Russ Garcia arranges this unique album of all-star trombone music starring Frank Rosolino, Herbie Harper and Tommy Pederson on slide trombones and Maynard Ferguson on valve trombone. The rest of the band members are no slouches either: Dick Holgate plays baritone sax, Marty Paich is on piano, Stan Levey is the drummer and Red Mitchell plays bass. The choice of material on this 1956 album includes songs by Cole Porter, George Gershwin and Noel Coward along with a Russ Garcia original.

On the "Soul Of The Ballad", Hank Crawford is backed by The Marty Paich Orchestra. The crossover sensation performs with effortless ease as he plays a dozen flawless ballads. With riveting arrangements, the repertoire includes the standouts “I Left My Heart In San Francisco”, “Whispering Glass” and “Time Out For Tears”.

Turn down the lights, turn up the volume and get transported back in time to a legendary jazz night club on the Sunset Strip in 1957. Songs For Any Taste is one of a trio of live albums Mel Tormé recorded at the Crescendo Club in Los Angeles. This album, the last of the three, fleshes out the remaining unreleased live material with one studio take. Tormé's longtime collaborator Marty Paich plays piano, arranges and leads the band.

Ella Fitzgerald is backed by Marty Paich's Dek-tette on this Grammy-winning 1958 recording of swinging jazz standards. The album features a typical selection of jazz standards from this era, songs from musicals like Frank Loesser's "If I Were a Bell", and a famous jazz instrumental vocalised by Ella, Roy Eldridge's "Little Jazz". This was among several hit albums that Fitzgerald enjoyed in the '50s, when she was reaching the mass audience cutting pre-rock standards.

Art Pepper + Eleven – Modern Jazz Classics is a 1960 jazz album by saxophonist Art Pepper and a small big band performing arrangements by Marty Paich, who also directed the ensemble. The recording is one of several dates Pepper made with Paich in 1959 and is the only one with Pepper as leader. The recording focuses on Paich's large group arrangements of modern jazz classics, including Denzil Best's "Move", Thelonious Monk's "'Round Midnight", Gerry Mulligan's "Walkin' Shoes". Other highlights of the recording are Pepper's clarinet performances on "Anthropology" and the alternate takes of "Walkin'".

"Ray Charles ‎– Hit the Road Jack / The Danger Zone" was originally released in 1961 as 7" 45 RPM vinyl EP by Véga Records, the French distributor for ABC-Paramount. From the collection of Bibliothèque nationale de France.

Originally released on 10-inch vinyl in early 1955, this album spotlights some of the best from Blue Note's West Coast jazz roster of the day, as the title implies, recorded in Los Angeles and featuring prominent jazz musicians from both coasts such as Harry "Sweets" Edison, Stan Levey, Conte Candoli and Marty Paich. The "blindfold test" refers to the fact that this was originally issued with no credits, presenting a challenge to jazz fans to identify the players who were only revealed on the second volume of this series.

Originally released on 10-inch vinyl in early 1955, this album spotlights some of the best from Blue Note's West Coast jazz roster of the day, as the title implies, recorded in Los Angeles and featuring prominent jazz musicians from both coasts such as Harry "Sweets" Edison, Stan Levey, Conte Candoli and Marty Paich. The "blindfold test" refers to the fact that this was originally issued with no credits, presenting a challenge to jazz fans to identify the players who were only revealed on the second volume of this series.

Pianist and arranger Marty Paich gets the credit on the cover, but this 1955 album is indeed a true collaboration between Paich and his sidemen: the great trombonist Herbie Harper, Larry Bunker on vibes, Curtis Counce on bass, Jack Costanzo on bongos, Frankie Capp on drums and vocalist Mickey Lynne who sings on one track. This recording was intended to be the first in a series of albums named after the Hollywood jazz club Jazz City.

Certainly one of the most important sessions in Pepper's entire recording career, if not the history of jazz, this classic 1959 recording features the legendary sax player backed by an astounding big band that includes drummer Mel Lewis and alto sax icon Bud Shank. The album features brilliant arrangements by Marty Paich (who would later orchestrate for artists like Carly Simon and Elton John).

A showcase for Mel Tormé at his best, recorded live in front of an audience, the album solidified the young singer's standing in the jazz world. Released in 1957, this session was recorded at the Crescendo in Los Angeles, arranged by Tormé's longtime collaborator, pianist/arranger Marty Paich. These familiar standards are taken to another level on this inspired concert album that sees Tormé backed by a small combo.

Mel Tormé reunites with arranger and conductor Marty Paich and his 10-piece ensemble the Dek-tette on this 1956 recordings dedicated to Fred Astaire, Tormé's favourite singer. Heavy on material from the Gershwins and Irving Berlin, these songs all appeared in Astaire's films.

After flirting with bobby-soxer idolatry early in his career, Mel Tormé teamed up with arranger Marty Paich to explore the full range of his artistic potential. Together they conceived the idea of a 10-piece instrumental backing ensemble they dubbed the "Dek-tette". On this reissue of 1956's Bethlehem LP, Tormé is found singing with one of those Dek-tettes. Our featured track is the song that would become a Tormé trademark, "Lulu's Back in Town".

Ray Charles and Betty Carter is a 1961 album by Betty Carter and Ray Charles. The pair's recording of "Baby, It's Cold Outside" on the album topped the R&B charts.

Anita Kerr is easily the most remarkable and accomplished female musician of the Space Age Pop era, yet she barely rates a mention in most pop music reference books. In the mid-1950s and '60s, the Anita Kerr Singers were one of the most popular group of backup vocalists in all of country music, appearing on countless recordings by renowned Nashville artists. Along with the Jordanaires, her group, the Anita Kerr Singers, were the seminal backing vocal unit of the era, and it is estimated that at their early-'60s peak, they graced fully one-quarter of all of the records coming out of Nashville's studios.