Morton Gould, as Leroy Anderson, for me is associated with light classical or popular orchestral music, being brought up with TV's pre-PBS The Bell Telephone Hour, Voice of Firestone, the Boston Pops, and other popular classical shows. Pavanne, the second movement of American Symphonette No. 2, is, for example, forever etched in my neuro-circuits. This album of Gould's exciting popular and some very serious music is performed with spunk by the Albany Symphony Orchestra, and it is a shining gem. Gould, who was everywhere--on radio, composing for theatre, ballet, cinema, and conducting orchestras--was influenced by jazz and then such avant-garde classical composers as Bartók, whose Concerto for Orchestra enticed Gould to write his own similar score. There is no European jaggedness here; Gould's Concerto for Orchestra is full of melody and touches of American blues and boogie-woogie jazz. The contemplative middle movement gives way to the final propulsive nightclub romp. That American Concertette No. 1, aka Interplay, was adapted for dance and readily accepted by the public is no surprise, as it is playful, happy, rhythmic, and captures the then American bravura and confidence. The Gavotte was often played as an encore piece, and the Blues would have made George Gershwin smile. American Symphonette No. 3 lacked tunes that could be called a hit, as with the No. 2, but it, well, flirts, smiles, twinkles, spins, and suggests a cinematic comedy. The final work of the album is Chorale and Fugue in Jazz, composed deep in the heart of the Jazz Age, 1934. Performed in its entirety for the first time here, the work includes two pianos and saxophones and is Hollywood romantic with a Baroque wink. One can easily summarize this delightful album as, That's Entertainment!