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| Pete York | Primary Artist, Drums, Vocals |
| Alan Barnes | Clarinet, Alto Saxophone, Tenor Saxophone |
| Harvey Weston | Bass |
| Roy Williams Quintet | Trombone |
| Wolfgang Dalheimer | Keyboards |
| Rick Keller | Flute, Tenor Saxophone |
| Billy Preston | Composer |
| Claude Hopkins | Composer |
| Bill Potts | Composer |
| Horace Silver | Composer |
| Irving Mills | Composer |
| Bronislaw Kaper | Composer |
| Jerome Kern | Composer |
| Duke Ellington | Composer |
| Bruce Fisher | Composer |
| Frank Foster | Composer |
| Oscar Hammerstein II | Composer |
| Gus Kahn | Composer |
| Billy Strayhorn | Composer |
| Juan Tizol | Composer |
| Pete York | Producer, Liner Notes |
| Bobby Williams | Composer |
| Alex Hill | Composer |
| Ben Ahrens | Mastering |
| Walter Jurmann | Composer |
| Frank Nagel-Heyer | Executive Producer |
Editorial Reviews
All Music Guide - Scott Yanow
The musicianship of this swing-oriented European quintet is excellent and there are plenty of colorful solos by trombonist Roy Williams, pianist Wolfgang Dalheimer, and particularly Alan Barnes on tenor, alto, and clarinet; Barnes' spot on alto during Horace Silver's "Sister Sadie" is one of the high points. The weak point to the program all but the closing "Shiny Stockings," which adds Rick Keller on tenor, is from January 17, 1998 is that drummer Pete York takes an excess of vocals. His singing is well-intentioned but his voice is merely average, slowing down the momentum and power of the music. Much better are the band's instrumental renditions of "Big Swing Face," ...