were working at Storyville and, if he was feeling good, he used to let his trousers gradually fall down during the cadenza of his feature, 'Body and Soul.' At the end of the cadenza, his trousers would hit the ground.' Serge and Boots and The Fable of Mabel In June and September 1954, Chaloff made two recording sessions for George Wein's Boston Storyville label, released as two 10" LPs. The first Serge and Boots was presented as a joint album with Boots Mussulli, with accompaniment by Russ Freeman (piano), Jimmy Woode (bass) and Buzzy Drootin (drums). Yet George Wein wrote on the sleevenote: 'An alternate title for this album could be 'Serge Returns'....Each selection in these six was chosen and arranged solely by Serge.' There were five standards and a Chaloff original, 'Zdot', with an ending 'written by a wonderful pianist and teacher, Margaret Chaloff, Serge's mother.'. On the second Storyville album, The Fable of Mabel, Chaloff played in a nine-piece band featuring Charlie Mariano, who composed three of the five originals, and Herb Pomeroy, who provided 'Salute to Tiny', dedicated to the drummer and arranger Tiny Kahn. The ambitious title piece was composed by Dick Twardzik, who described it on the sleevenote: The Fable of Mabel was introduced to jazz circles in 1951-52 by the Serge Chaloff Quartet. Audiences found this satirical jazz legend a welcome respite from standard night club fare. In this legend, Mabel is depicted as a woman who loves men, music and her silver saxophone that played counterpoint (her own invention which proved impractical). The work is divided into three movements: first, New Orleans; second Classical; and third, Not Too Sad An Ending. The soulful baritone solo by Serge Chaloff traces Mabel's humble beginnings working railroad cars in New Orleans to her emergence as a practising crusader for the cause of Jazz. During her Paris days on the Jazz Houseboat, her struggle for self-expression is symbolized by an unusual saxophone duet Charlie Mariano and Varty Haritrounian. Mabel always said she wanted to go out blowing. She did.' The sixth track, Al Killian's 'Lets Jump', was chosen by Chaloff, who said: 'Now that we've proven how advanced we are let's show the people that we can still swing.' Just a month after his second Storyville recording, Chaloff went through a personal crisis. In October 1954, with no money and unable to find heroin, he voluntarily entered