Bobby Troup on Record, 1948-1955

Bobby Troup’s musical talent was picked up while working in his family’s music store, J. H. Troup Music House. Young Troup learned to play most of the instruments sold in the store and had the greatest affinity for the piano.

His proficiency for playing the piano blossomed while attending the University of Pennsylvania where he was active in the annual Mask & Wig productions. He composed “Daisy Mae” for the 1938 Mask & Wig production, “All Around the Town.” Troup was encouraged by the praise and acceptance of this initial foray into the composing field and wrote several other songs – “She’s Got A Rep for Being Hep,” “Ambler the Gambler,” and “This Has Been A Lonely Day” while attending Penn.

Differing newspaper accounts chronicle how Sammy Kaye heard Troup’s “Daisy Mae.” Some state that it was arranged for a five-piece band playing the Embassy Club where Kaye heard it and inquired about its composer. Others relate that Kaye heard it while Bobby was playing the tune at a club where his future wife, Cynthia Hare, was performing as a dancer. Regardless which account is true, Kaye heard “Daisy Mae” – contacted Bobby Troup and offered to record and publish the tune via Kaye’s new venture, Republic Music Corporation. The offer included changing the tune’s title to “Daddy.” The Sammy Kaye version catapulted to the top of the hit list where it stayed for weeks. The Harry James and Glenn Miller orchestras recorded versions for Columbia and RCA Victor respectively. “Daddy” was played by the Miller orchestra regularly on the Chesterfield Show broadcasts. The success of “Daddy” cemented Troup’s career path as a songwriter. Troup estimated that his royalties during 1941 would fall between $10,000 and $12,000, a startling amount for a fledgling composer.

Troup’s songwriting career was interrupted during service in the United Sates Marine Corp. He kept his musical chops in shape at Montford Point by forming the first African-American band of U. S. Marines. While stationed at Camp Lejeune he wrote “Take Me Away from Jacksonville.” He composed “Saipan” while stationed on the island during his military service. 

Troup returned to Lancaster after he was discharged from the Marines. His songwriting career resumed as he and his new bride drove west to California in their new Buick. Cynthia suggested that he compose a song about the highway they were driving after leaving Lancaster, interstate 40. Bobby replied that they would soon leave 40 as Route 66 would carry them all the way from Chicago to LA. Cynthia related in her autobiography, Once I was A Debutante, that she was not a lyric writer, but began coming up with words to rhyme with 6: six, mix, picks, kicks – and came up with “Get Your Kicks on Route 66.” Get your kicks was a very hip expression in the 1940s. Bobby liked it and his subconscious worked on the tune as they continued they way to California.

Bobby had several letters of introduction to studio heads in Los Angeles. He made the rounds and came away empty handed, no offers of employment in the studios. His first break in Hollywood was arranged by his agent, George “Bullets” Durgom. Durgom had recently returned to civilian life after serving in the Army and resumed his personal management business. Durgom got his start in the entertainment business with Glenn Miller as band boy. His other clients included Andy Russell, Dick Haymes, Jo Stafford and Page Cavanaugh. He set up a meeting with Nat “King” Cole and the Troups at Cole’s performance room at the Trocadero Club so that Cole could hear some of Bobby’s compositions. Cole was aware that “Daddy” had been a big hit for Sammy Kaye and he was agreeable to audition Troup and hear what else the emerging wunderkind had composed. Cole liked “Baby, Baby All the Time” but was unimpressed by the other tunes Bobby played. Bobby explained that he had one last tune that was still taking shape and played what he had completed of “Get Your Kicks on Route 66.” Cole recognized the potential of what Bobby had put together and asked him to bring the tune to him the next day. 

Bobby and Cynthia went to the CBS Radio building the next day and found an empty room with a piano. They had the gas station map they had used crossing the country and checked all of the towns they had passed through while on Route 66. The song was completed and Bobby took it to Cole that night. Bobby was about to secure the second hit of his songwriting career. “Route 66” was a hit with covers from Bing Crosby and the Andrews Sisters on Decca, Georgie Auld on Musicraft, Wingy Manone on 4 Star, and the Buddy Rich Orchestra on Mercury in addition to Cole’s version on Capitol. The dwindling “Daddy” royalties were supplanted by “Route 66” income and the Troups bought a home in North Hollywood. 

“Bullets” Durgom was instrumental in launching Bobby’s recording career. Page Cavanaugh had established a successful recording career with his trio, Lloyd Pratt on bass and Al Viola on guitar. The trio had recorded several of Troup’s compositions including “The Three Bears,” “Saipan” and “Triskaidekaphobia.”

Members of Bobby Troup’s trio on two Bullet 78 singles are not confirmed and the releases are not included in standard jazz discographies such as Tom Lord’s Jazz Discography. George Durgom might have persuaded Page Cavanaugh to loan Pratt and Viola to Bobby to record these first releases. Bullet 1035 featured Bobby singing “Bye Bye Blackbird” and “Heidi” (composing credit to B. and C. Troupe) with bass and guitar backing. 

Troup’s second recording on Bullet 1055 presented Bobby singing his “Baby, Baby All The Time” and “I Found A Million Dollar Baby.”  This second release is documented in the online “discogs” database and received a review in the November 1948 edition of Metronome magazine where the Three Deuces gave the Troup tune a C+ and the Rose-Fisher performance a C. The date of the review place these recording sessions for Bullet sometime before the fall of 1948. 

Troup’s participation in recording sessions in 1949 included singing his “Bran’ New Dolly” with the Count Basie orchestra for RCA Victor, “Walking With the Blues” with Vic Schoen’s orchestra on Decca, and “Lonesomest Whistle” and “Dig, Dig, Dig for Your Supper” with Jerry Gray’s band on Decca. “Whatever Happened to Ol’ Jack?” and an untitled Phil Moore tune with Freddie Slack and his orchestra on Capitol.

Bobby appeared in two MGM films in the early 1950s. His brief on screen appearances in Duchess of Idaho (1950) and Mr. Imperium (1951) did not result in screen credits for either film. Two film shorts for television did provide exposure for Bobby. Snader Telescriptions presented Bobby with Lloyd Pratt and Al Viola as the Bobby Troup Trio with Virginia Maxey (Mrs. Matt Dennis) performing “Daddy” and “Snootie Little Cutie.” These shorts lasting three or four minutes were used as fillers by television stations where a time slot occurred between regular programming. The Bobby Troup Trio was now beamed directly into homes across America. 

Troup was reluctant initially to perform in clubs. Cynthia convinced the owner of the Valley Lodge on Ventura Boulevard to give Bobby a chance to perform. Will Thornbury interviewed Bobby Troup in July of 1992 wherein Troup described his struggle to launch his career.

“I started going to clubs with great fear because the only piano playing I did was behind my own songs, and I would learn a couple of other songs, but not very well. My first job was at a place called the Valley Lodge on Ventura Boulevard, the first piano bar I’d ever seen in my life. Then I opened at the Encore Restaurant on La Cienega Boulevard in July of 1949. Next I played at the Captain’s Table in January of 1950. One night Page Cavanaugh’s bass player, Lloyd Pratt came in to see me. He sat in on bass and the owner liked it. The next week Al Viola came in and that’s how the trio was formed.”

Troup’s trio moved back to the valley in December when they opened at Astors on Ventura Boulevard at Laurel for six months before relocating to the Saddle and Sirloin at 12449 Ventura Boulevard in September of 1951. Troup’s “Ventura Boulevard Boogie” was recorded by Joe “Fingers” Carr and The Ewing Sisters with Van Alexander’s orchestra for Capitol in 1951, Troup’s salute to the street. 

The Valley Times featured an article on Bobby Troup in the November 17, 1951 edition of the newspaper. It recounted Bobby’s past as one of the youngest tunesmiths to write a hit tune, his song “Daisy Mae” that was composed for a Mask & Wig production in 1948 while young Troup was a student at the University of Pennsylvania, and then picked up by Sammy Kaye who published it as “Daddy” for his newly formed Republic Music Corporation. Troup read in Billboard that Kaye was issuing a new recording of “Daddy.”

The Bobby Troup Trio moved back to West Hollywood in November when they opened at Jim Dolan’s Café Gala. The trio had performed briefly at the club earlier in April. Café Gala featured multiple acts for patrons that included well known vocalists and piano stylist Bobby Short. The Troup trio remained at Café Gala until April of 1952 when they opened for a two month stay at Hat & Cane on Lankershim Boulevard. 

The trio hopped around several clubs over the next few months, Lindy’s on Wilshire Boulevard, the Ranch House Cottage in Pasadena, the Zephyr Cocktail Lounge in the Chapman Park Hotel, the Five O’clock Club in Burbank, a month at Tiffany Club in August opposite Harry the Hipster, and two months at Ruby’s Parrot Cage in Beverly Hills.

The trio was back in the valley in November of 1952 when they opened at Marshall & Mary Lou Morrison’s Redwood Room at 4657 Lankershim Boulevard. Trio members now included Bob Enevoldsen on bass and Howard Roberts on guitar.

The new trio moved down the boulevard in April of 1953 when they opened at Club Embers. Bob Enevoldsen toyed with the idea of a band anchored by three tenors and a baritone saxophone plus a rhythm section, emulating the Woody Herman “Four Brothers” sound. He suggested to Troup that the four horns might enhance his regular trio sound and they rehearsed at Bobby’s home. 

The Bobby Troup Septet also had an extended engagement at Club Embers on Lankershim Boulevard in the spring of 1953. A demo tape prepared by John Neal was presented to Capitol Records who bought the idea which resulted in Troup’s first album for Capitol, Bobby Troup!, H-484. The album was captured in three recording sessions at Capitol’s studios on Melrose. Enevoldsen’s orchestra for the dates included Newcomb Rath, Jack Dulong, Bill McDougal (ts); Don Davidson (bar); Bobby Troup (p, celeste, vcl); Howard Roberts (g) and Don Heath (dr). “My Blue Heaven,” “Chicago” and “Hungry Man” were recorded on August 3, 1953. “I Can’t Get Started,” “The Three Bears,” “Dinah” and “Lemon Twist” were recorded on August 4th. “Where You At?” was recorded at the third session on August 26, 1953.

The ten inch LP was also issued as a twelve inch LP, Capitol T-484. The fourth session on May 5, 1954 recorded “The Girl Friend,” “5 Days, 6 Hours and 13 Minutes,” “Julie Is Her Name” and “When You’re With Somebody Else.” “Julie Is Her Name” was not issued and “When You’re With Somebody Else” was coupled with “5 Days, 6 Hours and 13 Minutes” on a 45 single, F2856, as well as being included on T-484. The 12 inch reissue included “Deed I Do” from the August 3, 1953 session and “You’re Looking At Me” from the August 26, 1953 session. Capitol used the same cover graphic for the reissue. The album was reviewed in Metronome in April of 1954 along with an article on Bobby Troup and his rising popularity.

  THE SOUND of a modern night-club singer with a modern-sounding band behind him is likely to seem unusual, and, if your jazz musical tastes have developed at all, very refreshing these days. And when those sounds come from a refreshing and unusually intelligent sort of guy—well, then you figure that maybe there’s room for taste and brains in this recording field after all.

  Apparently Capitol Records feels the same way. That’s why they’ve taken a flier on Bobby Troup, the sensitive, humorous singer – composer – pianist, whose first album, Bobby Troup! has just been released. (The exclamation point is simply Capitol’s way of expressing its enthusiasm for Bobby T’s. future.) Some years ago, the Three Deuces, writing in this magazine, raved about an obscure Bullet record of “Baby, Baby, All the Time,” and about its singer, headman in a trio, Bobby Troup. Then they found out that Troup had also written the fine song, and, as they began recollecting, they realized he had penned some hits, too, such as “Daddy” and “Route 66.” After that, Bobby returned to recorded obscurity, until Capitol’s sales manager, Hal Cook, a former drummer who likes, understands, and sees a sales potential in jazz, put on a one-man campaign in his company to record Troup.

  Like Hal, Bobby likes jazz, too, and when Francis Scott, who heads Capitol’s album dept., agreed to record Troup, Bobby came up with the idea of backing himself with a modern-sounding, Four Brothers-like group, instead of with the usual trio. So he got his friend, Bobby Enevoldsen, to write some modern arrangements, corralled some of Hollywood’s best modern musicians into the studio, and away they blew. The results, excellently reproduced in his album, are reviewed elsewhere in this issue.

  Around Hollywood night clubs, Bobby Troup has become an accepted entertainer to most, and a cult to some. His intimate, infectious, humorful manner has attracted not only those who want wit with their brandy, but also those who like their music straight. He sings and plays many of his own songs, plus parodies of standards. He performs with taste, charm and dignity.

  Hollywood was not a happy home and Bobby was ready to troup right back to Pennsylvania soon after he arrived there close to the mid-forties. He had left behind him the most comfortable sort of a future. His family headed one of the most respected music houses in the country, and Bobby could, whenever he was ready, jump right in and head the whole affair.   But over-the-counter selling was not for him.

  At the University of Pennsylvania from which he had been graduated with top honors in business administration, he had written music for the Mask and Wig shows. That was all he needed. He knew writing was for him.

  The reason he didn’t head back from Hollywood, after a gloomy intro, was because Nat Cole heard “Route 66.“ “The royalties from that song,” says Bobby, “bought me a comfortable house and really set me up. After that I knew I could stay in Hollywood.” Stayed he has, but staid he hasn’t been, for, despite the Ivy League tradition and the conservative Eastern rearing, he has never hidden his love for jazz, his feel for modern music of all sorts, his adventurous forays into  the fields of bright and arresting lyrics, of original vocal sounds, and of daring vocal backgrounds. If his album should become a hit (and Capitol has fond hopes for just such an event), he will be a very happy man, not only because any guy likes to arrive on records, but because it’ll prove a point he has always felt, that the public isn’t nearly so simple-eared as lots of experts insists it is, and that tasty new sounds, a bit of imagination and originality, and a jazz feeling, can still cause the general populace to react with happy exclamation points, just as Capitol, has so obviously done with Bobby Troup!—George Simon

Troup’s growing popularity landed him a spot on a new musical variety program on KNXT TV. Musical Chairs debuted on April 17, 1953. In addition to the show’s host, Bill Leyden, the regular panelists included Johnny Mercer, Stan Freberg (replaced later by Mel Blanc) and Bobby Troup. The half hour program originally aired from 10:00 to 10:30 PM. In November it was moved to an earlier time slot, 07:00-07:30. Guest vocalists during the first year of broadcast included Martha Tilton, Molly Bee, Joan Shawlee, Carol Richards and June Christy. 

Musical Chairs moved to KTTV in April of 1954 when it returned to a later expanded time slot, 10:00-11:00 PM. The program continued to feature guest vocalists and show biz personalities during its second year – June Christy, Toni Arden, Virginia O’Brien, Barbara Ruick, Carol Richards, Frances Faye, Mae Williams, Betty Clooney, Rose Marie, Peggy King, Dawes Butler, Evelyn Knight, Kay Brown, Connie Haines, Vicki Young, Jeri Southern, Peggy King and Roberta Linn. 

The program dropped back to a thirty-minute duration in January of 1955. It moved for the third time in June when it took up residence at KRCA. Musical Chairs was selected as a summer replacement for the Imogene Coca Show with a network debut on July 9, 1955 airing Saturday nights from 09:00-0-9:30. Guests during its network run included Denise Darcel, Helen O’Connell, June Christy, Rose Marie and Connie Moore.

Bob Enevoldsen who had been working with Troup’s trio, handled the musical accompaniment for the program during the first two years. When the program was granted network status KRCA beefed up the musical support naming Dick Cathcart as leader on trumpet, with Bob Gordon, baritone; Red Mitchell, bass; Bud Shank, alto & flute; Bob Enevoldsen, trombone; Howard Roberts, guitar; Bill Baker, piano and Don Heath, drums. Bobby Troup continued as a star panelist without the dual role handling the piano bench.

His recording career with Capitol included one more session on September 29, 1954 pairing him with the Nelson Riddle orchestra. Three of the tunes form that session remained unissued – “Midnight Sun,” “Just Between Friends” and “Make Haste, My Love.” A repeat of “Julie Is Her Name” and “Instead of You” were released on a Capitol 45 single, 2971. The reissue of Troup’s initial Capitol album as a 12 inch LP did not lead to another invitation to record for the label. Bob Enevoldsen had been working with Harry Babasin and his launch of Nocturne Records in 1954. When overtures to record came from Babasin for his Nocturne label and Red Clyde at the new independent Bethlehem Records, Troup readily agreed.

Troup and his trio were currently enjoying an extended engagement at the Celebrity Room on North La Brea. John Neal recorded the Troup group at the club after it had closed in a three hour session from 2:00 – 5:00 AM on January 27, 1955. Nocturne did not follow through with a release of the session. Record companies were abandoning the ten inch LP format in favor of the new 12 inch LP. All of Nocturne’s previous releases had been ten inch LPs and Babasin was caught in a dilemma whether to convert all previous releases in the new format that required additional expense to record additional tracks or just go with the new format on new releases. The Troup session was put on hold.

Bethlehem Records entered the market in 1953 with releases in the then standard ten inch LP format. Red Clyde proceeded with the release of BCP-1030, The Songs of Bobby Troup, as a ten inch LP. Troup’s regular trio with Bob Enevoldsen, Howard Roberts and Don Heath was supplemented by the addition of Red Mitchell on bass for the session on January 28, 1955.  Seven of tunes recorded included Johnny Mercer as composer or lyricist – “Cuckoo In The Clock,” “Midnight Sun,” “Laura,” “That Old Black Magic,” “One For My Baby,” “Jeepers Creepers” and “Skylark.” The eighth tune, “I’m With You” was credited to the popular songwriting team, Robert Allen and Al Stillman.

Red Clyde arranged for another recording session on July 8, 1955 to lay down additional tracks for the 12 inch LP reissue of BCP-1030. “Lazy Mood,” “Day In, Day Out,” “Come Rain or Come Shine” and “Jamboree Jones.” The 12 inch LP reissue, BCP-19, was titled Bobby Troup Sings Johnny Mercer. The latter tune by Johnny Mercer was included in a three LP sampler, Bethlehem’s Best, the source of the addition recording date. Details regarding how Mercer and Troup seized credit for the Allen-Stillman tune, “I’m With You,” remain unknown.

Johnny Mercer wrote the liner notes for his friend—

The words or music — which came first?

And was it pre- or un-rehearsed?

Which is your best, and which your worst?

(I wish that I were better versed)

I might explain to all of us

The answers which are obvious.

I write because I love to write

And hope the words are not too trite.

A bigger gift, but seldom given,

Is music —  probably from heaven.

I pass along what gifts it gave

I do the best with what I have.

COME RAIN OR SHINE (twice used before,

By me, by others even more)

Was written for a simple play —

Said what I thought the tune should say.

DAY IN-DAY OUT — the tune preceded —

Seemed like the phrase the music needed.

If inspiration was the key

The memory belongs to me.

The melody, both warm and gentle,

Of Eddie Miller’s instrumental

Has pretty words, but they intrude  —

I liked it best as LAZY MOOD;

While Mrs. Jones’ boy, JAMBOREE

Was written for the great B. G.

The lyric line’s not hard to trace, he

Seems a distant kin of Casey.

As in the case of LAZY MOOD

May I express my gratitude

To all the tunes I mention  next

They all were hits before my text:

The melody entitled LAURA

Already had its special aura.

Two lyric writers turned it down

Before I wrote a verb or noun.

And MIDNIGHT SUN was two years old,

Both pre-recorded and pre-sold

Before I heard it in my car,

Celestial and somnambular.

That OLD BLACK MAGIC is, of course,

The color of a different horse —

A winner when it started  out —

The Arlen melody, no doubt.

ONE FOR MY BABY, Harold’s  too,

The foot within a different  shoe.

Both jobs to us — but lots of fun

Sincere;  affectionately done.

The SKYLARK song, a sheer delight,

Took me about a year to write.

Carmichael’s notes were all in place,

But they led me a merry chase.

Then all at once, one afternoon

They couldn’t wait to find a tune —

I called up Hoagy on the phone;

He didn’t change a single one.

You’ve heard the phrase, “songwriter’s writer”

I give you two — and each the greater

There is no way of choosing  one

From Warren or from Donaldson

The “naturals” they have to their credit

Make most guys wish “I hadn’t said  it”

To have my name on tunes they did

Was what I dreamed of as a  kid.

Who could repay sufficiently

One tenth of what they taught to  me?

And now the last song in the group,

The one I wrote with Massa Troup —

We wrote it, I hope I’m correct,

Out of our mutual respect

I like the men with whom he works,

I like each crummy room he works,

I like the style with which they play

Admire every stitch they play

At any rate, I’m deeply thankful

I hope that Bobby makes a bankful.

—JOHNNY MERCER

Bobby Troup met Julie London in March of 1954 when she dropped by the Celebrity Room with a friend to hear Bobby’s guitarist, Howard Roberts. Bobby knew the friend, Kay Saunders, and her husband, Herm Saunders, also a pianist. He sat at their table during the intermission and was invited to join them after the club closed for a nitecap at Julie’s. Bobby was smitten and their relationship continued to blossom during 1954. Julie’s vocalizing among friends convinced Bobby that she had a future as a vocalist. Bobby persuaded Red Clyde to record several tracks for Bethlehem. The session on March 2, 1955 included Bobby Troup, piano, celeste; Buddy Collette, alto, flute; Bob Enevoldsen, bass; Howard Roberts, guitar and Don Heath, drums. The four tunes were released as 45 singles. “A Foggy Day” and “Sometimes I Feel Like A Motherless Child” on Bethlehem 45-11003. “You’re Blasé” and “Don’t Worry ‘Bout Me” were coupled on 45-11015. Neither single caught on and remained in the Bethlehem vault until London’s career took off in the fall of 1955 with her Liberty single, “Cry Me A River.” Bethlehem coupled London’s four tunes with four tracks each from Chris Connor and Carmen McRae for a 12 inch LP release titled Bethlehem’s Girl Friends, BCP-6006.

Bobby Troup returned to the recording studio for Bethlehem in August of 1955. His current quartet had opened at the Keynoter Supper Club July 29, 1955 with Howard Roberts, guitar; Bob Enevoldsen, bass and Don Heath, drums. The Distinctive Style of Bobby Troup, BCP-35 presented Bobby’s interpretation of twelve standards — “Mountain Greenery,” “I Still Suits Me,” “Little Girl Blue,” “You Are Too Beautiful,” “They Can’t Take That Away From Me,” “I’ve Got My Love To Keep Me Warm,” “Gypsy In My Soul,” “The Boy Next Door,” “Love Is Here To Stay,” “Have You Met Miss Jones” and “The Lady Is A Tramp.” 

Troup’s January recording at the Celebrity Room for Harry Babasin’s Nocturne Records was still  on hold.

The Hollywood Reporter and Daily Variety editions of May 24, 1955, published similar accounts of the merger of Nocturne Records with Hollywood’s newest record label, Liberty Records. Both reports noted that Harry Babasin would remain with Liberty to continue his Jazz In Hollywood series on the Liberty label. Down Beat published news of the merger in the June 29, 1955 issue of the magazine. 

The formation of Liberty Records was announced in Billboard magazine, March 12, 1955, with a column headline – Newman Signed to Liberty Wax Pact – 

“HOLLYWOOD, March 5 — Liberty Records, newly formed pop indie label has signed 20th Century-Fox music director Lionel Newman to a term recording contract. Newman helmed a 20-man orchestra at the firm’s first recording session cutting “The Girl Upstairs” from Seven Year Itch and “Conquest” from the film Captain From Castile. 

Both tunes were penned by Alfred Newman, head of 20th’s music department, and are published by Robbins Music.

Liberty, headed by Simon J. Waronker, ork manager of the studio, and Jimmy Ames, of Sunland Music Sales Company, also signed Wes Hensel, Dom Frontiere and the Hollywood Saxophone Quartet. Firm is currently setting up national distribution, with the first Newman recording scheduled for release this month.”

Michael “Doc Rock” Kelly’s history of the Liberty label published by McFarland Publishers in 1993 recounted the background of Bobby Troup and Julie London coming to the label. 

“One of the wine-and-dine–Si Waronker publishers who was especially nice to Si was Eddie McHargue. Eddie worked for a publishing company that was owned by Fox, and had published Liberty’s first release. After dinner, Eddie took Si to a little club to hear a musician play. The musician in question was Bobby Troup, a guy who had become known for composing the popular tune “Route 66.” It was Eddie’s idea that Bobby record for Liberty, but Bobby said he six more months under contract to Bethlehem Records. As an alternative he suggested that Liberty might record his girlfriend who was singing across the street at Walsh’s 881 Club. The girlfriend was Julie London.”

When Harry Babasin met with Simon Waronker to discuss merging his Nocturne catalogue with Liberty, he prepared a presentation test pressing of the Bobby Troup Celebrity Room recording on a double ten inch LP album set titled Bobby and the Troop. The double LP set contained sixteen tunes from the session. Babasin and Waronker reached an agreement that included the continuation of the Nocturne Jazz in Hollywood series on Liberty with Harry in charge of production of the line. Liberty now had Bobby Troup in the fold along with his girl friend, Julie London. If Capitol Records had stuck with Bobby Troup they might have landed Julie London as well.

Liberty Records proceeded with the release of the Bobby Troup Nocturne masters as Bobby Troup and His Trio, Liberty LRP-3002 with twelve of the tunes recorded on January 28, 1955 — “Thou Swell,” “I’ve Got A Crush on You,” “Old Devil Moon,” “The Hucklebuck,” “Yes Sir, That’s My Baby,” “I Get A Kick Out of You,” “My Funny Valentine,” “They Didn’t Believe Me,” “Dream of You,” “I’ve Got You Under My Skin” and “Let’s Get Away From It All.” Four tracks from Harry Babasin’s double ten inch LP set, Bobby and the Troop, “I’ll Remember April,” “Silent Thunder,” “Let’s Do It” and “Moonlight in Vermont” remain unissued. The Bullet sessions from the late 1940s have never been issued.