Manne is often associated with the frequently criticized West Coast school of jazz.

) The music — with each album devoted to a single show — was improvised in the manner of jazz, but always in a light, immediately appealing style aimed at popular taste, which did not always go over well with aficionados of " serious " jazz music, which may be one reason why Manne has been frequently overlooked in accounts of major jazz drummers of the 20th century.

In Los Angeles and occasionally returning to New York and elsewhere, Manne recorded with musicians of all schools and styles, ranging from those of the swing era through bebop to later developments in modern jazz, including hard bop, usually seen as the antithesis to the cool jazz frequently associated with West Coast playing.

Although this phase of his career has frequently been overlooked, Manne, by this time, had greatly refined his ability to back other musicians sympathetically, yet make his own musical thoughts clearly heard.

Participants in the debate including Keith Windschuttle and Robert Manne are frequently described as " culture warriors " for their respective points of view.

Jean Froissart states as follows: " Now will I name some of the principal lords and knights ( men-at-arms ) that were there with the prince: the earl of Warwick, the earl of Suffolk, the earl of Salisbury, the earl of Oxford, the lord Raynold Cobham, the lord Spencer, the lord James Audley, the lord Peter his brother, the lord Berkeley, the lord Basset, the lord Warin, the lord Delaware, the lord Manne, the lord Willoughby, the lord Bartholomew de Burghersh, the lord of Felton, the lord Richard of Pembroke, the lord Stephen of Cosington, the lord Bradetane and other Englishmen ; and of Gascon there was the lord of Pommiers, the lord of Languiran, the captal of Buch, the lord John of Caumont, the lord de Lesparre, the lord of Rauzan, the lord of Condon, the lord of Montferrand, the lord of Landiras, the lord Soudic of Latrau and other ( men-at-arms ) that I cannot name ; and of Hainowes the lord Eustace d ' Aubrecicourt, the lord John of Ghistelles, and two other strangers, the lord Daniel Pasele and the lord Denis of Amposta, a fortress in Catalonia ".

In 1954 Shelly Manne recorded a piece called " Abstract No. 1 " with trumpeter Shorty Rogers and reedsmith Jimmy Giuffre which was freely improvised.

Nearly a decade later he recorded At Shelly's Manne-Hole ( 1968 ), an exciting live trio session with bassist Ray Brown and drummer Shelly Manne, in which four of the compositions were improvised on the spot.

Similarly, the film's jazz soundtrack ( played by Shorty Rogers and His Giants with Shelly Manne ) was a landmark in film history ; it followed on somewhat from the score provided by Alex North for A Streetcar Named Desire ( 1951 ).

Shelly Manne, drummer with Bob Astor at the time, tells that, even then, Hefti's writing skills were quite impressive:

Drummer Shelly Manne was credited with a Special Guest role in the 1959 episode " Keep Smiling " playing drums in the " Bamboo Club " combo.

When the bebop movement began to change jazz in the 1940s, Manne loved it and adapted to the style rapidly, performing with Dizzy Gillespie and Charlie Parker.

But Manne appreciated the musical freedom that Kenton gave him and saw it as an opportunity to experiment along with what was still a highly innovative band.

Some of West Coast jazz was experimental, avant-garde music several years before the more mainstream avant-garde playing of Cecil Taylor and Ornette Coleman ( Manne also recorded with Coleman in 1959 ); a good deal of Manne's work with Jimmy Giuffre was of this kind.

But Gordon also points out that there is a level of musical sophistication, as well as an intensity and " swing ", in the music recorded by Manne with Previn and Vinnegar ( and later Red Mitchell ) that is missing in the many lackluster albums of this type produced by others in that period.

An extremely selective list of those with whom Manne performed includes Benny Carter, Earl Hines, Clifford Brown, Zoot Sims, Ben Webster, Maynard Ferguson, Wardell Gray, Lionel Hampton, Junior Mance, Jimmy Giuffre, and Stan Getz.

Around the same time in 1959, Manne recorded with the traditional Benny Goodman and the iconoclastic Ornette Coleman, a striking example of his versatility.

In later years this kind of appreciation for what Manne could do was echoed by jazz notables like Louie Bellson, John Lewis, Ray Brown, Harry " Sweets " Edison, and numerous others who had worked with him at various times.

" He could read anything, get any sort of effect ", said Carter, who worked closely with Manne over many decades.

Over decades, Manne recorded additional albums, or sometimes just sat in on drums here and there, with renowned vocalists like Ella Fitzgerald, Mel Tormé, Peggy Lee, Frank Sinatra, Ernestine Anderson, Sarah Vaughan, Lena Horne, Blossom Dearie, and Nancy Wilson.

In the 1950s, however, jazz began to be used for all or parts of film soundtracks, and Manne pioneered in these efforts, beginning with The Wild One ( 1953 ).

A notable early example was 1955's The Man with the Golden Arm ; Manne not only played drums throughout but functioned as a personal assistant to director Otto Preminger and tutored star Frank Sinatra.

Henry Mancini in particular found plenty of work for him ; the two shared an interest in experimenting with tone colors, and Mancini came to rely on Manne to shape the percussive effects in his music.

Although Mancini developed such a close partnership with Manne that he was using him for practically all his scores and other music at this time, the drummer still found time to perform on movie soundtracks and in TV shows with music by others, including the series Richard Diamond ( music by Pete Rugolo, 1959 – 1960 ), and Checkmate ( music by John Williams, 1959 – 1962 ), and the film version of Leonard Bernstein's West Side Story ( 1961 ).

In later years, Manne divided his time playing the drums on, adding special percussive effects to, and sometimes writing complete scores for both film and television.

Notable examples of later scores that Manne wrote himself and also performed in are, for the movies, Young Billy Young, 1969, and, for television, Daktari, 1966 – 1969.

According to the jazz writer Leonard Feather, Manne's drumming had been heard on well " over a thousand LPs "— a statement that Feather made in 1960, when Manne had not reached even the midpoint of his 45-year-long career.

) Manne even dabbled in Dixieland and fusion, as well as " Third Stream " music.

A star in Stan Kenton's famous orchestra in the 1940s and 1950s, as well as that of Woody Herman, also in the 1940s, and winner of numerous awards, Manne slipped from public view as jazz became less central in popular music.

The album featured famed drummer Shelly Manne, and was, like Waits ' previous albums, heavily jazz-influenced, with a lyrical style that owed influence to Raymond Chandler and Charles Bukowski as well as a vocal delivery influenced by Louis Armstrong, Dr John and Howlin ' Wolf.

Jazz drummers such as Gene Krupa, Buddy Rich, Louie Bellson, Shelly Manne, Cozy Cole, and Papa Jo Jones all used Avedis Zildjian cymbals.

Important figures include the Nobel Prize winning economists Ronald Coase and Gary Becker, U. S. Court of Appeals for the Seventh Circuit judges Frank Easterbrook and Richard Posner, Andrei Shleifer and other distinguished scholars such as Robert Cooter, Henry Manne, William Landes, and A. Mitchell Polinsky.

Manne was often experimental, and had participated in such musically exploratory groups of the early 1950s as those of Jimmy Giuffre and Teddy Charles.

In the late 1950s, Manne began to compose his own film scores, such as that for The Proper Time ( 1959 ), with the music also played by his own group, Shelly Manne and His Men, and issued on a Contemporary LP.

There, the house band was Shelly Manne and His Men, which featured some of his favorite sidemen, such as Russ Freeman, Monty Budwig, Richie Kamuca, Conte Candoli, and later Frank Strozier and Mike Wofford, among many other notable West Coast jazz musicians.

In the 1980s, Manne recorded with such stars as trumpeter Harry " Sweets " Edison, saxophonist Zoot Sims, guitarists Joe Pass and Herb Ellis, and pianist John Lewis ( famous as the musical director of the Modern Jazz Quartet ).

Manne, who called the book ‘ one of the most implausible, ignorant and pitiless books about Australian history written for many years ’, himself summed up the case against Windschuttle, noting that Windschuttle's evidence for Aboriginal deaths is derived from a scholar, Plomley, who denied that any estimate for them could be made from the documentary record ; that a scrupulous conservative scholar, H. A. Willis, using exactly the same sources as Windschuttle, came up with a figure of 188 violent deaths, and another 145 rumoured deaths ; that Windschuttle's method excludes deaths of aborigines who were wounded, and later died ; that all surviving Aborigines transported by Robinson to Flinders ' Island bore marks of violence and gunshot wounds ' perpetrated on them by depraved whites '; that Windschuttle cannot deny that between 1803 and 1834 almost all Tasmanian Aborigines died, and the only evidence for disease as a factor before 1829 rests on a single conversation recorded by James Bonwick, and that Aboriginal women who lived with sealers did not, however, die off from contact with bearers of foreign disease ; that Windschuttle likened Aboriginal attacks on British settlers to ‘ modern-day junkies raiding service stations for money ’, whereas both colonial records and modern historians speak of them as highly ' patriotic ', attached to their lands, and engaged in a veritable war to defend it from settlement ; that by Windschuttle's own figures, the violent death rate of Aborigines in Tasmania in the 1820s must have been 360 times the murder rate in contemporary New York ; that Windschuttle shows scarce familiarity with period books, citing only 3 of the 30 books published on Van Diemen's land for the period 1803-1834, and with one of them confuses the date of the first visit by the French with the publication date of the volume that recounted their expedition ; that it is nonsensical to argue that a people who had wandered over an island and survived for 34, 000 years had no attachment to their land ; that Windschuttle finds no native words in 19th century wordlists for ' land ' to attest to such an attachment, when modern wordlists show 23 entries under ' country '.

Under Lester Koenig's supervision, Contemporary recorded such artists as Sonny Rollins, Ornette Coleman, Cecil Taylor, Art Farmer, Benny Golson, the Curtis Counce Group ( featuring Harold Land, Jack Sheldon, Carl Perkins and Frank Butler ), Ben Webster, Benny Carter, Chet Baker, Art Pepper, Phineas Newborn, Jr., Woody Shaw, Shelly Manne, Hampton Hawes, Barney Kessel and Leroy Vinnegar.

Bolt then challenged Manne to produce ten cases in which the evidence justified the claim that children were " stolen " as opposed to having been removed for reasons such as neglect, abuse, abandonment, etc.

In the 1950s, he made a series of albums called The Poll Winners with Ray Brown on bass and Shelly Manne on drums.

From 1974 to 1982, Brown performed and recorded a series of albums with guitarist Laurindo Almeida, saxophonist and flutist Bud Shank, and drummer Shelly Manne ( replaced by Jeff Hamilton after 1977 ) under the name The L. A. Four.