Hollywood facility.

Atlantic issued “Another Night in Tunisia” as the lead single, followed by “Ray’s Rockhouse.”

Vocalese earned twelve Grammy nominations, the most ever for a jazz album, including Record and Album of the Year, and won in multiple categories. It became a defining vocal-jazz work of the 1980s and remains one of the group’s most lauded releases.

Brasil

The Manhattan Transfer released their tenth studio album, Brasil, in November 1987 on Atlantic.

The album marked a stylistic shift toward Brazilian popular music, blending the group’s intricate jazz-based vocal harmonies with MPB rhythms, lush percussion, and electric instrumentation. Sessions involved prominent Brazilian artists, including composers and guest vocalists Djavan, Milton Nascimento, Ivan Lins, and Gilberto Gil.

Djavan wrote or co-wrote five of the album’s nine songs, including the singles. Lins contributed two compositions with lyricist Vítor Martins, while Gil and Nascimento each provided one. American lyricists Doug Fieger, Amanda McBroom, Brock Walsh, and Tracy Mann supplied English lyrics to the adapted material.

Songs range from kinetic, synth-layered numbers like “Soul Food to Go” to environmentally conscious pieces such as “The Jungle Pioneer” and “Notes from the Underground.” Djavan’s “Capim” features a duet with its composer and a tenor saxophone solo by Stan Getz, while “So You Say” and “Agua” balance sleek pop-jazz arrangements with introspective vocal interplay.

A1. “Soul Food to Go” (5:08) — Djavan, Doug Fieger; features guest vocals by Djavan; lyrics juxtapose urban life with cultural and sensory indulgence.
A2. “The Zoo Blues” (3:55) — Djavan, Doug Fieger
A3. “So You Say” (4:47) — Djavan, Amanda McBroom; alto saxophone solo by David Sanborn
A4. “Capim” [Grass] (4:58) — Djavan; duet with Djavan; tenor saxophone solo by Stan Getz

B1. “Metropolis” (4:15) — Ivan Lins, Vítor Martins, Brock Walsh
B2. “Hear the Voices” (4:06) — Gilberto Gil, Tracy Mann
B3. “Agua” [Water] (5:08) — Djavan, Brock Walsh
B4. “The Jungle Pioneer” (3:30) — Márcio Borges, Milton Nascimento, Brock Walsh; guest vocals by Milton Nascimento
B5. “Notes from the Underground” (5:45) — Ivan Lins, Vítor Martins, Brock Walsh; features the experimental Brazilian ensemble Uakti on handmade percussion instruments

Sessions occurred at Ocean Way Recording, Studio 55, and Skip Saylor Recording (Los Angeles); Bill Schnee Studios and The Grey Room (Hollywood); JHL Studios (Pacific Palisades); and Som Livre Studios (Rio de Janeiro). Tim Hauser produced all tracks except “The Jungle Pioneer,” which he co-produced with Mazzola. Ed Thacker engineered the sessions; Brian Malouf mixed the album at Precision Mastering in Hollywood.

Brasil features paintings and design by Fayette Hauser, with photography by Lawrence Manning and others.

Atlantic promoted Brasil with “Soul Food to Go,” which reached No. 25 on the Billboard Adult Contemporary chart. The single was accompanied by a stop-motion animated video produced by Will Vinton Studios.

Brasil won the Grammy Award for Best Pop Performance by a Duo or Group With Vocals, recognized for its fusion of American vocal jazz and contemporary Brazilian music.

Live (1987)

In 1987, Atlantic issused Live, the second full live album by The Manhattan Transfer.

It was recorded live at Nakano Sunplaza Hall in Tokyo on February 20–21, 1986, and released in June 1987.

The album captures The Manhattan Transfer’s vocal jazz repertoire in a live setting, showcasing tight ensemble interplay and their signature jazz harmonies. It was the group’s first live release with Cheryl Bentyne.

The Manhattan Transfer consisted of Cheryl Bentyne, Tim Hauser, Alan Paul, and Janis Siegel on vocals. Backing players included Yaron Gershovsky – keyboards and musical director, Wayne Johnson – guitar, Alex Blake – bass guitar and acoustic bass, Buddy Williams – drums and Yamaha BX-1 headless bass, and Don Roberts – reeds.

Jon Hendricks contributed lyrics to most tracks, with additional compositions by Jimmy Giuffre, Sonny Rollins, Count Basie, Thad Jones, Clifford Brown, Benny Golson, Ray Charles, and others. The album includes covers of Count Basie (“Rambo”) and Ray Charles (“Ray’s Rockhouse”).

Live selections highlight the group’s jazz sophistication: “Four Brothers” and “Airegin” exemplify bebop phrasing with angular vocal lines, “Sing Joy Spring” and “Move” emphasize rapid rhythmic interplay, while “Ray’s Rockhouse” presents blues-infused contoured lines. Tracks alternate between tight ensemble passages and solo improvisation sections.

A1. “Four Brothers” (3:53) — Jimmy Giuffre, Jon Hendricks; adapted from the Woody Herman orchestra standard with Hendricks’ vocalese lyrics.
A2. “Rambo” (3:44) — Count Basie, J.J. Johnson, Jon Hendricks; Basie big band number with Hendricks’ vocal lyrics.
A3. “(You Should) Meet Benny Bailey” (3:06) — Quincy Jones, Jon Hendricks
A4. “Airegin” (3:20) — Sonny Rollins, Jon Hendricks; bebop instrumental converted to vocalese.
A5. “To You” (3:59) — Jimmy Giuffre, Thad Jones
A6. “Sing Joy Spring” (6:19) — Clifford Brown, Jon Hendricks
A7. “Move” (2:46) — Denzil Best, Jon Hendricks, Paul Wash

B1. “That’s Killer Joe” (4:52) — Benny Golson, Jon Hendricks
B2. “The Duke of Dubuque” (2:34) — Bill Faber, James Marchant, Lawrence Royal
B3. “Gloria” (2:53) — Adam R. Levy, Esther Navarro
B4. “On the Boulevard” (3:35) — Richard Page
B5. “Shaker Song” (3:51) — David Lasley, Allee Willis
B6. “Ray’s Rockhouse” (5:15) — Ray Charles, Jon Hendricks; blues-based vocalese adaptation of Charles’ original.

Sessions occurred live at Nakano Sunplaza Hall in Tokyo. Tim Hauser produced, Seigen Ono engineered the recording, Brian Malouf handled remixing, and Ed Thacker mixed track 8. Mastering for CD used Stephen Innocenzi, with original mastering by Stephen Marcussen. Remixes took place at Post Logic Studios (Hollywood, CA) and Can-Am Recorders (Tarzana, CA); mastering occurred at Precision Lacquer (Hollywood, CA).

Art direction and design were by Fayette Hauser.

Discography: