Perdido

1 2:55
Ervin Drake / H.J. Lengsfelder / Juan Tizol
Lady Bird
2 3:06
Tadd Dameron
Don't Blame Me
3 3:48
Dorothy Fields / Jimmy McHugh
Titoros
4 3:17
Miles Davis
Titoros
5 3:03
Miles Davis
For You
6 3:14
Joe Burke / Al Dubin
They Can't Take That Away from Me
7 3:22
George Gershwin / Ira Gershwin
They Can't Take That Away from Me
8 3:01
George Gershwin / Ira Gershwin
Koolbongo
9 2:59
Mary Lou Williams
'Round About Midnight
10 4:35
Bernie Hanighen / Thelonious Monk / Cootie Williams
'Round About Midnight
11 2:50
Bernie Hanighen / Thelonious Monk / Cootie Williams
Azure-Té
12 2:33
Bill Davis / Mack Davis / Don Wolf / Jack Wolf
Flying Home
13 3:09
Benny Goodman / Lionel Hampton / Sydney Robin
Nickels
14 2:58
Mary Lou Williams
The Man I Love
15 3:01
George Gershwin / Ira Gershwin
The Man I Love
16 2:45
George Gershwin / Ira Gershwin
Twilight
17 2:38
Mary Lou Williams
Just One of Those Things
18 2:33
Cole Porter
Just One of Those Things
19 2:48
Cole Porter
Why
20 3:44
Mary Lou Williams
Yesterdays
21 3:59
Otto Harbach / Jerome Kern
22 Yesterdays 3:44
Mary Lou Williams – The London Sessions (1953)

 Bass – Ken Napper* (tracks: 1 to 11), Lennie Bush (tracks: 12 to 22)

 Bongos – Tony Scott (9)
 Design [Original Sleeve] – Pierre Merlin
 Drums – Allan Ganley (tracks: 1 to 11), Tony Kinsey (tracks: 12 to 22)
 Guitar – Tal Farlow
 Photography By – Jean-Pierre Leloir
 Piano – Mary Lou Williams
 Producer – Daniel Baumgarten
 Sleeve Notes – Philippe Baudoin

Mary Lou Williams traveled to London, England in the winter 1953 and sometime in
1954 for these sessions, likely spaced about a year or so apart, with two different
British rhythm sections, the common denominator throughout being bongo player
Tony Scott. This Vogue album originally titled Mary Lou Williams Plays in London and
issued in the U.S. on the GNP Crescendo label as In London, is back on Vogue as The
London Sessions. It features several alternate takes that are quite different, a
smattering of Latin infused tracks, standards, a few solo performances, and all of the
verve, spark, soul, and deep intelligence Williams always brought to any performance
area. Of the cuts from 1953 featuring the excellent bassist Allan Ganley and bassist Ken
Napper, the emphasis is on extrapolated swing-to-bop as "Perdido," the straight bop of
"Lady Bird," Latin tinges tacked onto these tunes, and more straight Afro-Cuban beats
from Scott on the cha cha infused B take of "They Can't Take That Away from Me."
Two hot versions for the smart set of "Titoros" and one slice of the Williams original
"Kool Bongo" -- similar in stance to "Titoros" -- are melodic marvels, rhythmically
spurred on via Scott by what some called a trendy gimmick, but actually work well in
spiced up parlance. There are also two different solo piano versions, one clipped and
shorter, of "'Round About Midnight." The other trio date from 1954 has Tony Kinsey on
drums and bassist Lennie Bush, definitely more obscure players. But the results are
quite different, as Williams changes keys higher and lower on versions of "The Man I
Love," and "Yesterdays." Her take of the famous "Flying Home" is very modified, with a
deeper blue hue and indirect nuances of the basic melody. She takes the Wild Bill Davis
evergreen "Azure Te" in a faster bop mode, and does the mambo with Scott during
two versions of "Just One of Those Things." Three originals of Williams crop up; the
evocative sundown cocktail number "Twilight," her famous easy swinger "Nickels," and
the inquisitive and lonely solo heart wrencher "Why?" The contrasting moods,
techniques, and of course the utter brilliance of Williams shines through from top to
bottom. A valuable document of her work in this time frame, this is likely a must-have
item, not only for fans of the undisputed first lady in jazz, but for students, educators,
and any true lover of great music.