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Joe Pass had recently signed with World Pacific Jazz records.

Using the same personnel (Clare, Albert and Colin) the album Catch Me was recorded. and on the road was extensive, playing and recording with, among others: Joe Pass, Victor Feldman, Joe Williams, Benny Goodman, George Shearing, Chet Baker, Hampton Hawes, Jim Hall, Red Mitchell, Roger Kellaway, Phil Woods, Pete Jolly, Ray Brown, Tommy Flanagan, Terry Gibbs, Buddy De Franco, Jimmy Rowles, Barney Kessel, Herb Ellis, Joao Gilberto, Peggy Lee, Tony Bennett, Coleman Hawkins, Gerry Mulligan, Michel Legrand, Dave Grusin, Harry ‘Sweets’ Edison, Clare Fischer, and Blossom Dearie. sound tracks that include: Emmy Awards, Fred Astaire Easter Show, Julie Andrews Show, Merv Griffin, and The Charlie Brown Christmas and A Boy Named Charlie Brown (Linus and Lucy specials with Vince Guaraldi.) He subbed for Ed Shaughnessy on the Tonight Show with Johnny Carson for six years, and the Carol Burnett Show. shows he played for every kind of music, from Beverly Sills (Opera) to James Brown.

Colin Bailey Born in Swindon, England on July 9th 1934, Colin Bailey began playing drums at age four.

He also studied piano and theory at an early age, and worked with English name bands from age eighteen. At that time he accompanied distinguished visiting jazz artists such as Dizzy Gillespie and Sarah Vaughan.

When Miles and the Band got to the club for a sound check there were some people there from some kind of board that said Tony, who was only 16 at the time, was too young to play in such a place! As a member of the rhythm section, Colin got to play for guest artists Duke Ellington, Count Basie, Dizzy Gillespie, Sarah Vaughan, Mel Torme, and June Christy, among others. He played most week-ends with Red Garland at a club in Dallas.

Miles needed a drummer, and having heard Colin with Victor, he called him to fill in for a couple of nights until they could sneak Tony in. In 1967, Colin started a twelve year studio career in L. In 1983 Colin joined the Richie Cole group Alto Madness, travelled to Japan and Europe, and toured the U. It was tough because he was still doing the teaching job as well.

He was so gracious, showing me the George Lawrence Stone finger control technique. I put in many hours every day trying to get it down, (I am still practicing mastering it! I had a lot more control with volume, and could play quietly with intensity, something that is tough for a lot of drummers. During this period, the trio played with such jazz greats as Ben Webster, Jimmy Witherspoon, and Gene Ammons. In January of 1963, he got a call from Victor Feldman who asked if he would be interested in going to Los Angeles to play a steady gig with his trio. The exposure of playing with Victor was tremendous.

Joe and I have been the best of friends ever since.”Jazz Impressions of Black Orpheus In 1961, Colin emigrated to the U. In February of 1962, the record Jazz Impressions of Black Orpheus was made, featuring the tune “Cast your fate to the Wind” which was Vince’s composition. Victor had heard the record and wanted Colin to be a member of his group. Local and visiting musicians would come into the club on Sunset Boulevard called The Scene to hear the trio play.

He also played on albums by Mel Torme, Peggy Lee, and Rosemary Clooney.

In the 70s, a young, talented crowd of guitarists raised their axes and slowly began to dominate.

Barbour told Bain he was working with Tommy Dorsey at the Casino Gardens in Los Angeles, and that he was going to stay in town when the band went on the road.

Barbour arranged for Bain to sit in with the band one night and when Dorsey asked if he would like to play with the band, Bain responded with a resounding, Sure!

It wasn’t long before Colin got a call from Dick Bock, the owner of World Pacific Jazz record label, to play on a single track with Clare Fischer, with Albert Stinson on bass.

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