We frequently hear references to the influences in jazz and how the spiral of evolution is a powerful factor in shaping new concepts. Certainly it is true of Louis Armstrong and Charlie Parker as each in his own way made giant contributions to jazz and opened a sphere of influence that ripples through every corner of the contemporary jazz life. Such influences not only affect individual jazz performances but group playing as well. The sextet assembled by pianist Lou Stein for the 'Swingtime Session' illustrates the point with clarity. Consider the diversity of musical experience represented by Lou Stein, Tony Mottola, 'Peanuts' Hucko, Billy Butterfield, Cliff Leeman and bassists Bob Carter and Jack Lesberg who shared the bass chores. Three of the six (Stein, Hucko and Leeman) were prominently featured in the great Lawson-Haggart big band which was patterned on the main-stream influences of the late thirties and early forties. Yet these three men, in company with Billy's trumpet, Tony's Guitar and the respective bass players have created a sextet sound that is distinctive and fully reminiscent of the stimulation small groups which emerged during the burgeoning 'bop' movement. The punching rhythm section digs in behind the well-balanced front line to provide a free-wheeling essay of a well-defined musical adventure. Heading for open country on Route 88, Jazzville, the group sallies forth on side one with 'Peanuts' Hucko leading the way on tenor. Their visit to a Whistle-Stop Town is an outing for bassist Jack Lesberg and Billy Butterfield's muted trumpet, and the aptly titled Getting In A Hassle finds 'Peanuts' switching to clarinet to describe the action. Lou Stein sets the scene for the State Street Strut which features Tony Mottola's guitar, and the side closes with two blues romps, The Blue Wailer with Billy Butterfield wheeling and dealing and Diggin' Dixie highlighting the leader's frothy piano. The title tune, Swingtime Session is another 12-bar opus which opens the second side, and for a relaxing pace changer the group offers Moods with its interesting melodic line. Billy Butterfield's blast is Riding' High keynotes the exuberance of this musical space shot while Wending My Way Back Home is the logical conclusion to such lofty adventure. Riffing in a minor key is the focal point of Look, Look and Hello, G'bye, Hello is a reluctant farewell which gives all hands an improvisational outing. Truly, this 'Swingtime Session' blends talent and a variety of influences to a rich mixture of the jazz brew.