Tracklist Hide Credits

A1	There They Go Written-By – Neal Hefti	2:36
A2	'Cept February, Which Has 28 Written-By – Neal Hefti	2:21
A3	You Turned The Tables On Me Arranged By – Neal Hefti	3:25
A4	Snooty Fruity Written-By – Jimmy Mundy	2:39
A5	Things Ain't What They Used To Be Arranged By – Frank Devenport	3:45
A6	Lover Arranged By – Johnny Richards	3:29
B1	Or Words To That Effect Written-By – Neal Hefti	2:43
B2	Big Boy Written-By – Jimmy Mundy	2:30
B3	The Arrival Written-By – Neal Hefti	2:45
B4	Raffles Written-By – Neal Hefti	2:32
B5	Six, Two And Even Written-By – Neal Hefti	3:51
B6	Bells Written-By – Neal Hefti	2:06
C1	Shine Arranged By – Jack Mathias*	2:58
C2	Block Party Written-By – Neal Hefti	2:11
C3	Forgotten Written-By – Frank Devenport	5:37
C4	Cottontail Arranged By – Frank Devenport	3:35
C5	I May Be Wrong Arranged By – Johnny Richards	3:27
D1	Proclamation Written-By – Neal Hefti	3:29
D2	Slap Happy Written-By – Frank Devenport	3:11
D3	Kerina Written-By – Neal Hefti	2:32
D4	Bluebeard's Blues Written-By – Neal Hefti	2:38
D5	Rank Frank Written-By – Jimmy Mundy	2:10

Credits

• Alto Saxophone – Willie Smith
• Alto Saxophone [Uncredited] – Mascagni "Musky" Ruffo* (tracks: C5, D4, D5)
• Alto Saxophone, Clarinet [Uncredited] – Al Pellegrini (tracks: A1, B4-B6, C1-C4, D1, D2), Eddie Rosa* (tracks: A2-A6, B1-B3, D3)
• Baritone Saxophone – Bob Poland
• Bass – Joe Mondragon (tracks: A1, A2, A5, B1-B6, C1-C4, D1-D3 )
• Bass [Uncredited] – Abe Luboff (tracks: C5, D4, D5), Artie Bernstein (tracks: A2, A5, B1-B3, D3), Ed Mihelich (tracks: A3, A4, A6)
• Drums – Don Lamond (tracks: A2, A5, B1-B3, D3), Frank Bode (tracks: A1, B4-B6, C1-C4, D1, D2), Louis Bellson (tracks: D4, D5)
• Drums [Uncredited] – Bob Neel (tracks: C5, D4, D5), Buddy Combine (tracks: A3, A4, A6)
• Guitar – Jack Marshall (tracks: C5, D4, D5), Tiny Timbrell (tracks: A1, A3, A4, A6, B4-B6, C1-C4, D1, D2), Tony Rizzi (tracks: A2, A5, B1-B3, D3)
• Piano – Bruce MacDonald
• Tenor Saxophone – Corky Corcoran, Jimmy Cook (tracks: A2, A5, B1-B3, D3)
• Tenor Saxophone [Uncredited], Baritone Saxophone [Uncredited] – Sam Sachelle (tracks: A1, A3, A4, A6, B4-B6, C1-C4, D1, D2)
• Trombone – Ziggy Elmer*, Chuck Preble* (tracks: A1, A3, A4, A6, B4-B6, C1-C4, D1, D2), Dave Robbins (tracks: A1, A2, A5, B1-B6, C1-C4, D1-D3), Juan Tizol, Victor Hamann* (tracks: A3, A4, A6)
• Trombone [Uncredited] – Jimmy Palmer* (tracks: C5, D4, D5), Lee O'Connor (tracks: A2, A5, B1-B3, C5, D3-D5)
• Trumpet – Everett McDonald (tracks: A2, A5, B1-B3, C5, D3-D5), Gene Komer (tracks: A3, A4, A6), Neal Hefti (tracks: A1, B4-B6, C1-C4, D1, D2), Nick Buono, Pinky Savitt (tracks: All Except C5, D4, D5), Ralph Osborne
• Trumpet [Uncredited] – Phil Cook (tracks: C5, D4, D5)
• Trumpet, Leader – Harry James

Notes

CBS “Call For Music Show” – recorded February 20, 1948 in Hollywood, CA:
A4: Snooty Fruity

CBS “Call For Music Show” – recorded May 18, 1948 in Hollywood, CA:
A6: Lover

CBS “Call For Music Show” – recorded June 15, 1948 in Hollywood, CA:
A3: You Turned The Tables On Me

"U.S. Navy Presents", recorded June 1949 in Hollywood, CA:
A1: There They Go (USN 106) / B4: Raffles (USN 105) / B5: Six, Two And Even (USN 105)
B6: Bells (USN 105) / C1: Shine (USN 107) / C2: Block Party (USN 108) / C3: Forgotten (USN 108)
C4: Cottontail (USN 113) / D1: Proclamation (USN 110) / D2: Slap Happy (USN 111)

"U.S. Navy Presents", recorded July 1949 in Hollywood, CA:
A2: 'Cept February, Which Has 28 (USN 101) / A5: Things Ain't What They Used To Be (USN 114)
B1: Or Words To That Effect (USN 101) / B2: Big Boy (USN 102) / B3: The Arrival (USN 102)
D3: Kerina (USN 114)

“U.S. Navy Presents The Land's Best Bands” – recorded November, 1950 in Hollywood, CA:
C5: I May Be Wrong (USN 4A) / D4: Bluebeard's Blues (USN 4A) / D5: Rank Frank (USN 12A)

The "Navy Show" numbers in parenthesis above refer to the original 16" transcription numbers circulated only to radio stations for recruiting advertising.
Recording dates/locations are from The Jazz Discography Ver 14.0
Performance credits are from both the back cover and The Jazz Discography Ver 14.0.
The back cover credits drums to Louis Bellson on tracks D4 and D5, while the Jazz Discography does not, and the Jazz Discography adds additional credits missing on the back cover.

Promotional note from Fresh Sound Records' CD re-issue (There They Go): [These tracks] come from airslots, complete with typical announcements by radio MCs of the era, and Harry James himself also says a few words here and there. The album gets off to a storming start with trumpeter Neal Hefti's "There They Go" and apart from one slow number, it's swinging big band music all the way, with a roaring brass section, a swinging sax section and a four-man rhythm section that drives the band along in fine style. Twelve of the twenty numbers come from the pen of Hefti, and they evince a definite Basie influence. The tireless Harry James is the principal soloist and plays everywhere with a lip-busting ferocity, and the biting well-drilled trumpet section provides him with a brilliant backing, especially on "Snooty Fruity" and "Rank Frank". "Forgotten", a very attractive romantic theme by Frank Davenport, is the longest track and the only slow ballad on the entire album, and features some very pretty playing from Willie Smith and Corky Corcoran, both of whom are in top form throughout the album. "Cotton Tail" is played by a small unit from within the band while "Kerina" has a Latin-American feel to it with some mariachi-type trumpet from Harry James, but space does not permit an appraisal of every track. It is enough to say that this is a big band album for pure enjoyment in which the spirited playing and contagious enthusiasm from the entire band is almost overwhelming. Exhilarating stuff.

Other versions

Category	Artist	Title (Format)	Label	Category	Country	Year
FSCD 2014	Harry James And His Orchestra	There They Go: Harry James And His Orchestra 1948-1949 ‎(CD, Comp)	Fresh Sound Records	FSCD 2014	Switzerland	1995

thrust

Because of the musicians' strike that lasted for the duration of 1948, James recorded no new material for commercial release by his record label Columbia during this period, and outside of this period when he did record for Columbia, the label tended to focus more on James's pop releases. The combination of these two factors makes these tracks some of the few available that represent James's jazz style during this period. This is unfortunate because as music critic Marc Myers of JazzWax has stated, "[James's] band of the mid-1940s was more modern than most of the majors, and in 1949 he led one of the finest bands of the year."References:Marc Meyers at JazzWax, Accoustic Sounds, CD Re-issue at AllMusic, Fresh Sound Records CD Re-Issue