Eight Classic Albums

~ Release by Oscar Peterson (see all versions of this release, 1 available)

Tracklist

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1▼CD: The Jazz Soul of Oscar Peterson (1–5) / Plays the Duke Ellington Songbook (6–17)
#TitleRatingLength
1Liza (All the Clouds’ll Roll Away)
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
phonographic copyright (℗) by:
Verve (jazz label, aka “Verve Records”, use this for release labels) (in 1959)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Liza (All the Clouds’ll Roll Away) (from 1959-07-14 until 1959-08-09)
lyricist:
Ira Gershwin and Gus Khan
composer:
George Gershwin (composer)
publisher:
New World Music Corp. (in 1929)
included in:
An American in Paris (2015 Broadway musical)
34:32
2Con Alma
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (in 1959-08)
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09, in 1959-08)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09, in 1959-08)
phonographic copyright (℗) by:
Verve (jazz label, aka “Verve Records”, use this for release labels) (in 1959)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09) and Universal Recording Studio (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-21 until 1959-08-01)
recording of:
Con Alma (from 1959-07-14 until 1959-08-09)
composer:
Dizzy Gillespie
publisher:
Dizlo Music Corp.
cover recording of:
Con Alma (from 1959-07-24 until 1959-08-01)
composer:
Dizzy Gillespie
publisher:
Dizlo Music Corp.
6:59
3Close Your Eyes
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
phonographic copyright (℗) by:
Verve (jazz label, aka “Verve Records”, use this for release labels) (in 1959)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Close Your Eyes (from 1959-07-14 until 1959-08-09)
lyricist and composer:
Bernice Petkere (in 1933)
publisher:
Bernice Petkere Music Company, CBS Miller Catalog, Inc. and Sherman, Clay & Co. (in 1933)
5:46
4The Maidens of Cadiz
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (in 1959-08)
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09, in 1959-08)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09, in 1959-08)
phonographic copyright (℗) by:
Verve (jazz label, aka “Verve Records”, use this for release labels) (in 1959)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental cover recording of:
Les Filles de Cadix (The Maids of Cadiz) (catch-all for arrangements)
lyricist:
Alfred de Musset
composer:
Léo Delibes (French composer)
arrangement of:
Les Filles de Cadix (Chanson espagnole)
7:43
5My Heart Stood Still
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
phonographic copyright (℗) by:
Verve (jazz label, aka “Verve Records”, use this for release labels) (in 1959)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
My Heart Stood Still (from 1959-07-14 until 1959-08-09)
lyricist:
Lorenz Hart (in 1927)
composer:
Richard Rodgers (composer) (in 1927)
publisher:
Harms, Inc., Laurence Harms, Inc., Warner Bros. (holding: file NO releases), Warner Bros., Inc. (not for release label use!) and Warner Chappell Music Ltd. (no slash; used 1988–1996)
part of:
One Dam Thing After Another
5:43
6Cotton Tail
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
recording of:
Cotton Tail (from 1959-07-14 until 1959-08-09)
lyricist and composer:
Duke Ellington (US composer, pianist & jazz bandleader)
2:25
7Just A‐Sittin’ and A‐Rockin’
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
recording of:
Just A‐Sittin’ and A‐Rockin’ (from 1959-07-14 until 1959-08-09)
lyricist:
Lee Gaines (in 1941)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1941) and Billy Strayhorn (in 1941)
2:59
8Take the ‘A’ Train
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
recording of:
Take the “A” Train (version with lyrics by Sherrill) (from 1959-07-14 until 1959-08-09)
lyricist:
Joya Sherrill (in 1944)
composer:
Billy Strayhorn (in 1939)
publisher:
Music Sales Corporation (American copyright holder in both popular and classical music)
version of:
Take the “A” Train (original instrumental version)
3:06
9John Hardy’s Wife
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
recording of:
John Hardy's Wife (from 1959-07-14 until 1959-08-09)
composer:
Mercer Ellington
2:37
10Sophisticated Lady
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
recording of:
Sophisticated Lady (from 1959-07-14 until 1959-08-09)
lyricist:
Mitchell Parish and Irving Mills (in 1932)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1932)
publisher:
Duke Ellington Music (ended), Mills Music, Inc. (ended), EMI Mills Music Inc. (ASCAP-affiliated), Famous Music Corporation (renamed since 2007‐05 as Sony/ATV Harmony/Melody) (until 2007-05) and Sony/ATV Harmony (from 2007-05 to present)
part of:
Sophisticated Ladies (1981 musical)
part of:
The Real Book (compilation of jazz standards, Volume I)
2:28
11Don’t Get Around Much Anymore
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
recording of:
Don’t Get Around Much Anymore (from 1959-07-14 until 1959-08-09)
lyricist:
Bob Russell (US songwriter/lyricist Sidney Keith “Bob” Russell) (in 1942)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1940)
publisher:
EMI Music (do not use as release label! this is a music publisher), EMI Robbins Catalog Inc. (ASCAP), Harrison Music Corp. and Sony/ATV Harmony
sub-publisher:
フジパシフィックミュージック SBK事業部 (Fujipacific Music SBK Department) and ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label)
version of:
Never No Lament
2:35
12Rockin’ in Rhythm
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
recording of:
Rockin’ in Rhythm (from 1959-07-14 until 1959-08-09)
composer:
Harry Carney, Duke Ellington (US composer, pianist & jazz bandleader) and Irving Mills
is based on:
Kinda Dukish
2:17
13Prelude to a Kiss
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
recording of:
Prelude to a Kiss (from 1959-07-14 until 1959-08-09)
lyricist:
Irving Gordon (US songwriter) (in 1938) and Irving Mills (in 1938)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1938)
publisher:
J. R. Lafleur & Son Ltd. and Lafleur Music Ltd.
2:33
14In a Mellow Tone
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
recording of:
In a Mellow Tone (from 1959-07-14 until 1959-08-09)
lyricist:
Milt Gabler (in 1939)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1939)
publisher:
EMI Robbins and Robbins Music (publishing company owned by EMI Music Publishing Ltd.)
3:44
15Things Ain’t What They Used to Be
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
recording of:
Things Ain’t What They Used to Be (from 1959-07-14 until 1959-08-09)
lyricist:
Ted Persons
composer:
Mercer Ellington (in 1942)
publisher:
Tempo Music, Inc. (Duke Ellington’s music publishing company)
3:08
16I Got It Bad (and That Ain’t Good)
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
recording of:
I Got It Bad (and That Ain’t Good) (from 1959-07-14 until 1959-08-09)
lyricist:
Paul Francis Webster (in 1941)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1941)
publisher:
EMI Robbins Catalog Inc. (ASCAP), Robbins Music Corp., Sony/ATV Harmony and Webster Music Co.
part of:
The Real Book (compilation of jazz standards, Volume I)
3:14
17Do Nothin’ Till You Hear From Me
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
recording of:
Do Nothin’ Till You Hear From Me (from 1959-07-14 until 1959-08-09)
lyricist:
Bob Russell (US songwriter/lyricist Sidney Keith “Bob” Russell) (in 1943)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1943)
publisher:
Music Sales Corporation (American copyright holder in both popular and classical music) and Sony/ATV Harmony
version of:
Concerto for Cootie
2:15
2▼CD: Plays the George Gershwin Songbook (1–12) / Plays the Harold Arlen Songbook (13–24)
#TitleRatingLength
1It Ain’t Necessarily So
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
It Ain’t Necessarily So (jazz standard originally from Porgy and Bess; catch-all for unspecified pop and jazz arrangements) (from 1959-07-14 until 1959-08-09)
lyricist:
Ira Gershwin, Dorothy Heyward (playwright) and DuBose Heyward
composer:
George Gershwin (composer)
publisher:
Chappell Music (ASCAP), Gershwin Publishing Corp, Warner Chappell Music (publisher as Warner/Chappell Music), Warner/Chappell Music Australia Pty. Ltd. and Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09)
was commissioned by:
Gershwin Publishing Corp (in 1935)
version of:
Porgy and Bess: Act II, Scene II. “It ain’t necessarily so” (Sportin’ Life)
recording of:
It Ain’t Necessarily So (jazz standard originally from Porgy and Bess; catch-all for unspecified pop and jazz arrangements)
lyricist:
Ira Gershwin, Dorothy Heyward (playwright) and DuBose Heyward
composer:
George Gershwin (composer)
publisher:
Chappell Music (ASCAP), Gershwin Publishing Corp, Warner Chappell Music (publisher as Warner/Chappell Music), Warner/Chappell Music Australia Pty. Ltd. and Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09)
was commissioned by:
Gershwin Publishing Corp (in 1935)
version of:
Porgy and Bess: Act II, Scene II. “It ain’t necessarily so” (Sportin’ Life)
2:49
2The Man I Love
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
The Man I Love (from 1959-07-14 until 1959-08-09)
lyricist:
Ira Gershwin (in 1924)
composer:
George Gershwin (composer) (in 1924)
publisher:
New World Company, New World Music Corp., Productions et Éditions Cinématographiques Françaises, Warner/Chappell Music Holland BV, WB Music Corp. (1929–2019) (until 2019-05-28) and WC Music Corp. (from 2019-05-28 to present)
included in:
An American in Paris (2015 Broadway musical)
part of:
Lady, Be Good (full musical)
part of:
New York, New York (1977 musical film soundtrack)
recording of:
The Man I Love
lyricist:
Ira Gershwin (in 1924)
composer:
George Gershwin (composer) (in 1924)
publisher:
New World Company, New World Music Corp., Productions et Éditions Cinématographiques Françaises, Warner/Chappell Music Holland BV, WB Music Corp. (1929–2019) (until 2019-05-28) and WC Music Corp. (from 2019-05-28 to present)
included in:
An American in Paris (2015 Broadway musical)
part of:
Lady, Be Good (full musical)
part of:
New York, New York (1977 musical film soundtrack)
3:09
3Love Walked In
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Love Walked In (from 1959-07-14 until 1959-08-09)
lyricist:
Ira Gershwin (in 1937)
composer:
George Gershwin (composer) (in 1930)
publisher:
Chappell & Co Ltd., Warner Chappell Music Ltd. (no slash; used 1988–1996) and Gershwin Publishing Corp (in 1938)
part of:
The Goldwyn Follies
2:49
4I Was Doing All Right
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
I Was Doing All Right (from 1959-07-14 until 1959-08-09)
lyricist:
Ira Gershwin (in 1937)
composer:
George Gershwin (composer) (in 1937)
publisher:
Gershwin Publishing Corp (in 1938)
part of:
The Goldwyn Follies
2:51
5A Foggy Day
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
A Foggy Day (in London Town) (from 1959-07-14 until 1959-08-09)
lyricist:
Ira Gershwin (in 1937)
composer:
George Gershwin (composer) (in 1937)
publisher:
Chappell & Co., Inc. (USA), Chappell Music Ltd., Gershwin Publishing Corp, Warner Chappell North America Ltd. and WB Music Corp. (1929–2019) (until 2019-05-28)
part of:
A Damsel in Distress (1937 film score)
2:55
6Oh, Lady Be Good
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Oh, Lady Be Good! (from 1959-07-14 until 1959-08-09)
lyricist:
Ira Gershwin (in 1924)
composer:
George Gershwin (composer) (in 1924)
publisher:
Chappell Music Ltd., George Gershwin Music, Ira Gershwin Music and WB Music Corp. (1929–2019) (until 2019-05-28)
part of:
American Splendor
part of:
Lady, Be Good (full musical)
43:02
7Our Love Is Here to Stay
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Love Is Here to Stay (from 1959-07-14 until 1959-08-09)
lyricist:
Ira Gershwin
composer:
George Gershwin (composer)
publisher:
Chappell & Co Ltd., Chappell & Co., Inc. (USA), Chappell Music Ltd., Frankie G. Songs, George Gershwin Music, Ira Gershwin Music, Nokawi Music, Warner Bros. Music (publisher; do NOT use as release label), Warner Chappell Music Ltd. (no slash; used 1988–1996), WB Music Corp. (1929–2019) (until 2019-05-28), Gershwin Publishing Corp (in 1938) and WC Music Corp. (from 2019-05-28 to present)
sub-publisher:
Chappell Music (UK), ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label) and ワーナー・チャペル音楽出版 Synch事業部 (Warner/Chappell Music Japan K.K., Synch Division)
part of:
The Goldwyn Follies
2:59
8They All Laughed
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
They All Laughed (from “Shall We Dance”) (from 1959-07-14 until 1959-08-09)
lyricist:
Ira Gershwin (in 1937)
composer:
George Gershwin (composer) (in 1937)
publisher:
Chappell & Co., Inc. (USA), Chappell Music (UK) and Gershwin Publishing Corp (in 1937)
part of:
Shall We Dance (1937 film soundtrack)
recording of:
They All Laughed (from “Shall We Dance”)
lyricist:
Ira Gershwin (in 1937)
composer:
George Gershwin (composer) (in 1937)
publisher:
Chappell & Co., Inc. (USA), Chappell Music (UK) and Gershwin Publishing Corp (in 1937)
part of:
Shall We Dance (1937 film soundtrack)
32:32
9Let’s Call the Whole Thing Off
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Let’s Call the Whole Thing Off (from “Shall We Dance”) (from 1959-07-14 until 1959-08-09)
lyricist:
Ira Gershwin (in 1937)
composer:
George Gershwin (composer) (in 1937)
publisher:
Gershwin Publishing Corp (in 1937)
translated version of:
Vamos a dejarlo ya (Let's Call the Whole Thing Off)
part of:
Shall We Dance (1937 film soundtrack)
recording of:
Let’s Call the Whole Thing Off (from “Shall We Dance”)
lyricist:
Ira Gershwin (in 1937)
composer:
George Gershwin (composer) (in 1937)
publisher:
Gershwin Publishing Corp (in 1937)
translated version of:
Vamos a dejarlo ya (Let's Call the Whole Thing Off)
part of:
Shall We Dance (1937 film soundtrack)
2:20
10Summertime
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Summertime (American songbook standard from 1935 opera Porgy and Bess) (from 1959-07-14 until 1959-08-09)
lyricist:
Ira Gershwin (in 1934), Dorothy Heyward (playwright) (in 1934) and DuBose Heyward (in 1934)
composer:
George Gershwin (composer) (in 1934)
publisher:
Chappell & Co., Chappell & Co., Inc. (USA), Chappell Music Ltd., Dubose and Dorothy Heyward Memorial Fund Publishing, George Gershwin Music, New Dawn Music, Warner Chappell Music Ltd. (no slash; used 1988–1996), Warner/Chappell (Warner/Chappell Music, Inc.), Warner/Chappell Music Holland BV, Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09), Ira Gershwin Music (in 1935), WB Music Corp. (1929–2019) (from 1935 until 2019-05-28) and WC Music Corp. (from 2019-05-28 to present)
version of:
Porgy and Bess: Act I, Scene I. “Summertime” (Clara)
2:58
11Nice Work If You Can Get It
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Nice Work If You Can Get It (from 1959-07-14 until 1959-08-09)
lyricist:
Ira Gershwin (in 1937)
composer:
George Gershwin (composer) (in 1937)
publisher:
Chappell & Co., Inc. (USA) and Gershwin Publishing Corp (in 1937)
part of:
A Damsel in Distress (1937 film score)
part of:
Crazy for You (1992 musical)
part of:
My One and Only (1983 Broadway musical)
2:08
12Shall We Dance?
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Shall We Dance (from 1959-07-14 until 1959-08-09)
lyricist:
Ira Gershwin
composer:
George Gershwin (composer)
publisher:
Gershwin Publishing Corp (in 1937)
included in:
An American in Paris (2015 Broadway musical)
part of:
Crazy for You (1992 musical)
part of:
Shall We Dance (1937 film soundtrack)
recording of:
Shall We Dance
lyricist:
Ira Gershwin
composer:
George Gershwin (composer)
publisher:
Gershwin Publishing Corp (in 1937)
included in:
An American in Paris (2015 Broadway musical)
part of:
Crazy for You (1992 musical)
part of:
Shall We Dance (1937 film soundtrack)
instrumental recording of:
Shall We Dance? (The King and I)
orchestrator:
Robert Russell Bennett (American composer and arranger)
lyricist:
Oscar Hammerstein II (of Rodgers & Hammerstein)
composer:
Richard Rodgers (composer)
publisher:
Rodgers & Hammerstein Theatrical Europe Ltd. and Williamson Music Company
part of:
The King and I (Rodgers & Hammerstein musical)
42:19
13As Long as I Live
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
As Long as I Live (from 1959-07-14 until 1959-08-09)
lyricist:
Ted Koehler (in 1934)
composer:
Harold Arlen (in 1934)
publisher:
Arko Music Corp.
2:26
14Come Rain or Come Shine
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Come Rain or Come Shine (from 1959-07-14 until 1959-08-09)
lyricist:
Johnny Mercer (in 1946)
composer:
Harold Arlen (in 1946)
publisher:
Chappell & Co., Chappell & Co., Inc. (USA), S.A. Music Co. and Warner/Chappell Music Scandinavia AB
2:37
15Ac‐Cent‐Tchu‐Ate the Positive
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Ac‐cent‐tchu‐ate the Positive (from 1959-07-14 until 1959-08-09)
lyricist:
Johnny Mercer (in 1944)
composer:
Harold Arlen (in 1944)
publisher:
Harwin Music Corporation, Warner/Chappell Music, Hong Kong Limited (華納音樂版權香港有限公司, 1995–2019), ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label) and ワーナー・チャペル音楽出版 Synch事業部 (Warner/Chappell Music Japan K.K., Synch Division)
part of:
The 18th Academy Award for Best Original Song (number: 2)
2:02
16Between the Devil and the Deep Blue Sea
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
instrumental recording of:
Between the Devil and the Deep Blue Sea (from 1959-07-14 until 1959-08-09)
lyricist:
Ted Koehler
composer:
Harold Arlen
publisher:
Mills Music, S.A. Music Co. and Ted Koehler Music Co.
recording of:
Between the Devil and the Deep Blue Sea (from 1959-07-21 until 1959-08-01)
lyricist:
Ted Koehler
composer:
Harold Arlen
publisher:
Mills Music, S.A. Music Co. and Ted Koehler Music Co.
2:43
17I’ve Got the World on a String
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
I’ve Got the World on a String (from 1959-07-14 until 1959-08-09)
lyricist:
Ted Koehler (in 1932)
composer:
Harold Arlen (in 1932)
publisher:
BMG Gold Songs, EMI Mills Music Inc. (ASCAP-affiliated), MCA Music Publishing (renamed since c. 1996 as Universal Music Publishing Group), Mills Music, Inc. and S.A. Music Co.
sub-publisher:
ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label), コンソーシアム音楽出版 C・F事業部 (Consortium Music Publishing, CF Division) (until 2021-06-30) and ソニー・ミュージックパブリッシング CMP外国事業部 (sub‐publisher for foreign (non‐Japanese) works) (from 2021-07-01 to present)
recording of:
I’ve Got the World on a String
lyricist:
Ted Koehler (in 1932)
composer:
Harold Arlen (in 1932)
publisher:
BMG Gold Songs, EMI Mills Music Inc. (ASCAP-affiliated), MCA Music Publishing (renamed since c. 1996 as Universal Music Publishing Group), Mills Music, Inc. and S.A. Music Co.
sub-publisher:
ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label), コンソーシアム音楽出版 C・F事業部 (Consortium Music Publishing, CF Division) (until 2021-06-30) and ソニー・ミュージックパブリッシング CMP外国事業部 (sub‐publisher for foreign (non‐Japanese) works) (from 2021-07-01 to present)
2:29
18That Old Black Magic
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
That Old Black Magic (from 1959-07-14 until 1959-08-09)
lyricist:
Johnny Mercer (in 1942)
composer:
Harold Arlen (in 1942)
publisher:
Famous Chappell and Famous Music Corporation (renamed since 2007‐05 as Sony/ATV Harmony/Melody)
part of:
The 16th Academy Award for Best Original Song (number: 2)
3:01
19Let’s Fall in Love
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
instrumental recording of:
Let’s Fall in Love (from 1959-07-14 until 1959-08-09)
lyricist:
Ted Koehler (in 1933)
composer:
Harold Arlen (in 1933)
publisher:
Bourne Co. (not for release label use, this is a music publisher) and Francis, Day & Hunter Ltd.
recording of:
Let’s Fall in Love (from 1959-07-21 until 1959-08-01)
lyricist:
Ted Koehler (in 1933)
composer:
Harold Arlen (in 1933)
publisher:
Bourne Co. (not for release label use, this is a music publisher) and Francis, Day & Hunter Ltd.
2:18
20Stormy Weather
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
instrumental recording of:
Stormy Weather (from 1959-07-14 until 1959-08-09)
lyricist:
Ted Koehler (in 1933)
composer:
Harold Arlen (in 1933)
publisher:
Arko Music Corp., EMI Music Publishing (do not use as a release label!), Fred Ahlert Mus. Corp., Mills Music, Inc., S.A. Music Co., Ted Koehler Music Co. and The Songwriters Guild
instrumental recording of:
Stormy Weather (in 1959)
lyricist:
Ted Koehler (in 1933)
composer:
Harold Arlen (in 1933)
publisher:
Arko Music Corp., EMI Music Publishing (do not use as a release label!), Fred Ahlert Mus. Corp., Mills Music, Inc., S.A. Music Co., Ted Koehler Music Co. and The Songwriters Guild
recording of:
Stormy Weather
lyricist:
Ted Koehler (in 1933)
composer:
Harold Arlen (in 1933)
publisher:
Arko Music Corp., EMI Music Publishing (do not use as a release label!), Fred Ahlert Mus. Corp., Mills Music, Inc., S.A. Music Co., Ted Koehler Music Co. and The Songwriters Guild
2:43
21Over the Rainbow
producer:
Norman Granz
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Over the Rainbow (The Wizard of Oz) (from 1959-07-14 until 1959-08-09)
lyricist:
Yip Harburg (in 1938)
composer:
Harold Arlen (in 1938)
premiered by:
Judy Garland (in 1939)
publisher:
EMI Feist Catalog Inc., EMI Music (do not use as release label! this is a music publisher), EMI Partnership Ltd., EMI United Partnership Ltd., J. Albert & Son Pty. Ltd., Leo Feist Music, Robbins Music Corp. Ltd., United Partnership Ltd. and Warner/Chappell (Warner/Chappell Music, Inc.)
sub-publisher:
香港商百代音樂股份有限公司台灣分公司 (EMI Music Publishing (S E Asia) Ltd., Taiwan Branch), フジパシフィック音楽出版 SBK事業部 (Fujipacific Music Inc. SBK Division) (until 2014-12-31), ヤマハミュージックパブリッシング (Yamaha Music Publishing) (until 2017-03-31), フジパシフィックミュージック SBK事業部 (Fujipacific Music SBK Department) (from 2015-01-01 to present) and ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label) (from 2017-04-01 to present)
part of:
The 12th Academy Award for Best Original Song (number: 1) and Academy Award for Best Original Song (number: 1939 winner)
part of:
The Wizard of Oz (1942 Arlen/Harburg musical)
part of:
The Wizard of Oz (1939 film soundtrack)
recording of:
Over the Rainbow (The Wizard of Oz)
lyricist:
Yip Harburg (in 1938)
composer:
Harold Arlen (in 1938)
premiered by:
Judy Garland (in 1939)
publisher:
EMI Feist Catalog Inc., EMI Music (do not use as release label! this is a music publisher), EMI Partnership Ltd., EMI United Partnership Ltd., J. Albert & Son Pty. Ltd., Leo Feist Music, Robbins Music Corp. Ltd., United Partnership Ltd. and Warner/Chappell (Warner/Chappell Music, Inc.)
sub-publisher:
香港商百代音樂股份有限公司台灣分公司 (EMI Music Publishing (S E Asia) Ltd., Taiwan Branch), フジパシフィック音楽出版 SBK事業部 (Fujipacific Music Inc. SBK Division) (until 2014-12-31), ヤマハミュージックパブリッシング (Yamaha Music Publishing) (until 2017-03-31), フジパシフィックミュージック SBK事業部 (Fujipacific Music SBK Department) (from 2015-01-01 to present) and ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label) (from 2017-04-01 to present)
part of:
The 12th Academy Award for Best Original Song (number: 1) and Academy Award for Best Original Song (number: 1939 winner)
part of:
The Wizard of Oz (1942 Arlen/Harburg musical)
part of:
The Wizard of Oz (1939 film soundtrack)
2:18
22Happiness Is a Thing Called Joe
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
instrumental recording of:
Happiness Is a Thing Called Joe (from 1959-07-14 until 1959-08-09)
lyricist:
Yip Harburg (in 1940)
composer:
Harold Arlen (in 1940)
part of:
The 16th Academy Award for Best Original Song (number: 2)
instrumental recording of:
Happiness Is a Thing Called Joe (in 1959)
lyricist:
Yip Harburg (in 1940)
composer:
Harold Arlen (in 1940)
part of:
The 16th Academy Award for Best Original Song (number: 2)
recording of:
Happiness Is a Thing Called Joe
lyricist:
Yip Harburg (in 1940)
composer:
Harold Arlen (in 1940)
part of:
The 16th Academy Award for Best Original Song (number: 2)
2:13
23The Man That Got Away
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
double bass [bass]:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
instrumental recording of:
The Man That Got Away (A Star Is Born) (from 1959-07-14 until 1959-08-09)
lyricist:
Ira Gershwin (in 1953)
composer:
Harold Arlen (in 1953)
publisher:
Chappell/Morris Ltd., Harwin Music Corporation, MPL Communications Inc. (Paul McCartney‐related, NYC‐based company) and WB Music Corp. (1929–2019)
part of:
The 27th Academy Award for Best Original Song (number: 2)
instrumental recording of:
The Man That Got Away (A Star Is Born) (in 1959)
lyricist:
Ira Gershwin (in 1953)
composer:
Harold Arlen (in 1953)
publisher:
Chappell/Morris Ltd., Harwin Music Corporation, MPL Communications Inc. (Paul McCartney‐related, NYC‐based company) and WB Music Corp. (1929–2019)
part of:
The 27th Academy Award for Best Original Song (number: 2)
recording of:
The Man That Got Away (A Star Is Born)
lyricist:
Ira Gershwin (in 1953)
composer:
Harold Arlen (in 1953)
publisher:
Chappell/Morris Ltd., Harwin Music Corporation, MPL Communications Inc. (Paul McCartney‐related, NYC‐based company) and WB Music Corp. (1929–2019)
part of:
The 27th Academy Award for Best Original Song (number: 2)
2:39
24Ill Wind
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09, from 1959-07-21 until 1959-08-01)
instrumental recording of:
Ill Wind (from 1959-07-14 until 1959-08-09)
lyricist:
Ted Koehler (in 1934)
composer:
Harold Arlen (in 1934)
instrumental recording of:
Ill Wind (in 1959)
lyricist:
Ted Koehler (in 1934)
composer:
Harold Arlen (in 1934)
recording of:
Ill Wind
lyricist:
Ted Koehler (in 1934)
composer:
Harold Arlen (in 1934)
2:32
3▼CD: Plays the Jerome Kern Songbook (1–12) / Plays the Cole Porter Songbook (13–24)
#TitleRatingLength
1I Won’t Dance
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
I Won’t Dance (1935, lyrics by Dorothy Fields, from “Roberta”) (from 1959-07-14 until 1959-08-09)
lyricist:
Jimmy McHugh (songwriter) and Dorothy Fields (American librettist and lyricist) (in 1935)
composer:
Jerome Kern
publisher:
Chappell Music Ltd., Cotton Club Publishing, EMI Music Publishing Ltd. (PRS‐affiliated), Memory Lane Music Ltd., T.B. Harms Co. and Universal Music Publishing Ltd. (UK subsidiary of Universal Music Publishing Group)
is based on:
I Won’t Dance (1934, lyrics by Hammerstein/Harbach, from “Three Sisters”)
recording of:
I Won’t Dance (1935, lyrics by Dorothy Fields, from “Roberta”)
lyricist:
Jimmy McHugh (songwriter) and Dorothy Fields (American librettist and lyricist) (in 1935)
composer:
Jerome Kern
publisher:
Chappell Music Ltd., Cotton Club Publishing, EMI Music Publishing Ltd. (PRS‐affiliated), Memory Lane Music Ltd., T.B. Harms Co. and Universal Music Publishing Ltd. (UK subsidiary of Universal Music Publishing Group)
is based on:
I Won’t Dance (1934, lyrics by Hammerstein/Harbach, from “Three Sisters”)
2:33
2Bill
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Bill (Show Boat) (from 1959-07-14 until 1959-08-09)
lyricist:
Oscar Hammerstein II (of Rodgers & Hammerstein) and P. G. Wodehouse
composer:
Jerome Kern
publisher:
T.B. Harms Co. (in 1927)
part of:
Show Boat (1951 film)
part of:
Show Boat: Act II
recording of:
Bill (Show Boat)
lyricist:
Oscar Hammerstein II (of Rodgers & Hammerstein) and P. G. Wodehouse
composer:
Jerome Kern
publisher:
T.B. Harms Co. (in 1927)
part of:
Show Boat (1951 film)
part of:
Show Boat: Act II
2:58
3The Song Is You
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
The Song Is You (from 1959-07-14 until 1959-08-09)
lyricist:
Oscar Hammerstein II (of Rodgers & Hammerstein)
composer:
Jerome Kern
publisher:
PolyGram International Publishing, Inc. (renamed Universal PolyGram International Publishing, Inc. circa 1998) and T.B. Harms Co.
3:05
4A Fine Romance
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
A Fine Romance (from “Swing Time”) (from 1959-07-14 until 1959-08-09)
publisher:
Jerome Kern (on 1936-07-24)
lyricist:
Dorothy Fields (American librettist and lyricist) (in 1936)
composer:
Jerome Kern (in 1936)
publisher:
Chappell & Co.
part of:
Swing Time (film)
3:10
5Can’t Help Lovin’ Dat Man
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Can’t Help Lovin’ Dat Man (Show Boat) (from 1959-07-14 until 1959-08-09)
lyricist:
Oscar Hammerstein II (of Rodgers & Hammerstein) (in 1927)
composer:
Jerome Kern (in 1927)
publisher:
T.B. Harms Co.
medley of:
Selections from "Show boat"
part of:
Show Boat (1951 film)
part of:
Show Boat: Act I
part of:
The Real Book (compilation of jazz standards, Volume I)
2:46
6Old Man River
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Ol’ Man River (Show Boat) (from 1959-07-14 until 1959-08-09)
lyricist:
Oscar Hammerstein II (of Rodgers & Hammerstein) (in 1927)
composer:
Jerome Kern (in 1927)
publisher:
PolyGram International Publishing, Inc. (renamed Universal PolyGram International Publishing, Inc. circa 1998) and T.B. Harms Co. (on 1927-11-30)
part of:
Show Boat (1951 film)
part of:
Show Boat: Act I
recording of:
Ol’ Man River (Show Boat)
lyricist:
Oscar Hammerstein II (of Rodgers & Hammerstein) (in 1927)
composer:
Jerome Kern (in 1927)
publisher:
PolyGram International Publishing, Inc. (renamed Universal PolyGram International Publishing, Inc. circa 1998) and T.B. Harms Co. (on 1927-11-30)
part of:
Show Boat (1951 film)
part of:
Show Boat: Act I
2:38
7Long Ago and Far Away
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Long Ago (and Far Away) (from 1959-07-14 until 1959-08-09)
lyricist:
Ira Gershwin
composer:
Jerome Kern
publisher:
Universal PolyGram International Publishing, Inc. (existed only since ca. 1998) and T.B. Harms Co. (in 1944)
part of:
The 17th Academy Award for Best Original Song (number: 2)
included in:
Cover Girl (1944)
2:36
8Lovely to Look At
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Lovely to Look at (from 1959-07-14 until 1959-08-09)
lyricist:
Dorothy Fields (American librettist and lyricist) (in 1935)
additional composer:
Jimmy McHugh (songwriter)
composer:
Jerome Kern (in 1935)
part of:
Academy Award for Best Original Song (number: 1935 nominee)
2:48
9Pick Yourself Up
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Pick Yourself Up (from “Swing Time”) (from 1959-07-14 until 1959-08-09)
lyricist:
Dorothy Fields (American librettist and lyricist)
composer:
Jerome Kern
part of:
Swing Time (film)
2:13
10Smoke Gets in Your Eyes
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Smoke Gets in Your Eyes (from 1959-07-14 until 1959-08-09)
lyricist:
Otto Harbach
composer:
Jerome Kern
publisher:
Chappell & Co Ltd., Chappell & Co., Chappell Music (UK), Chappell Music Ltd., PolyGram International Publishing, Inc. (renamed Universal PolyGram International Publishing, Inc. circa 1998), PolyGram Music Publishing Ltd., Redwood Music, T.B. Harms Co., Universal Music Publishing Ltd. (UK subsidiary of Universal Music Publishing Group) and Universal PolyGram International Publishing, Inc. (existed only since ca. 1998)
part of:
Roberta
2:50
11The Way You Look Tonight
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
The Way You Look Tonight (from “Swing Time”) (from 1959-07-14 until 1959-08-09)
publisher:
Jerome Kern (on 1936-07-24)
lyricist:
Dorothy Fields (American librettist and lyricist) (in 1936)
composer:
Jerome Kern (in 1936)
publisher:
Aldi Music Company, Chappell & Co., Inc. (USA), Chappell Music Ltd., Polygram Music, PolyGram Music Publishing Ltd., Shapiro Bernstein & Co. Ltd., Shapiro, Bernstein & Co., Inc., The Songwriters Guild and Universal PolyGram International Publishing, Inc. (existed only since ca. 1998) (in 1936)
sub-publisher:
シンコーミュージック・エンタテイメント (Shinko Music Entertainment Co., Ltd.) and ユニバーサル・ミュージック・パブリッシング Synch事業部 (Universal Music Publishing, Synch Division)
part of:
The 9th Academy Award for Best Original Song (number: 1) and Academy Award for Best Original Song (number: 1936 winner)
part of:
Swing Time (film)
3:41
12Yesterdays
bass:
Ray Brown (jazz bassist) (from 1959-07-14 until 1959-08-09)
drums (drum set):
Ed Thigpen (from 1959-07-14 until 1959-08-09)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-14 until 1959-08-09)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-14 until 1959-08-09)
instrumental recording of:
Yesterdays (from 1959-07-14 until 1959-08-09)
lyricist:
Otto Harbach
composer:
Jerome Kern
publisher:
PolyGram Music Publishing Ltd., Universal Music Publishing Ltd. (UK subsidiary of Universal Music Publishing Group) and Universal PolyGram International Publishing, Inc. (existed only since ca. 1998)
part of:
Roberta
3:20
13In the Still of the Night
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
drums (drum set):
Ed Thigpen (from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-21 until 1959-08-01)
phonographic copyright (℗) by:
Verve Records, Inc. (credited often as just "Verve Records" for manufacturing/marketing, a division of PolyGram Classics and Jazz, of PolyGram Records, Inc.)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-21 until 1959-08-01)
instrumental recording of:
In the Still of the Night (Cole Porter song) (from 1959-07-21 until 1959-08-01)
lyricist and composer:
Cole Porter (composer) (in 1937)
publisher:
Chappell (company that specialized in library and production music) and Chappell & Co., Inc. (USA)
2:53
14It’s All Right With Me
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
drums (drum set):
Ed Thigpen (from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-21 until 1959-08-01)
phonographic copyright (℗) by:
Verve Records, Inc. (credited often as just "Verve Records" for manufacturing/marketing, a division of PolyGram Classics and Jazz, of PolyGram Records, Inc.)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-21 until 1959-08-01)
instrumental recording of:
It’s All Right with Me (Can‐Can musical) (from 1959-07-21 until 1959-08-01)
lyricist and composer:
Cole Porter (composer) (in 1953)
publisher:
Chappell & Co., Inc. (USA)
part of:
Can‐Can (1960 musical film)
part of:
High Society (stage musical)
2:55
15Love for Sale
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
drums (drum set):
Ed Thigpen (from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-21 until 1959-08-01)
phonographic copyright (℗) by:
Verve Records, Inc. (credited often as just "Verve Records" for manufacturing/marketing, a division of PolyGram Classics and Jazz, of PolyGram Records, Inc.)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-21 until 1959-08-01)
instrumental recording of:
Love for Sale (from 1959-07-21 until 1959-08-01)
lyricist and composer:
Cole Porter (composer) (in 1930)
publisher:
Chappell & Co., Chappell Music Ltd., Harms, Inc. and Warner Bros., Inc. (not for release label use!)
3:31
16Just One of Those Things
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
double bass:
Ray Brown (jazz bassist) (in 1959)
drums (drum set):
Ed Thigpen (in 1959, from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1959, from 1959-07-21 until 1959-08-01)
phonographic copyright (℗) by:
Verve Records, Inc. (credited often as just "Verve Records" for manufacturing/marketing, a division of PolyGram Classics and Jazz, of PolyGram Records, Inc.)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-21 until 1959-08-01)
instrumental recording of:
Just One of Those Things (from 1959-07-21 until 1959-08-01)
lyricist and composer:
Cole Porter (composer) (in 1935)
publisher:
Chappell Music Ltd., Warner/Chappell (Warner/Chappell Music, Inc.) and Warner Bros., Inc. (not for release label use!) (in 1929)
part of:
Can‐Can (1960 musical film)
part of:
High Society (stage musical)
part of:
Jubilee
part of:
Panama Hattie (1942 film)
instrumental recording of:
Just One of Those Things (in 1959)
lyricist and composer:
Cole Porter (composer) (in 1935)
publisher:
Chappell Music Ltd., Warner/Chappell (Warner/Chappell Music, Inc.) and Warner Bros., Inc. (not for release label use!) (in 1929)
part of:
Can‐Can (1960 musical film)
part of:
High Society (stage musical)
part of:
Jubilee
part of:
Panama Hattie (1942 film)
recording of:
Just One of Those Things
lyricist and composer:
Cole Porter (composer) (in 1935)
publisher:
Chappell Music Ltd., Warner/Chappell (Warner/Chappell Music, Inc.) and Warner Bros., Inc. (not for release label use!) (in 1929)
part of:
Can‐Can (1960 musical film)
part of:
High Society (stage musical)
part of:
Jubilee
part of:
Panama Hattie (1942 film)
2:25
17I’ve Got You Under My Skin
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
drums (drum set):
Ed Thigpen (from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-21 until 1959-08-01)
phonographic copyright (℗) by:
Verve Records, Inc. (credited often as just "Verve Records" for manufacturing/marketing, a division of PolyGram Classics and Jazz, of PolyGram Records, Inc.)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-21 until 1959-08-01)
instrumental recording of:
I’ve Got You Under My Skin (from 1959-07-21 until 1959-08-01)
lyricist and composer:
Cole Porter (composer) (in 1936)
publisher:
Chappell & Co., Chappell & Co., Inc. (USA), Chappell Music (UK), Victoria Music Ltd. and Warner Chappell Music Ltd. (no slash; used 1988–1996)
part of:
The 9th Academy Award for Best Original Song (number: 2) and Academy Award for Best Original Song (number: 1936 nominee)
part of:
Born to Dance
2:52
18Every Time We Say Goodbye
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
drums (drum set):
Ed Thigpen (from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-21 until 1959-08-01)
phonographic copyright (℗) by:
Verve Records, Inc. (credited often as just "Verve Records" for manufacturing/marketing, a division of PolyGram Classics and Jazz, of PolyGram Records, Inc.)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-21 until 1959-08-01)
instrumental recording of:
Ev’ry Time We Say Goodbye (Seven Lively Arts musical revue) (from 1959-07-21 until 1959-08-01)
lyricist and composer:
Cole Porter (composer) (in 1944)
publisher:
Chappell & Co Ltd., Chappell & Co., Chappell & Co., Inc. (USA), Chappell Music Co. Inc. and Warner Chappell Music Ltd. (no slash; used 1988–1996)
sub-publisher:
ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label) and ワーナー・チャペル音楽出版 Synch事業部 (Warner/Chappell Music Japan K.K., Synch Division)
recording of:
Ev’ry Time We Say Goodbye (Seven Lively Arts musical revue)
lyricist and composer:
Cole Porter (composer) (in 1944)
publisher:
Chappell & Co Ltd., Chappell & Co., Chappell & Co., Inc. (USA), Chappell Music Co. Inc. and Warner Chappell Music Ltd. (no slash; used 1988–1996)
sub-publisher:
ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label) and ワーナー・チャペル音楽出版 Synch事業部 (Warner/Chappell Music Japan K.K., Synch Division)
2:22
19Night and Day
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
drums (drum set):
Ed Thigpen (from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-21 until 1959-08-01)
phonographic copyright (℗) by:
Verve Records, Inc. (credited often as just "Verve Records" for manufacturing/marketing, a division of PolyGram Classics and Jazz, of PolyGram Records, Inc.)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-21 until 1959-08-01)
instrumental recording of:
Night and Day (Cole Porter; from “The Gay Divorce”) (from 1959-07-21 until 1959-08-01)
lyricist and composer:
Cole Porter (composer) (in 1932)
publisher:
Chappell & Co., Inc. (USA), Chappell Music Ltd., Warner Bros. (holding: file NO releases), Warner Bros. Music (publisher; do NOT use as release label), Warner Bros., Inc. (not for release label use!), Warner Bros., Inc. (Warner Bros. Music Division), Warner/Chappell (Warner/Chappell Music, Inc.), WB Music Corp. (1929–2019) (until 2019-05-28) and Harms, Inc. (on 1932-11-18)
part of:
Gay Divorce
recording of:
Night and Day (Cole Porter; from “The Gay Divorce”)
lyricist and composer:
Cole Porter (composer) (in 1932)
publisher:
Chappell & Co., Inc. (USA), Chappell Music Ltd., Warner Bros. (holding: file NO releases), Warner Bros. Music (publisher; do NOT use as release label), Warner Bros., Inc. (not for release label use!), Warner Bros., Inc. (Warner Bros. Music Division), Warner/Chappell (Warner/Chappell Music, Inc.), WB Music Corp. (1929–2019) (until 2019-05-28) and Harms, Inc. (on 1932-11-18)
part of:
Gay Divorce
2:35
20You’d Be So Easy to Love
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
drums (drum set):
Ed Thigpen (from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-21 until 1959-08-01)
phonographic copyright (℗) by:
Verve Records, Inc. (credited often as just "Verve Records" for manufacturing/marketing, a division of PolyGram Classics and Jazz, of PolyGram Records, Inc.)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-21 until 1959-08-01)
instrumental recording of:
Easy to Love (from 1959-07-21 until 1959-08-01)
lyricist and composer:
Cole Porter (composer) (in 1936)
publisher:
Chappell (company that specialized in library and production music), Chappell & Co., Inc. (USA), Chappell Music Ltd. and Warner Chappell Music Ltd. (no slash; used 1988–1996)
part of:
Anything Goes
part of:
Born to Dance
2:38
21Why Can’t You Behave
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
drums (drum set):
Ed Thigpen (from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-21 until 1959-08-01)
phonographic copyright (℗) by:
Verve Records, Inc. (credited often as just "Verve Records" for manufacturing/marketing, a division of PolyGram Classics and Jazz, of PolyGram Records, Inc.)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-21 until 1959-08-01)
instrumental recording of:
Why Can’t You Behave? (from Kiss Me, Kate) (from 1959-07-21 until 1959-08-01)
lyricist and composer:
Cole Porter (composer) (in 1948)
publisher:
Chappell & Co., Inc. (USA)
part of:
Kiss Me, Kate (musical)
3:02
22I Love Paris
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
drums (drum set):
Ed Thigpen (from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-21 until 1959-08-01)
phonographic copyright (℗) by:
Verve Records, Inc. (credited often as just "Verve Records" for manufacturing/marketing, a division of PolyGram Classics and Jazz, of PolyGram Records, Inc.)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-21 until 1959-08-01)
instrumental recording of:
I Love Paris (Can-Can [Pistache, Company]) (from 1959-07-21 until 1959-08-01)
lyricist and composer:
Cole Porter (composer) (in 1953)
publisher:
Chappell (company that specialized in library and production music), Chappell & Co., Inc. (USA) and Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09)
part of:
Can‐Can
part of:
Can‐Can (1960 musical film)
part of:
High Society (stage musical)
recording of:
I Love Paris (Can-Can [Pistache, Company])
lyricist and composer:
Cole Porter (composer) (in 1953)
publisher:
Chappell (company that specialized in library and production music), Chappell & Co., Inc. (USA) and Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09)
part of:
Can‐Can
part of:
Can‐Can (1960 musical film)
part of:
High Society (stage musical)
2:13
23I Concentrate on You
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
drums (drum set):
Ed Thigpen (from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-21 until 1959-08-01)
phonographic copyright (℗) by:
Verve Records, Inc. (credited often as just "Verve Records" for manufacturing/marketing, a division of PolyGram Classics and Jazz, of PolyGram Records, Inc.)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-21 until 1959-08-01)
instrumental recording of:
I Concentrate on You (from 1959-07-21 until 1959-08-01)
lyricist and composer:
Cole Porter (composer) (in 1939)
publisher:
Chappell & Co., Inc. (USA)
3:13
24It’s De‐Lovely
producer:
Norman Granz
bass:
Ray Brown (jazz bassist) (from 1959-07-21 until 1959-08-01)
drums (drum set):
Ed Thigpen (from 1959-07-21 until 1959-08-01)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1959-07-21 until 1959-08-01)
phonographic copyright (℗) by:
Verve Records, Inc. (credited often as just "Verve Records" for manufacturing/marketing, a division of PolyGram Classics and Jazz, of PolyGram Records, Inc.)
recorded at:
Universal Recording Studios (Chicago, IL, USA) in Chicago, Illinois, United States (from 1959-07-21 until 1959-08-01)
instrumental recording of:
It’s De‐Lovely (from 1959-07-21 until 1959-08-01)
lyricist and composer:
Cole Porter (composer) (in 1936)
part of:
Anything Goes
part of:
Red, Hot and Blue (1936 Cole Porter musical)
52:29
4▼CD: Plays Porgy and Bess (1–10) / A Jazz Portrait of Frank Sinatra (11–22)
#TitleRatingLength
1I Got Plenty o’ Nuttin’
recorded in:
Los Angeles, California, United States (on 1959-10-12)
producer:
Norman Granz
double bass:
Ray Brown (jazz bassist) (on 1959-10-12)
drums (drum set):
Ed Thigpen (on 1959-10-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-10-12)
instrumental cover recording of:
I Got Plenty o’ Nuttin’ (Porgy and Bess, catch-all for jazz & pop arrangements)
lyricist:
Ira Gershwin and DuBose Heyward
composer:
George Gershwin (composer)
publisher:
Dubose and Dorothy Heyward Memorial Fund Publishing, Frankie G. Songs, Nokawi Music and Gershwin Publishing Corp (in 1935)
is based on:
Porgy and Bess: Act II, Scene I. “Oh, I got plenty o’nuttin’”
6:26
2I Wants to Stay Here
recorded in:
Los Angeles, California, United States (on 1959-10-12)
producer:
Norman Granz
double bass:
Ray Brown (jazz bassist) (on 1959-10-12)
drums (drum set):
Ed Thigpen (on 1959-10-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-10-12)
instrumental cover recording of:
Porgy and Bess: Act II, Scene III. “I loves you, Porgy”
lyricist:
Ira Gershwin and DuBose Heyward
composer:
George Gershwin (composer) (from 1934 until 1935)
part of:
Porgy and Bess: Act II, Scene III
6:22
3Summertime
recorded in:
Los Angeles, California, United States (on 1959-10-12)
producer:
Norman Granz
double bass:
Ray Brown (jazz bassist) (on 1959-10-12)
drums (drum set):
Ed Thigpen (on 1959-10-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-10-12)
recording of:
Summertime (American songbook standard from 1935 opera Porgy and Bess)
lyricist:
Ira Gershwin (in 1934), Dorothy Heyward (playwright) (in 1934) and DuBose Heyward (in 1934)
composer:
George Gershwin (composer) (in 1934)
publisher:
Chappell & Co., Chappell & Co., Inc. (USA), Chappell Music Ltd., Dubose and Dorothy Heyward Memorial Fund Publishing, George Gershwin Music, New Dawn Music, Warner Chappell Music Ltd. (no slash; used 1988–1996), Warner/Chappell (Warner/Chappell Music, Inc.), Warner/Chappell Music Holland BV, Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09), Ira Gershwin Music (in 1935), WB Music Corp. (1929–2019) (from 1935 until 2019-05-28) and WC Music Corp. (from 2019-05-28 to present)
version of:
Porgy and Bess: Act I, Scene I. “Summertime” (Clara)
3:51
4Oh, Dey’s So Fresh and Fine
recorded in:
Los Angeles, California, United States (on 1959-10-12)
producer:
Norman Granz
double bass:
Ray Brown (jazz bassist) (on 1959-10-12)
drums (drum set):
Ed Thigpen (on 1959-10-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-10-12)
instrumental cover recording of:
Porgy and Bess: Act II, Scene III. “Oh dey’s so fresh an’ fine”
lyricist:
Ira Gershwin and DuBose Heyward
composer:
George Gershwin (composer)
part of:
Porgy and Bess: Act II, Scene III
0:56
5Oh, Lawd, I’m on My Way!
recorded in:
Los Angeles, California, United States (on 1959-10-12)
producer:
Norman Granz
double bass:
Ray Brown (jazz bassist) (on 1959-10-12)
drums (drum set):
Ed Thigpen (on 1959-10-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-10-12)
instrumental cover recording of:
Porgy and Bess: Act III, Scene III. “Oh Lawd, I’m on My Way”
lyricist:
Ira Gershwin and DuBose Heyward
composer:
George Gershwin (composer) (from 1934 until 1935)
part of:
Porgy and Bess: Act III, Scene III
2:36
6It Ain’t Necessarily So
recorded in:
Los Angeles, California, United States (on 1959-10-12)
producer:
Norman Granz
double bass:
Ray Brown (jazz bassist) (on 1959-10-12)
drums (drum set):
Ed Thigpen (on 1959-10-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-10-12)
instrumental cover recording of:
Porgy and Bess: Act II, Scene II. “It ain’t necessarily so” (Sportin’ Life)
lyricist:
Ira Gershwin and DuBose Heyward
composer:
George Gershwin (composer) (from 1934 until 1935)
part of:
Porgy and Bess: Act II, Scene II
4:02
7There’s a Boat Dat’s Leavin’ Soon for New York
recorded in:
Los Angeles, California, United States (on 1959-10-12)
producer:
Norman Granz
double bass:
Ray Brown (jazz bassist) (on 1959-10-12)
drums (drum set):
Ed Thigpen (on 1959-10-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-10-12)
instrumental cover recording of:
Porgy and Bess: Act III, Scene II. “There’s a Boat Dat’s Leavin’ Soon for New York”
lyricist:
Ira Gershwin and DuBose Heyward
composer:
George Gershwin (composer)
part of:
Porgy and Bess: Act III, Scene II
1.87:14
8Oh Bess, Oh Where’s My Bess
recorded in:
Los Angeles, California, United States (on 1959-10-12)
producer:
Norman Granz
double bass:
Ray Brown (jazz bassist) (on 1959-10-12)
drums (drum set):
Ed Thigpen (on 1959-10-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-10-12)
instrumental cover recording of:
Porgy and Bess: Act III, Scene III. “Oh Bess, oh where’s my Bess”
lyricist:
Ira Gershwin and DuBose Heyward
composer:
George Gershwin (composer) (from 1934 until 1935)
part of:
Porgy and Bess: Act III, Scene III
4:57
9Here Come de Honey Man
recorded in:
Los Angeles, California, United States (on 1959-10-12)
producer:
Norman Granz
double bass:
Ray Brown (jazz bassist) (on 1959-10-12)
drums (drum set):
Ed Thigpen (on 1959-10-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-10-12)
instrumental cover recording of:
Porgy and Bess: Act I, Scene I. “Here Come de Honey Man”
lyricist:
Ira Gershwin and DuBose Heyward
composer:
George Gershwin (composer)
part of:
Porgy and Bess: Act I, Scene I
1:10
10Bess, You Is My Woman Now
recorded in:
Los Angeles, California, United States (on 1959-10-12)
producer:
Norman Granz
double bass:
Ray Brown (jazz bassist) (on 1959-10-12)
drums (drum set):
Ed Thigpen (on 1959-10-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-10-12)
instrumental recording of:
Bess, You Is My Woman Now (Porgy and Bess; use this for non-operatic performances) (on 1959-10-12)
lyricist:
Ira Gershwin and DuBose Heyward
composer:
George Gershwin (composer)
publisher:
Chappell & Co., Inc. (USA) and Gershwin Publishing Corp
is based on:
Porgy and Bess: Act II, Scene I. “Bess, You Is My Woman Now”
3:32
11You Make Me Feel So Young
recorded in:
Paris, Île-de-France, France (on 1959-05-18)
double bass and guest bass:
Ray Brown (jazz bassist) (on 1959-05-18)
drums (drum set):
Ed Thigpen (on 1959-05-18)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-05-18)
instrumental recording of:
You Make Me Feel So Young (on 1959-05-18)
lyricist:
Mack Gordon
composer:
Josef Myrow
publisher:
Warner Chappell Music Ltd. (no slash; used 1988–1996), ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label), ワーナー・チャペル音楽出版 Synch事業部 (Warner/Chappell Music Japan K.K., Synch Division), WB Music Corp. (1929–2019) (until 2019-05-28) and WC Music Corp. (from 2019-05-28 to present)
version of:
E bi eit barn med deg
recording of:
You Make Me Feel So Young
lyricist:
Mack Gordon
composer:
Josef Myrow
publisher:
Warner Chappell Music Ltd. (no slash; used 1988–1996), ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label), ワーナー・チャペル音楽出版 Synch事業部 (Warner/Chappell Music Japan K.K., Synch Division), WB Music Corp. (1929–2019) (until 2019-05-28) and WC Music Corp. (from 2019-05-28 to present)
version of:
E bi eit barn med deg
42:40
12Come Dance With Me
recorded in:
Paris, Île-de-France, France (on 1959-05-18)
double bass and guest double bass:
Ray Brown (jazz bassist) (on 1959-05-18)
drums (drum set):
Ed Thigpen (on 1959-05-18)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-05-18)
instrumental recording of:
Come Dance With Me (on 1959-05-18)
lyricist:
Sammy Cahn
composer:
Jimmy Van Heusen
publisher:
Cahn Music Company, Maraville Music Corp., PW Arrangements, Sony Music Publishing (Japan) Inc. (song publisher, never a release label), Universal Music Corp. (USA, affiliated with ASCAP), Van Heusen Music Corp. and フジパシフィックミュージック (Fujipacific Music, Inc.)
recording of:
Come Dance With Me
lyricist:
Sammy Cahn
composer:
Jimmy Van Heusen
publisher:
Cahn Music Company, Maraville Music Corp., PW Arrangements, Sony Music Publishing (Japan) Inc. (song publisher, never a release label), Universal Music Corp. (USA, affiliated with ASCAP), Van Heusen Music Corp. and フジパシフィックミュージック (Fujipacific Music, Inc.)
42:23
13Learnin’ the Blues
recorded in:
Paris, Île-de-France, France (on 1959-05-18)
drums (drum set):
Ed Thigpen (on 1959-05-18)
guest bass:
Ray Brown (jazz bassist) (on 1959-05-18)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-05-18)
instrumental recording of:
Learnin’ the Blues (on 1959-05-18)
lyricist and composer:
Dolores Vicki Silvers
publisher:
Barton Music Corp.
3:41
14Witchcraft
recorded in:
Paris, Île-de-France, France (on 1959-05-18)
drums (drum set):
Ed Thigpen (on 1959-05-18)
guest bass:
Ray Brown (jazz bassist) (on 1959-05-18)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-05-18)
instrumental recording of:
Witchcraft (on 1959-05-18)
lyricist:
Carolyn Leigh
composer:
Cy Coleman
publisher:
Morley Music Co. Inc., Notable Music, Sony/ATV Songs LLC and WB Music Corp. (1929–2019)
3:13
15(Love Is) The Tender Trap
recorded in:
Paris, Île-de-France, France (on 1959-05-18)
drums (drum set):
Ed Thigpen (on 1959-05-18)
guest bass:
Ray Brown (jazz bassist) (on 1959-05-18)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-05-18)
instrumental recording of:
(Love Is) The Tender Trap (on 1959-05-18)
lyricist:
Sammy Cahn
composer:
Jimmy Van Heusen
publisher:
Barton Music Corp. and Maraville Music Corp.
part of:
The 28th Academy Award for Best Original Song (number: 2)
2:45
16Saturday Night (Is the Loneliest Night of the Week)
recorded in:
Paris, Île-de-France, France (on 1959-05-18)
drums (drum set):
Ed Thigpen (on 1959-05-18)
guest bass:
Ray Brown (jazz bassist) (on 1959-05-18)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-05-18)
instrumental recording of:
Saturday Night (Is the Loneliest Night in the Week) (on 1959-05-18)
lyricist:
Sammy Cahn
composer:
Jule Styne
publisher:
Barton Music Corp., Cahn Music Company, Chappell Music Ltd., Producers Music Publishing Co., Quaytor Productions LLC, Sony Music Publishing (Japan) Inc. (song publisher, never a release label), WC Music Corp., フジパシフィックミュージック (Fujipacific Music, Inc.), ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label) and ワーナー・チャペル音楽出版 Synch事業部 (Warner/Chappell Music Japan K.K., Synch Division)
2:58
17Just in Time
recorded in:
Paris, Île-de-France, France (on 1959-05-18)
double bass and guest bass:
Ray Brown (jazz bassist) (on 1959-05-18)
drums (drum set):
Ed Thigpen (on 1959-05-18)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-05-18)
instrumental recording of:
Just in Time (Bells Are Ringing) (on 1959-05-18)
lyricist:
Betty Comden (in 1956) and Adolph Green (in 1956)
composer:
Jule Styne (in 1956)
publisher:
Chappell Music (UK), Stratford Music Corporation and Warner/Chappell North America
sub-publisher:
ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label) and ワーナー・チャペル音楽出版 Synch事業部 (Warner/Chappell Music Japan K.K., Synch Division)
part of:
Bells Are Ringing (stage musical)
recording of:
Just in Time (Bells Are Ringing)
lyricist:
Betty Comden (in 1956) and Adolph Green (in 1956)
composer:
Jule Styne (in 1956)
publisher:
Chappell Music (UK), Stratford Music Corporation and Warner/Chappell North America
sub-publisher:
ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label) and ワーナー・チャペル音楽出版 Synch事業部 (Warner/Chappell Music Japan K.K., Synch Division)
part of:
Bells Are Ringing (stage musical)
1:53
18It Happened in Monterey
recorded in:
Paris, Île-de-France, France (on 1959-05-18)
drums (drum set):
Ed Thigpen (on 1959-05-18)
guest bass:
Ray Brown (jazz bassist) (on 1959-05-18)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-05-18)
instrumental recording of:
It Happened in Monterey (on 1959-05-18)
lyricist:
Billy Rose (lyricist and Broadway producer)
composer:
Mabel Wayne
publisher:
CBS Feist Catalog, Inc. and EMI United Partnership Ltd.
2:58
19I Get a Kick Out of You
recorded in:
Paris, Île-de-France, France (on 1959-05-18)
drums (drum set):
Ed Thigpen (on 1959-05-18)
guest bass:
Ray Brown (jazz bassist) (on 1959-05-18)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-05-18)
instrumental recording of:
I Get a Kick Out of You (on 1959-05-18)
lyricist and composer:
Cole Porter (composer) (in 1934)
publisher:
Chappell Music (UK), Chappell Music Ltd., Harms, Inc., Warner Bros., Inc. (not for release label use!), Warner Chappell and Chappell (in 1974)
part of:
Anything Goes
3:03
20All of Me
recorded in:
Paris, Île-de-France, France (on 1959-05-18)
drums (drum set):
Ed Thigpen (on 1959-05-18)
guest bass:
Ray Brown (jazz bassist) (on 1959-05-18)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-05-18)
instrumental recording of:
All of Me (on 1959-05-18)
writer:
Gerald Marks (in 1932) and Seymour Simons (in 1932)
publisher:
Bourne Co. (not for release label use, this is a music publisher), Bourne, Inc., Francis, Day & Hunter Ltd., Marlong Music Corp., Round Hill Songs and Sony/ATV Tunes LLC (ASCAP)
sub-publisher:
Peermusic and 日音 Synch事業部 (NICHION, INC. Synch Division)
3:26
21The Birth of the Blues
recorded in:
Paris, Île-de-France, France (on 1959-05-18)
drums (drum set):
Ed Thigpen (on 1959-05-18)
guest bass:
Ray Brown (jazz bassist) (on 1959-05-18)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-05-18)
instrumental recording of:
Birth of the Blues (on 1959-05-18)
lyricist:
Lew Brown and Buddy DeSylva
composer:
Ray Henderson
2:39
22How About You
recorded in:
Paris, Île-de-France, France (on 1959-05-18)
drums (drum set):
Ed Thigpen (on 1959-05-18)
guest bass:
Ray Brown (jazz bassist) (on 1959-05-18)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1959-05-18)
instrumental recording of:
How About You? (on 1959-05-18)
lyricist:
Ralph Freed
composer:
Burton Lane
publisher:
CBS Feist Catalog, Inc., EMI Feist Catalog Inc., EMI United Partnership Ltd., Leo Feist, Inc., フジパシフィックミュージック SBK事業部 (Fujipacific Music SBK Department) and ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label)
part of:
The 15th Academy Award for Best Original Song (number: 2) and Academy Award for Best Original Song (number: 1942 nominee)
3:11