Originally released in 1954, this woodwind-based chamber-jazz project is explained by pianist/ensemble leader Arthur Harris:

When Marvin Holtzman, head of Epic Records, asked me to write a series of pieces in a modern idiom, I immediately became interested in the problems such a project would involve. Of course, the most apparent one was what instruments to use. I chose a woodwind quintet and four rhythm instruments, mainly because of the flexibility of such a group, as well as the fresh, new sound that could be achieved. I envisioned getting a modern rhythmic feel by using a jazz rhythm section, and superimposing the woodwinds above this, to be carried along by the rhythmic impulse. By using the woodwinds, I could call on an endless variety of tone colors without sacrificing technical facilities. In addition to these colors, the rhythm instruments could also be used as melodic instruments, either separately or in combination with the winds.

In dealing with the problem of form, I used, for the most part, the usual modern popular song form of A-A-B-A, but with internal extensions, whereby the musical phrases are not always eight measures in length, but vary according to the musical idea being expressed. Meter was also changed when I felt the melodic phrase or the harmonic plan demanded it.

In the problem of tonality, the popular song was again used as a model, but was extended by creating a broader tonal concept. The range of keys touched in each piece varies, but each key plan was calculated to heighten the listener’s interest.

I am indebted to Mitchell Leigh for the fine work he has done in conducting this series.

Burlesque is a gay, light, quick-moving piece, set above a Latin rhythm.

Ceres is a quiet, mood piece, in which I have striven for the utmost contrast in instrumental color.

In form, Spooks differs from the others, in that a melodic impulse is derived from the bass, in this case played by the bassoon. This bass melody (which is seven measures long) is used as a ground bass, much the same as the classical Passacaglia, but is interrupted for a brief time for the B section. The musical material above the bass is derived from the harmonic progression suggested by the bass.

Blues is based on the standard blues harmonic progression, but with the addition of a bridge, or middle section.

In Sudden Change I have purposely changed the mood and tonality at will, solely for its shock value.

Horn Song is a solo for French horn, in which the beautiful legato singing quality of the horn is made to dominate.

Waltz for an Insane Puppet is self-explanatory. It starts innocently enough, but later is jerked out of its metrical and harmonic complacency.

Mambo Diablo attempts to capture the spirit of the newest Latin dance to come to America.