A Summer Night: Oscar Peterson

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

Tracklist

1▼Digital Media
#TitleRatingLength
1Mas Que Nada
bass:
Sam Jones (US jazz bassist) (from 1966-12-12 until 1966-12-14)
drums (drum set):
Louis Hayes (from 1966-12-12 until 1966-12-14)
percussion:
Harold Jones (jazz drummer) (from 1966-12-12 until 1966-12-14)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1966-12-12 until 1966-12-14)
recorded at:
Universal Recording (Chicago, IL, USA) in Chicago, Illinois, United States (from 1966-12-12 until 1966-12-14)
instrumental recording of:
Mas, que nada! (in 1966-12)
lyricist and composer:
Jorge Ben Jor
2:28
2Orange Colored Sky
2:15
3Carioca
recording of:
Carioca (from "Flying Down to Rio")
lyricist:
Edward Eliscu and Gus Kahn
composer:
Vincent Youmans
part of:
Academy Award for Best Original Song (number: 1934 nominee)
2:16
4Cheek To Cheek
recording of:
Cheek to Cheek (from “Top Hat”)
lyricist and composer:
Irving Berlin (in 1935)
publisher:
Irving Berlin (England) Music Ltd., Irving Berlin Music Company, Irving Berlin Music Corp., 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:
Academy Award for Best Original Song (number: 1935 nominee)
part of:
Top Hat (1935 film)
2:28
5Do 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
6Over 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)
2:15
7I'm In The Mood For Love
recording of:
I’m in the Mood for Love
lyricist:
Dorothy Fields (American librettist and lyricist)
composer:
Jimmy McHugh (songwriter)
publisher:
Margenia Music, MCI Music Publishing Ltd., EMI Robbins Catalog Inc. (ASCAP) (in 1935, in 1963) and EMI Music Publishing Ltd. (PRS‐affiliated) (in 2016)
2:30
8Top Hat, White Tie, And Tails
recording of:
Top Hat, White Tie and Tails (from “Top Hat”)
lyricist and composer:
Irving Berlin (in 1935)
part of:
Top Hat (1935 film)
2:16
9Yesterdays
recorded in:
Los Angeles, California, United States (on 1953-12-06)
double bass [bass]:
Ray Brown (jazz bassist) (on 1953-12-06)
guitar:
Barney Kessel (on 1953-12-06)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1953-12-06)
recording of:
Yesterdays (on 1953-12-06)
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
2:36
10Let'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.
2:19
11Stella By Starlight
2:04
12The Lady Is A Tramp
recording of:
The Lady Is a Tramp (from “Babes in Arms”)
lyricist:
Lorenz Hart (in 1937)
composer:
Richard Rodgers (composer) (in 1937)
publisher:
Chappell & Co., Chappell & Co., Inc. (USA) and Warner Chappell Music Ltd. (no slash; used 1988–1996)
part of:
Babes in Arms (full musical)
part of:
Pal Joey
2:06
13Moonglow
2:39
14Chattanooga Choo Choo
recording of:
Chattanooga Choo Choo
lyricist:
Mack Gordon (in 1941)
composer:
Harry Warren (US composer and lyricist) (in 1941)
publisher:
EMI Feist Catalog Inc., Warner Bros., Inc. (Warner Bros. Music Division) and WC Music Corp.
sub-publisher:
フジパシフィックミュージック SBK事業部 (Fujipacific Music SBK Department), 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 14th Academy Award for Best Original Song (number: 2) and Academy Award for Best Original Song (number: 1941 nominee)
2:09
15Don Cha Go Way Mad (Live At The Shrine Auditorium,1957)
2:32
16Turtle Neck
recorded in:
Los Angeles, California, United States (on 1951-11-25)
double bass [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)
2:20
17Stormy 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
18The Way You Look Tonight
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1950-08)
instrumental recording of:
The Way You Look Tonight (from “Swing Time”) (in 1950-08)
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)
recording of:
The Way You Look Tonight (from “Swing Time”)
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)
2:59
19I'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., Redwood Music Ltd. (Carlin) 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., Redwood Music Ltd. (Carlin) 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
20(Ad Lib) Medium Dance
2:03
21It's All Right With Me (Live At The Chicago Opera House,1957)
2:32
22It's Only A Paper Moon
recording of:
It’s Only a Paper Moon
lyricist:
E.Y. Harburg (in 1933) and Billy Rose (lyricist and Broadway producer) (in 1933)
composer:
Harold Arlen (in 1933)
publisher:
Anne-Rachel Music Corp., Chappell & Co., Chappell Music Ltd., Gloccamorria Music, Next Decade Entertainment, S.A. Music Co., SA Music, Shapiro Bernstein & Co. Ltd. and Warner Bros. Music (publisher; do NOT use as release label)
2:32
23Sophisticated 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)
2:24
24Thou Swell
recording of:
Thou Swell
lyricist:
Lorenz Hart (in 1927)
composer:
Richard Rodgers (composer) (in 1927)
publisher:
Marlin Enterprises and Warner Bros. (holding: file NO releases)
2:29
25The 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
26Black Coffee
2:17
27A Sunday Kind Of Love
instrumental cover recording of:
A Sunday Kind of Love
writer:
Barbara Belle, Anita Leonard (US pianist, composer and lyricist), Louis Prima and Stan Rhodes
publisher:
Leeds Music Inc.
2:33
28I Love You
recorded in:
New York, New York, United States (on 1962-06-14)
alto saxophone:
Cannonball Adderley (on 1962-06-14) and Norris Turney (on 1962-06-14)
baritone saxophone:
George Dorsey (on 1962-06-14) and Seldon Powell (on 1962-06-14)
cornet:
Nat Adderley (on 1962-06-14)
double bass:
Ray Brown (jazz bassist) (on 1962-06-14)
drums (drum set):
Ed Thigpen (on 1962-06-14)
flugelhorn and trumpet:
Clark Terry (American swing trumpeter) (on 1962-06-14)
French horn:
Ray Alonge (french horn) (on 1962-06-14), Jim Buffington (US jazz, studio and classical hornist) (on 1962-06-14), Willie Ruff (on 1962-06-14), Morris Secon (on 1962-06-14) and Julius Watkins (on 1962-06-14)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1962-06-14)
tenor saxophone:
James Moody (jazz saxophonist) (on 1962-06-14) and Jerome Richardson (on 1962-06-14)
trombone:
Jimmy Cleveland (US jazz trombonist) (on 1962-06-14), Paul Faulise (American jazz trombone player, based in New Jersey, USA.) (on 1962-06-14), Slide Hampton (on 1962-06-14), Melba Liston (US jazz trombonist) (on 1962-06-14) and Britt Woodman (on 1962-06-14)
trumpet:
Roy Eldridge (on 1962-06-14), Jimmy Nottingham (on 1962-06-14), Ernie Royal (on 1962-06-14) and Snooky Young (on 1962-06-14)
tuba:
Don Butterfield (on 1962-06-14)
conductor:
Ernie Wilkins (on 1962-06-14)
arranger:
Ernie Wilkins
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)
2:39
29I Get A Kick Out Of You (Run Through)
0:38
30Ac-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)
2:01
31Everytime 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)
2:18
32The Boy Next Door
2:20
33I Hear Music
recorded in:
New York, New York, United States (on 1953-05-21)
double bass [bass]:
Ray Brown (jazz bassist) (on 1953-05-21)
guitar:
Barney Kessel (on 1953-05-21)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1953-05-21)
vocals:
Oscar Peterson (Canadian jazz pianist and composer)
instrumental recording of:
I Hear Music (Dancing on a Dime) (on 1953-05-21)
lyricist:
Frank Loesser
composer:
Burton Lane
recording of:
I Hear Music (Dancing on a Dime)
lyricist:
Frank Loesser
composer:
Burton Lane
2:28
34Johnny One Note
recording of:
Johnny One Note
lyricist:
Lorenz Hart (in 1937)
composer:
Richard Rodgers (composer) (in 1937)
publisher:
Chappell & Co.
part of:
Babes in Arms (full musical)
2:30
35I Can't Get Started (False Start)
recording of:
I Can’t Get Started (on 1952-11-28)
lyricist:
Ira Gershwin
composer:
Vernon Duke
publisher:
Chappell & Co., Chappell & Co., Inc. (USA), Chappell’s • Sydney, Music Sales Corporation (American copyright holder in both popular and classical music) and Universal Music Corp. (USA, affiliated with ASCAP)
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)
0:52
36Here 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
1:08
37You Took Advantage Of Me
1:58
38They 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)
32:31
39Oh, 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
2:33
40What's New?
recorded in:
Chicago, Illinois, United States (on 1957-10-14)
engineer:
Val Valentin
producer:
Norman Granz
double bass:
Ray Brown (jazz bassist) (on 1957-10-14)
drums (drum set):
Louie Bellson (on 1957-10-14)
guitar:
Herb Ellis (jazz guitarist) (on 1957-10-14)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1957-10-14)
trumpet:
Louis Armstrong (on 1957-10-14)
vocals:
Louis Armstrong (on 1957-10-14)
recording of:
What’s New? (on 1957-10-14)
lyricist:
Johnny Burke (American lyricist, 1908–1964)
composer:
Bob Haggart
publisher:
B. Feldman & Co. Ltd. (publisher est. 1946) and Warner Bros., Inc. (not for release label use!)
2:40
41But Not For Me
recording of:
But Not for Me
lyricist:
Ira Gershwin (in 1930)
composer:
George Gershwin (composer) (in 1930)
publisher:
WB Music Corp. (1929–2019) (until 2019-05-28), New World Music Co. (in 1930) and WC Music Corp. (from 2019-05-28 to present)
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)
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)
2:28
42Ol' 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
2:35
43Billy Boy (Live At The London House, Chicago, 7/28/1961 (Version 2))
producer:
Jim Davis (jazz producer)
double bass [bass]:
Ray Brown (jazz bassist) (on 1961-07-28)
drums (drum set):
Ed Thigpen (on 1961-07-28)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1961-07-28)
recorded at:
London House in Chicago, Illinois, United States (on 1961-07-28)
live recording of:
Billy Boy (on 1961-07-28)
writer:
[traditional] (special purpose artist)
composer:
[unknown] (Special Purpose Artist – Do not add releases here, if possible.)
part of:
Roud Folk Song Index (number: 326)
2:37
44Night 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
2:31
45Minor Blues
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1950-08)
recording of:
Minor Blues (in 1950-08)
composer:
Django Reinhardt (French jazz guitarist and composer)
3:39
46Rockin' 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
47Stranger On The Shore
2:34
48I Didn't Know What Time It Was
recording of:
I Didn’t Know What Time It Was (Pal Joey)
lyricist:
Lorenz Hart (in 1939)
composer:
Richard Rodgers (composer) (in 1939)
publisher:
Lorenz Hart Publishing Co. and Williamson Music Company
part of:
Pal Joey
2:38
49A Lot Of Livin To Do
2:28
50I Couldn't Sleep A Wink Last Night
recording of:
I Couldn’t Sleep a Wink Last Night
lyricist:
Harold Adamson
composer:
Jimmy McHugh (songwriter)
part of:
The 17th Academy Award for Best Original Song (number: 2)
part of:
Higher and Higher (1944 film)
2:40
51Lullaby Of The Leaves
recording of:
Lullaby of the Leaves
lyricist:
Joe Young (US lyricist)
composer:
Bernice Petkere
2:39
52Goody, Goody (Live At The Chicago Opera House,1957)
1:55
53Look For The Silver Lining
recorded in:
Los Angeles, California, United States (on 1953-12-07)
double bass [bass]:
Ray Brown (jazz bassist) (on 1953-12-07)
guitar:
Barney Kessel (on 1953-12-07)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1953-12-07)
recording of:
Look for the Silver Lining (on 1953-12-07)
lyricist:
Buddy DeSylva
composer:
Jerome Kern
publisher:
Chappell & Co. and T.B. Harms Co.
part of:
Sally (1920 musical)
2:30
54On The Outside Looking In
2:32
55Let'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
56Taking A Chance On Love
2:23
57You're Laughing At Me
instrumental recording of:
You’re Laughing at Me
lyricist and composer:
Irving Berlin (in 1937)
recording of:
You’re Laughing at Me
lyricist and composer:
Irving Berlin (in 1937)
2:21
58Makin' Whoopee (Breakdown)
1:16
59'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
60Them There Eyes
2:36
61Drums In My Heart
1:43
62Between 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.
2:42
63Come 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.)
42:19
64Honey Dripper
recorded in:
Los Angeles, California, United States (on 1962-12-15, from 1962-12-15 until 1962-12-16)
engineer:
Val Valentin
producer:
Norman Granz
double bass:
Ray Brown (jazz bassist) (on 1962-12-15, from 1962-12-15 until 1962-12-16)
drums (drum set):
Ed Thigpen (on 1962-12-15, from 1962-12-15 until 1962-12-16)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1962-12-15, from 1962-12-15 until 1962-12-16)
instrumental recording of:
The Honeydripper (on 1962-12-15)
lyricist and composer:
Joe Liggins
recording of:
The Honeydripper (from 1962-12-15 until 1962-12-16)
lyricist and composer:
Joe Liggins
2:22
65I Feel A Song Coming On
2:29
66There's A Small Hotel
recorded in:
Los Angeles, California, United States (on 1952-01-26)
double bass [bass]:
Ray Brown (jazz bassist) (on 1952-01-26)
guitar:
Irving Ashby (on 1952-01-26)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1952-01-26)
instrumental recording of:
There’s a Small Hotel (from “On Your Toes”) (on 1952-01-26)
lyricist:
Lorenz Hart (in 1936)
composer:
Richard Rodgers (composer) (in 1936)
part of:
On Your Toes
part of:
Pal Joey
recording of:
There’s a Small Hotel (from “On Your Toes”)
lyricist:
Lorenz Hart (in 1936)
composer:
Richard Rodgers (composer) (in 1936)
part of:
On Your Toes
part of:
Pal Joey
2:26
67Night Train (Partial Take/Breakdown)
recording of:
Night Train (Jimmy Forrest’s original instrumental version)
composer:
Jimmy Forrest
is based on:
Happy Go Lucky Local
1:28
68I 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)
2:09
69I 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”)
2:29
70Prelude 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.
2:31
71Love Me Or Leave Me
2:32
72Oh Dey's So Fresh And Fine (Strawberry Woman)
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
0:53
73Change Partners
instrumental recording of:
Change Partners (from “Carefree”)
lyricist and composer:
Irving Berlin (in 1938)
publisher:
Irving Berlin Music Corp. and Williamson Music Company
part of:
The 11th Academy Award for Best Original Song (number: 2) and Academy Award for Best Original Song (number: 1938 nominee)
recording of:
Change Partners (from “Carefree”)
lyricist and composer:
Irving Berlin (in 1938)
publisher:
Irving Berlin Music Corp. and Williamson Music Company
part of:
The 11th Academy Award for Best Original Song (number: 2) and Academy Award for Best Original Song (number: 1938 nominee)
2:25
74This Can't Be Love
recording of:
This Can’t Be Love
lyricist:
Lorenz Hart (in 1938)
composer:
Richard Rodgers (composer) (in 1938)
publisher:
Chappell & Co. and Warner/Chappell (Warner/Chappell Music, Inc.)
2:33
75Gravy Waltz
2:22
76Lover
recording of:
Lover
lyricist:
Lorenz Hart (in 1932)
composer:
Richard Rodgers (composer) (in 1932)
publisher:
Famous Chappell and Famous Music Corporation (renamed since 2007‐05 as Sony/ATV Harmony/Melody)
2:03
77John 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
2:34
78I Used To Be Color Blind
recording of:
I Used to Be Color Blind (from "Carefree")
lyricist and composer:
Irving Berlin (in 1938)
2:18
79Just 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)
1:49
80Shall 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)
42:16
81Chanel
2:38
82We'll Be Together Again (Live At Civic Opera House, Chicago)
2:33
83Happiness 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)
2:14
84Echoes
2:37
85I'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
86Blue And Sentimental
double bass:
Ray Brown (jazz bassist) (on 1955-12-27)
drums (drum set):
Buddy Rich (on 1955-12-27)
guitar:
Herb Ellis (jazz guitarist) (on 1955-12-27)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1955-12-27)
recording of:
Blue and Sentimental (on 1955-12-27)
composer:
Count Basie (pianist), Mack David (American lyricist and songwriter) and Jerry Livingston (songwriter)
2:26
87Now's The Time
2:34
88Don'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
2:33
89Just 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)
2:22
90You 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), WB Music Corp. (1929–2019) (until 2019-05-28) and WC Music Corp. (from 2019-05-28 to present)
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)
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), WB Music Corp. (1929–2019) (until 2019-05-28) and WC Music Corp. (from 2019-05-28 to present)
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)
version of:
E bi eit barn med deg
42:37
91Soft Sands
2:18
92Long 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)
2:32
93Hallelujah!
recorded in:
Los Angeles, California, United States (on 1953-12-06)
double bass [bass]:
Ray Brown (jazz bassist) (on 1953-12-06)
guitar:
Barney Kessel (on 1953-12-06)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1953-12-06)
recording of:
Hallelujah!
lyricist:
Clifford Grey (in 1927) and Leo Robin (US composer, lyricist & songwriter) (in 1927)
composer:
Vincent Youmans (in 1927)
part of:
Hit the Deck (1955 movie)
2:30

Credits

Release

purchase for download:https://music.apple.com/us/album/1760329319 [info]
streaming page:Amazon Music US [info]