One of the best-known arrangers of the post-World War II era, Marty Paich had much stronger jazz credentials than many of his peers, thanks to his active presence on the West Coast scene during the '50s. He worked with many of its leading figures, including Shelly Manne, Shorty Rogers, Chet Baker, Buddy Rich, Ray Brown, Dave Pell, and Stan Kenton, among others, but really caught the jazz world's attention with his work on Art Pepper's classic session Art Pepper + Eleven: Modern Jazz Classics. Perhaps his most notable work came with Mel Tormé, whom he often backed with a ten-piece group dubbed the Dek-tette; the pairing resulted in the classic album Mel Tormé and the Marty Paich Dek-tette (aka Lulu's Back in Town), plus numerous other high-quality sessions through 1960. Paich's work for both Tormé and Pepper reflected one of his greatest strengths as an arranger: making relatively small groups sound like full-size orchestras. He also led his own groups during the latter half of the '50s, and recorded for a variety of mostly smaller labels. Around 1960, he elected to move away from his own recording career to focus on arranging for vocalists: Peggy Lee, Ella Fitzgerald, Anita O'Day, Ray Charles, Lena Horne, Helen Humes, Al Hirt, Andy Williams, Sammy Davis Jr., Dean Martin, Frank Sinatra, Barbra Streisand, Astrud Gilberto, and Mahalia Jackson, among many others. He also composed music for films and television shows, and served as musical director on a succession of variety shows during the late '60s. In the late '80s, Paich reunited with a resurgent Tormé, reorganizing the Dek-tette for a series of highly acclaimed recordings and tours.