The Complete Lester Young Studio Sessions on Verve

~ Release by Lester Young (see all versions of this release, 2 available)

Tracklist

1▶CD
2▶CD
3▼CD
#TitleRatingLength
1Star Dust
double bass:
Ray Brown (jazz bassist) (on 1952-11-28)
drums (drum set):
J.C. Heard (on 1952-11-28)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1952-11-28)
tenor saxophone:
Lester Young (saxophonist) (on 1952-11-28)
instrumental recording of:
Stardust (the jazz standard) (on 1952-11-28)
lyricist:
Mitchell Parish (in 1929)
composer:
Hoagy Carmichael (in 1927)
publisher:
Mills Music, Inc. (ended), All Nations Music, EMI Mills Music Inc. (ASCAP-affiliated), EMI Music Publishing Ltd. (PRS‐affiliated), Everbright Music Co., Hoagy Publishing Co., Lawrence Wright Music Co., Ltd. and Songs of Peer, Ltd. (ASCAP)
sub-publisher:
イーエムアイ音楽出版 ソニー事業部 (EMI Music Publishing Japan Ltd., Sony Division) (until 2021-06-30) and ソニー・ミュージックパブリッシング EMI外国事業部 (Sony Music Publishing (Japan) Inc., EMI Overseas Division, sub‐publisher for non‐Japanese works) (from 2021-07-01 to present)
part of:
American Splendor
3:39
2It Takes Two to Tango
recorded in:
New York, New York, United States (on 1952-11-28)
double bass:
Ray Brown (jazz bassist) (on 1952-11-28)
drums (drum set):
J.C. Heard (on 1952-11-28)
guitar:
Barney Kessel (on 1952-11-28)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1952-11-28)
tenor saxophone:
Lester Young (saxophonist) (on 1952-11-28)
vocals:
Lester Young (saxophonist) (on 1952-11-28)
recording of:
Takes Two to Tango (on 1952-11-28)
writer:
Al Hoffman (in 1952) and Dick Manning (American songwriter) (in 1952)
6:06
3On the Sunny Side of the Street
recorded in:
New York, New York, United States (on 1952-11-28)
double bass:
Ray Brown (jazz bassist) (on 1952-11-28)
drums (drum set):
J.C. Heard (on 1952-11-28)
guitar:
Barney Kessel (on 1952-11-28)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1952-11-28)
tenor saxophone:
Lester Young (saxophonist) (on 1952-11-28)
recording of:
On the Sunny Side of the Street (on 1952-11-28)
lyricist:
Dorothy Fields (American librettist and lyricist)
composer:
Jimmy McHugh (songwriter)
publisher:
Ancar Enterprises Inc., Cotton Club Publishing, Shapiro, Bernstein & Co., Inc. and Vydia Music Publishing
sub-publisher:
EMI Music Publishing Ltd. (PRS‐affiliated), Lawrence Wright Music Co., Ltd., Memory Lane Music Ltd., Shapiro Bernstein & Co. Ltd. and シンコーミュージック・エンタテイメント A事業部 (Shinko Music Entertainment, A Division)
part of:
American Splendor
43:28
4Almost Like Being in Love
recorded in:
New York, New York, United States (in 1952)
producer:
Norman Granz
double bass:
Ray Brown (jazz bassist) (on 1952-11-28)
drums (drum set):
J.C. Heard (on 1952-11-28)
guitar:
Barney Kessel (on 1952-11-28)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1952-11-28)
tenor saxophone:
Lester Young (saxophonist) (on 1952-11-28)
instrumental recording of:
Almost Like Being in Love (from “Brigadoon”) (on 1952-11-28)
lyricist:
Alan Jay Lerner
composer:
Frederick Loewe
publisher:
EMI Music (do not use as release label! this is a music publisher), EMI U Catalog Inc. (publisher; do NOT use as release label), EMI United Partnership Ltd., Sam Fox Publishing Co. (London) Ltd., Sam Fox Publishing Company (publisher; do NOT use as release label), WC Music Corp., フジパシフィックミュージック SBK事業部 (Fujipacific Music SBK Department) and ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label)
part of:
Brigadoon (complete musical)
3:34
5I Can't Give You Anything but Love
recorded in:
New York, New York, United States (on 1952-11-28)
double bass:
Ray Brown (jazz bassist) (on 1952-11-28)
drums (drum set):
J.C. Heard (on 1952-11-28)
guitar:
Barney Kessel (on 1952-11-28)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1952-11-28)
tenor saxophone:
Lester Young (saxophonist) (on 1952-11-28)
instrumental recording of:
I Can’t Give You Anything but Love, Baby (on 1952-11-28)
lyricist:
Dorothy Fields (American librettist and lyricist)
composer:
Jimmy McHugh (songwriter)
publisher:
Aldi Music Company, Cotton Club Publishing and EMI Mills Music Inc. (ASCAP-affiliated)
sub-publisher:
EMI Music Publishing Ltd. (PRS‐affiliated), Shapiro Bernstein & Co. Ltd., 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)
3:23
6There Will Never Be Another You
recorded in:
New York, New York, United States (on 1952-11-28)
double bass:
Ray Brown (jazz bassist) (on 1952-11-28)
drums (drum set):
J.C. Heard (on 1952-11-28)
guitar:
Barney Kessel (on 1952-11-28)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1952-11-28)
tenor saxophone:
Lester Young (saxophonist) (on 1952-11-28)
recording of:
There Will Never Be Another You (on 1952-11-28)
lyricist:
Mack Gordon
composer:
Harry Warren (US composer and lyricist)
publisher:
Morley Music Corp.
part of:
The Real Book (compilation of jazz standards, volume I)
3:30
7I'm Confessin'
recorded in:
New York, New York, United States (on 1952-11-28)
double bass:
Ray Brown (jazz bassist) (on 1952-11-28)
drums (drum set):
J.C. Heard (on 1952-11-28)
guitar:
Barney Kessel (on 1952-11-28)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1952-11-28)
tenor saxophone:
Lester Young (saxophonist) (on 1952-11-28)
instrumental recording of:
I’m Confessin’ (That I Love You) (on 1952-11-28)
lyricist:
Al J. Neiburg (lyricist) (in 1930)
composer:
Doc Daugherty (in 1930) and Ellis Reynolds (in 1930)
publisher:
Bourne Music Ltd.
version of:
Lookin’ for Another Sweetie
3:44
8Willow Weep for Me
double bass:
Gene Ramey (on 1953-12-11)
drums (drum set):
Connie Kay (on 1953-12-11)
piano:
Gildo Mahones (on 1953-12-11)
tenor saxophone:
Lester Young (saxophonist) (on 1953-12-11)
trumpet:
Jesse Drakes (on 1953-12-11)
recorded at:
Fine Sound Studios (1953–1956; fka WMGM Studios until 1953) in New York, New York, United States (on 1953-12-11)
instrumental recording of:
Willow Weep for Me (on 1953-12-11)
lyricist and composer:
Ann Ronell (in 1932)
publisher:
Ann Ronell Music and Bourne Co. (not for release label use, this is a music publisher)
sub-publisher:
日音 Synch事業部 (NICHION, INC. Synch Division)
3:09
9This Can't Be Love
double bass:
Gene Ramey (on 1953-12-11)
drums (drum set):
Connie Kay (on 1953-12-11)
piano:
Gildo Mahones (on 1953-12-11)
tenor saxophone:
Lester Young (saxophonist) (on 1953-12-11)
trumpet:
Jesse Drakes (on 1953-12-11)
recorded at:
Fine Sound Studios (1953–1956; fka WMGM Studios until 1953) in New York, New York, United States (on 1953-12-11)
instrumental recording of:
This Can’t Be Love (on 1953-12-11)
lyricist:
Lorenz Hart (in 1938)
composer:
Richard Rodgers (composer) (in 1938)
publisher:
Chappell & Co. and Warner/Chappell (Warner/Chappell Music, Inc.)
3:25
10Can't We Be Friends?
double bass:
Gene Ramey (on 1953-12-11)
drums (drum set):
Connie Kay (on 1953-12-11)
piano:
Gildo Mahones (on 1953-12-11)
tenor saxophone:
Lester Young (saxophonist) (on 1953-12-11)
trumpet:
Jesse Drakes (on 1953-12-11)
recorded at:
Fine Sound Studios (1953–1956; fka WMGM Studios until 1953) in New York, New York, United States (on 1953-12-11)
instrumental recording of:
Can’t We Be Friends? (on 1953-12-11)
lyricist:
Paul James (Lyricist, aka James Warburg)
composer:
Kay Swift
publisher:
Warner Bros. Music Corp.
3:10
11Tenderly
double bass:
Gene Ramey (on 1953-12-11)
drums (drum set):
Connie Kay (on 1953-12-11)
piano:
Gildo Mahones (on 1953-12-11)
tenor saxophone:
Lester Young (saxophonist) (on 1953-12-11)
trumpet:
Jesse Drakes (on 1953-12-11)
recorded at:
Fine Sound Studios (1953–1956; fka WMGM Studios until 1953) in New York, New York, United States (on 1953-12-11)
instrumental recording of:
Tenderly (on 1953-12-11)
lyricist:
Jack Lawrence (US songwriter) (in 1946)
composer:
Walter Gross (American composer) (in 1946)
publisher:
Chappell & Co., Chappell Morris Music, Chappell/Morris Ltd., Edwin Morris Music and Range Road Music
3:29
12New D.B. Blues
double bass:
Gene Ramey (on 1953-12-11)
drums (drum set):
Connie Kay (on 1953-12-11)
piano:
Gildo Mahones (on 1953-12-11)
tenor saxophone:
Lester Young (saxophonist) (on 1953-12-11)
trumpet:
Jesse Drakes (on 1953-12-11)
recorded at:
Fine Sound Studios (1953–1956; fka WMGM Studios until 1953) in New York, New York, United States (on 1953-12-11)
3:21
13Jumpin' at the Woodside
double bass:
Gene Ramey (on 1953-12-11)
drums (drum set):
Connie Kay (on 1953-12-11)
piano:
Gildo Mahones (on 1953-12-11)
tenor saxophone:
Lester Young (saxophonist) (on 1953-12-11)
trumpet:
Jesse Drakes (on 1953-12-11)
recorded at:
Fine Sound Studios (1953–1956; fka WMGM Studios until 1953) in New York, New York, United States (on 1953-12-11)
recording of:
Jumpin’ at the Woodside (original instrumental) (on 1953-12-11)
composer:
Count Basie (pianist)
publisher:
PW Arrangements, Universal Music Corp. (USA, affiliated with ASCAP), シンコーミュージック・エンタテイメント (Shinko Music Entertainment Co., Ltd.), 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), 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), ワーナー・チャペル音楽出版 Synch事業部 (Warner/Chappell Music Japan K.K., Synch Division), WB Music Corp. (1929–2019) (until 2019-05-28) and WC Music Corp. (from 2019-05-28 to present)
3:05
14I Can't Believe That You're in Love With Me
double bass:
Gene Ramey (on 1953-12-11)
drums (drum set):
Connie Kay (on 1953-12-11)
piano:
Gildo Mahones (on 1953-12-11)
tenor saxophone:
Lester Young (saxophonist) (on 1953-12-11)
trumpet:
Jesse Drakes (on 1953-12-11)
recorded at:
Fine Sound Studios (1953–1956; fka WMGM Studios until 1953) in New York, New York, United States (on 1953-12-11)
recording of:
I Can’t Believe That You’re in Love With Me (on 1953-12-11)
lyricist:
Clarence Gaskill
composer:
Jimmy McHugh (songwriter)
publisher:
Mills Music, Inc.
3:14
15Oh, Lady, Be Good!
double bass:
Gene Ramey (on 1953-12-11)
drums (drum set):
Connie Kay (on 1953-12-11)
piano:
Gildo Mahones (on 1953-12-11)
tenor saxophone:
Lester Young (saxophonist) (on 1953-12-11)
trumpet:
Jesse Drakes (on 1953-12-11)
recorded at:
Fine Sound Studios (1953–1956; fka WMGM Studios until 1953) in New York, New York, United States (on 1953-12-11)
instrumental recording of:
Oh, Lady Be Good! (on 1953-12-11)
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)
3:30
16Another Mambo
double bass:
John Ore (on 1954-12-10)
drums (drum set):
Connie Kay (on 1954-12-10)
piano:
Gildo Mahones (on 1954-12-10)
tenor saxophone:
Lester Young (saxophonist) (on 1954-12-10)
trumpet:
Jesse Drakes (on 1954-12-10)
recorded at:
Fine Sound Studios (1953–1956; fka WMGM Studios until 1953) in New York, New York, United States (on 1954-12-10)
3:39
17Come Rain or Come Shine
double bass:
John Ore (on 1954-12-10)
drums (drum set):
Connie Kay (on 1954-12-10)
piano:
Gildo Mahones (on 1954-12-10)
tenor saxophone:
Lester Young (saxophonist) (on 1954-12-10)
trumpet:
Jesse Drakes (on 1954-12-10)
recorded at:
Fine Sound Studios (1953–1956; fka WMGM Studios until 1953) in New York, New York, United States (on 1954-12-10)
instrumental recording of:
Come Rain or Come Shine (on 1954-12-10)
lyricist:
Johnny Mercer (in 1946)
composer:
Harold Arlen (in 1946)
publisher:
Chappell & Co., Chappell & Co., Inc. (USA), S.A. Music Co. and Warner/Chappell Music Scandinavia AB
3:13
18Rose Room
double bass:
John Ore (on 1954-12-10)
drums (drum set):
Connie Kay (on 1954-12-10)
piano:
Gildo Mahones (on 1954-12-10)
tenor saxophone:
Lester Young (saxophonist) (on 1954-12-10)
trumpet:
Jesse Drakes (on 1954-12-10)
recorded at:
Fine Sound Studios (1953–1956; fka WMGM Studios until 1953) in New York, New York, United States (on 1954-12-10)
instrumental recording of:
Rose Room (on 1954-12-10)
lyricist:
Harry Williams (American songwriter, co-writer of “In the Shade of the Old Apple Tree”) (in 1917)
composer:
Art Hickman (in 1917)
publisher:
EMI Music Publishing (do not use as a release label!), Miller Music (publisher), Paul Rodriguez Music Ltd, Universal Music Publishing Group and Warner/Chappell Music, Inc.
4:11
19Somebody Loves Me
double bass:
John Ore (on 1954-12-10)
drums (drum set):
Connie Kay (on 1954-12-10)
piano:
Gildo Mahones (on 1954-12-10)
tenor saxophone:
Lester Young (saxophonist) (on 1954-12-10)
trumpet:
Jesse Drakes (on 1954-12-10)
recorded at:
Fine Sound Studios (1953–1956; fka WMGM Studios until 1953) in New York, New York, United States (on 1954-12-10)
instrumental recording of:
Somebody Loves Me (on 1954-12-10)
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)
4:59
20Touch Me Again
double bass:
John Ore (on 1954-12-10)
drums (drum set):
Connie Kay (on 1954-12-10)
piano:
Gildo Mahones (on 1954-12-10)
tenor saxophone:
Lester Young (saxophonist) (on 1954-12-10)
trumpet:
Jesse Drakes (on 1954-12-10)
recorded at:
Fine Sound Studios (1953–1956; fka WMGM Studios until 1953) in New York, New York, United States (on 1954-12-10)
5:17
21It Don't Mean a Thing (If It Ain't Got That Swing)
double bass:
John Ore (on 1954-12-10)
drums (drum set):
Connie Kay (on 1954-12-10)
piano:
Gildo Mahones (on 1954-12-10)
tenor saxophone:
Lester Young (saxophonist) (on 1954-12-10)
trumpet:
Jesse Drakes (on 1954-12-10)
recorded at:
Fine Sound Studios (1953–1956; fka WMGM Studios until 1953) in New York, New York, United States (on 1954-12-10)
instrumental recording of:
It Don’t Mean a Thing (If It Ain’t Got That Swing) (on 1954-12-10)
lyricist:
Irving Mills (in 1931)
composer:
Edward Kennedy “Duke” Ellington (Duke Ellington, US composer, pianist & jazz bandleader) (in 1931-08)
publisher:
Duke Ellington Music and EMI Mills Music (ASCAP-affiliated)
part of:
The Real Book (compilation of jazz standards, volume I)
4:30
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