Songbooks

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

Tracklist

| |
1▼CD: Porter Songbook
#TitleRatingLength
1What Is This Thing Called Love?
recorded in:
Los Angeles, California, United States (in 1952-12)
bass:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
instrumental recording of:
What Is This Thing Called Love? (Wake Up and Dream musical revue) (in 1952-12)
lyricist and composer:
Cole Porter (composer) (in 1929)
publisher:
Harms, Inc., Warner Bros., Inc. (not for release label use!) and Warner/Chappell (Warner/Chappell Music, Inc.)
part of:
Wake Up and Dream (1929 revue)
3:11
2Begin the Beguine
recorded in:
Los Angeles, California, United States (in 1952-12)
bass:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
instrumental recording of:
Begin the Beguine (in 1952-12)
lyricist and composer:
Cole Porter (composer) (in 1935)
publisher:
Chappell Music Ltd., Warner Bros., Inc. (not for release label use!), Warner Chappell Music Ltd. (no slash; used 1988–1996), Warner Chappell 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)
part of:
Jubilee
3:12
3I've Got You Under My Skin
recorded in:
Los Angeles, California, United States (from 1952-11 until 1952-12, in 1952-12)
bass:
Ray Brown (jazz bassist) (in 1952-12)
double bass [bass]:
Ray Brown (jazz bassist) (in 1952)
guitar:
Barney Kessel (in 1952, in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952, in 1952-12)
instrumental recording of:
I’ve Got You Under My Skin (in 1952-12)
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
instrumental recording of:
I’ve Got You Under My Skin (in 1952)
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
recording of:
I’ve Got You Under My Skin
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
2:30
4Love for Sale
recorded in:
Los Angeles, California, United States (on 1951-11-25)
bass:
Ray Brown (jazz bassist) (on 1951-11-25)
guitar:
Barney Kessel (on 1951-11-25)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1951-11-25)
instrumental recording of:
Love for Sale (in 1952-12)
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!)
3:12
5Let's Do It
recorded in:
Los Angeles, California, United States (in 1952-12)
bass:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
instrumental recording of:
Let’s Do It (Let’s Fall in Love) (Paris musical) (in 1952-12)
lyricist and composer:
Cole Porter (composer) (in 1928)
part of:
Can‐Can (1960 musical film)
part of:
Paris (1928 musical)
2:55
6I Love You
recorded in:
Los Angeles, California, United States (from 1952-11 until 1952-12, in 1952-12)
bass:
Ray Brown (jazz bassist) (in 1952-12)
double bass [bass]:
Ray Brown (jazz bassist) (in 1952)
guitar:
Barney Kessel (in 1952, in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952, in 1952-12)
instrumental recording of:
I Love You (Mexican Hayride musical) (in 1952-12)
lyricist and composer:
Cole Porter (composer) (in 1944)
publisher:
Chappell & Co., Inc. (USA), Chappell Music (UK), EMI Feist Catalog Inc. and Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09)
instrumental recording of:
I Love You (Mexican Hayride musical) (in 1952)
lyricist and composer:
Cole Porter (composer) (in 1944)
publisher:
Chappell & Co., Inc. (USA), Chappell Music (UK), EMI Feist Catalog Inc. and Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09)
recording of:
I Love You (Mexican Hayride musical)
lyricist and composer:
Cole Porter (composer) (in 1944)
publisher:
Chappell & Co., Inc. (USA), Chappell Music (UK), EMI Feist Catalog Inc. and Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09)
3:06
7So Near and Yet So Far
recorded in:
Los Angeles, California, United States (in 1952-12)
bass:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
instrumental recording of:
So Near and Yet So Far (from “You’ll Never Get Rich”) (in 1952-12)
lyricist and composer:
Cole Porter (composer) (in 1941)
3:21
8Just One of Those Things
recorded in:
Los Angeles, California, United States (on 1952-02-26)
double bass [bass]:
Ray Brown (jazz bassist) (on 1952-02-26)
drums (drum set):
Alvin Stoller (on 1952-02-26)
guitar:
Barney Kessel (on 1952-02-26)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1952-02-26)
instrumental recording of:
Just One of Those Things (on 1952-02-26)
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)
3:02
9In the Still of the Night
recorded in:
Los Angeles, California, United States (in 1952-12)
bass:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
instrumental recording of:
In the Still of the Night (Cole Porter song) (in 1952-12)
lyricist and composer:
Cole Porter (composer) (in 1937)
publisher:
Chappell (company that specialized in library and production music) and Chappell & Co., Inc. (USA)
3:01
10Night and Day
recorded in:
Los Angeles, California, United States (in 1952-12)
bass:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
instrumental recording of:
Night and Day (Cole Porter; from “The Gay Divorce”) (in 1952-12)
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
3:42
11Every Time We Say Goodbye
recorded in:
Los Angeles, California, United States (in 1952-12)
bass:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
instrumental recording of:
Ev’ry Time We Say Goodbye (Seven Lively Arts musical revue) (in 1952-12)
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)
3:26
12Anything Goes
recorded in:
Los Angeles, California, United States (in 1952-12)
bass:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
instrumental recording of:
Anything Goes (in 1952-12)
lyricist and composer:
Cole Porter (composer) (in 1934)
publisher:
Chappell Music (UK), Chappell Music Ltd. and Warner Bros., Inc. (not for release label use!)
part of:
Anything Goes
2:58
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)
2:52
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)
2:53
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!)
3:29
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)
2:24
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
2:50
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)
2:20
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
2:33
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
2:37
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)
3:01
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)
2:12
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)
3:11
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)
52:31
2▼CD: Ellington Songbook
#TitleRatingLength
1John Hardy's Wife
recording of:
John Hardy's Wife
composer:
Mercer Ellington
3:23
2Sophisticated Lady
recording of:
Sophisticated Lady
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)
2:59
3Things 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)
3:13
4Just A-Sittin' and A-Rockin'
recording of:
Just A‐Sittin’ and A‐Rockin’
lyricist:
Lee Gaines (in 1941)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1941) and Billy Strayhorn (in 1941)
3:43
5In a Mellow Tone
recording of:
In a Mellow Tone
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.)
3:08
6I 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)
3:13
7Prelude 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.
3:18
8Cotton Tail
recording of:
Cotton Tail
lyricist and composer:
Duke Ellington (US composer, pianist & jazz bandleader)
3:50
9Don't Get Around Much Anymore
recording of:
Don’t Get Around Much Anymore
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
3:59
10Take the "A" Train
recording of:
Take the “A” Train (version with lyrics by Sherrill)
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)
3:17
11Rockin' in Rhythm
recording of:
Rockin’ in Rhythm
composer:
Harry Carney, Duke Ellington (US composer, pianist & jazz bandleader) and Irving Mills
is based on:
Kinda Dukish
2:54
12Never No Lament (Do Nothin' Till You Hear From Me)
recording of:
Do Nothin’ Till You Hear From Me
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
2:50
13Don't Get Around Much Anymore
recording of:
Don’t Get Around Much Anymore
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
2:33
14Sophisticated Lady
recording of:
Sophisticated Lady
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)
2:26
15Rockin' 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
2:15
16Prelude 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.
2:32
17In a Mellow Tone
recording of:
In a Mellow Tone
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.)
3:43
18Cotton Tail
recording of:
Cotton Tail
lyricist and composer:
Duke Ellington (US composer, pianist & jazz bandleader)
2:24
19Just A-Sittin' and A-Rockin'
recording of:
Just A‐Sittin’ and A‐Rockin’
lyricist:
Lee Gaines (in 1941)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1941) and Billy Strayhorn (in 1941)
2:58
20Things 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)
3:07
21Take the "A" Train
recording of:
Take the “A” Train (version with lyrics by Sherrill)
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)
3:04
22I 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)
3:13
23Do 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
2:16
24John Hardy's Wife
recording of:
John Hardy's Wife
composer:
Mercer Ellington
2:36
3▼CD: Gershwin Songbook
#TitleRatingLength
1The Man I Love
instrumental 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)
3:32
2Fascinating Rhythm
instrumental recording of:
Fascinatin’ Rhythm
lyricist:
Ira Gershwin
composer:
George Gershwin (composer) (in 1924)
publisher:
WB Music Corp. (renewed) (1929–2019) and Harms, Inc. (in 1924)
part of:
Girl Crazy (1930 Musical)
part of:
Lady, Be Good (full musical)
2:58
3It Ain't Necessarily So
instrumental 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)
3:14
4Somebody Loves Me
instrumental recording of:
Somebody Loves Me
lyricist:
Buddy DeSylva and Ballard MacDonald
composer:
George Gershwin (composer) (in 1924)
publisher:
Chappell Music Ltd., Redwood Music Ltd. (Carlin) and Stephen Ballentine Music Publishing Co.
part of:
Broadway Rhythm (film)
3:23
5Strike Up the Band
instrumental recording of:
Strike Up the Band (1927 Gershwin song)
lyricist:
Ira Gershwin (in 1927)
composer:
George Gershwin (composer) (in 1927)
part of:
My One and Only (1983 Broadway musical)
part of:
Strike up the Band (1927 Gershwin musical)
3:16
6I've Got a Crush on You
instrumental recording of:
I’ve Got a Crush on You
lyricist:
Ira Gershwin (in 1928)
composer:
George Gershwin (composer) (in 1928)
publisher:
New World Music Corp. (ended), Warner Bros. Music Corp. (ended), WB Music Corp. (1929–2019) (until 2019-05-28) and WC Music Corp. (from 2019-05-28 until 2024-01-01)
part of:
Treasure Girl (1928 musical)
2:54
7I Was Doing All Right
instrumental recording of:
I Was Doing All Right
lyricist:
Ira Gershwin (in 1937)
composer:
George Gershwin (composer) (in 1937)
publisher:
Gershwin Publishing Corp (in 1938)
part of:
The Goldwyn Follies
2:42
8's Wonderful
recorded in:
Los Angeles, California, United States (from 1952-11 until 1952-12)
double bass [bass]:
Ray Brown (jazz bassist) (in 1952)
guitar:
Barney Kessel (in 1952)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952)
instrumental recording of:
’S Wonderful (in 1952)
lyricist:
Ira Gershwin (in 1927)
composer:
George Gershwin (composer) (in 1927)
publisher:
Chappell & Co., Chappell & Co., Inc. (USA), Chappell Music Ltd., Ira Gershwin Music, New World Music Company Ltd., Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09) and WB Music Corp. (1929–2019)
included in:
An American in Paris (2015 Broadway musical)
part of:
Funny Face (1927 musical)
part of:
My One and Only (1983 Broadway musical)
recording of:
’S Wonderful
lyricist:
Ira Gershwin (in 1927)
composer:
George Gershwin (composer) (in 1927)
publisher:
Chappell & Co., Chappell & Co., Inc. (USA), Chappell Music Ltd., Ira Gershwin Music, New World Music Company Ltd., Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09) and WB Music Corp. (1929–2019)
included in:
An American in Paris (2015 Broadway musical)
part of:
Funny Face (1927 musical)
part of:
My One and Only (1983 Broadway musical)
42:38
9Oh, Lady, Be Good!
instrumental recording of:
Oh, Lady Be Good!
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)
3:51
10I Got Rhythm
instrumental recording of:
I Got Rhythm
lyricist:
Ira Gershwin (in 1930)
composer:
George Gershwin (composer) (in 1930)
publisher:
Chappell Music Ltd., Warner/Chappell Music Holland BV and New World Music Co. (in 1930)
included in:
An American in Paris (2015 Broadway musical)
part of:
Crazy for You (1992 musical)
part of:
Girl Crazy (1930 Musical)
part of:
When the Boys Meet the Girls (1965 film)
3:17
11A Foggy Day
instrumental recording of:
A Foggy Day (in London Town)
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)
3:39
12Love Walked In
instrumental recording of:
Love Walked In
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
3:08
13It 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)
2:47
14The 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)
3:07
15Love 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
2:47
16I 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
2:49
17A 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)
2:53
18Oh, 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)
43:00
19Love 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
2:57
20They 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)
32:30
21Let'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)
2:18
22Summertime
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)
2:56
23Nice 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)
2:06
24Shall 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)
42:24