The Complete Clef/Mercury Studio Recordings of the Oscar Peterson Trio (1951–1953)

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

Tracklist

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1▼CD
#TitleArtistRatingLength
1Turtle 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)
The Oscar Peterson Trio2:20
2It’s Easy to Remember
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)
instrumental recording of:
It’s Easy to Remember (and So Hard to Forget) (on 1951-11-25)
lyricist:
Lorenz Hart (in 1935)
composer:
Richard Rodgers (composer) (in 1935)
publisher:
Famous Music Corporation (renamed since 2007‐05 as Sony/ATV Harmony/Melody)
The Oscar Peterson Trio3:29
3Pooper
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)
The Oscar Peterson Trio2:55
4Love for Sale
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)
instrumental recording of:
Love for Sale (on 1951-11-25)
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!)
The Oscar Peterson Trio3:12
5Until the Real Thing Comes Along
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)
instrumental recording of:
Until the Real Thing Comes Along (on 1951-11-25)
lyricist and composer:
Sammy Cahn, Saul Chaplin, L.E. Freeman, Mann Holiner and Alberta Nichols
publisher:
Anne-Rachel Music Corp., Cahn Music Company, Chappell & Co., Inc. (USA) and WB Music Corp. (1929–2019)
The Oscar Peterson Trio2:47
6You Go to My Head
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:
You Go to My Head (on 1952-01-26)
lyricist:
Haven Gillespie (in 1938)
composer:
J. Fred Coots (in 1938)
publisher:
B. Feldman & Co. (publisher active since the 1910s), B. Feldman & Co. Ltd. (publisher est. 1946), EMI Music Ltd., Haven Gillespie Music Publishing Co., Remick Music Corp., Toy Town Tunes, Inc., Warner Bros. (holding: file NO releases), Warner Bros. Music (publisher; do NOT use as release label) and Warner Bros. Music Corp.
The Oscar Peterson Trio3:55
7They Can’t Take That Away From Me
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:
They Can’t Take That Away From Me (from “Shall We Dance”) (on 1952-01-26)
lyricist:
Ira Gershwin (in 1937)
composer:
George Gershwin (composer) (in 1937)
publisher:
Chappell & Co., Inc. (USA), Chappell Music (UK), Chappell Music Ltd., Ira Gershwin Music, Warner/Chappell Music Holland BV, Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09), WB Music Corp. (1929–2019) (until 2019-05-28) and Gershwin Publishing Corp (in 1937)
part of:
The 10th Academy Award for Best Original Song (number: 2) and Academy Award for Best Original Song (number: 1937 nominee)
included in:
An American in Paris (2015 Broadway musical)
part of:
Crazy for You (1992 musical)
part of:
Shall We Dance (1937 film soundtrack)
The Oscar Peterson Trio2:41
8There’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
The Oscar Peterson Trio2:28
9You Turned the Tables on Me
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:
You Turned the Tables on Me (on 1952-01-26)
lyricist:
Sidney Mitchell
composer:
Louis Alter
publisher:
Sam Fox Publishing Company (publisher; do NOT use as release label) (in 1936)
The Oscar Peterson Trio3:10
10These Foolish Things
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:
These Foolish Things (Remind Me of You) (on 1952-01-26)
lyricist:
Holt Marvell (in 1935)
additional composer:
Harry Link (US vaudeville actor & songwriter)
composer:
Jack Strachey (in 1935)
publisher:
Boosey & Co. (music publisher founded in the 1760s, forebear of Boosey & Hawkes), Boosey & Hawkes Music Publishers, Ltd, Boosey & Hawkes, Inc. (USA, publisher; do NOT use as release label), Bourne Co. (not for release label use, this is a music publisher), Bourne, Inc., E.G. Music Inc. and Lafleur Music Ltd.
The Oscar Peterson Trio3:23
11I Can’t Get Started
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:
I Can’t Get Started (on 1952-01-26)
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)
The Oscar Peterson Trio2:59
12Blue Moon
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:
Blue Moon (on 1952-01-26)
lyricist:
Lorenz Hart (in 1934)
composer:
Richard Rodgers (composer) (in 1934)
publisher:
EMI Catalogue Partnership, EMI Music Publishing (do not use as a release label!), EMI Robbins Catalog Inc. (ASCAP), EMI United Partnership Ltd., J. Albert & Son P/L, J. Albert & Son Pty. Ltd., Robbins Music Corporation, SBK United Partnership Ltd., 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)
sub-publisher:
EMI Music Publishing Belgium NV and Francis Day Editions (SABAM)
part of:
New York, New York (1977 musical film soundtrack)
The Oscar Peterson Trio2:39
13East of the Sun
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:
East of the Sun (and West of the Moon) (on 1952-01-26)
lyricist and composer:
Brooks Bowman (in 1934)
publisher:
Anne-Rachel Music Corp. and Chappell & Co.
The Oscar Peterson Trio3:00
14Astaire Blues
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)
Oscar Peterson Quartet12:01
2▼CD
#TitleArtistRatingLength
1Tea for Two
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:
Tea for Two (No, No, Nanette) (on 1952-02-26)
lyricist:
Irving Caesar
composer:
Vincent Youmans
publisher:
Chappell Music Ltd., Irving Caesar Music Corp., Warner Bros., Inc. (not for release label use!), Warner Chappell Music Ltd. (no slash; used 1988–1996), WB Music Corp. (1929–2019) (until 2019-05-28) and Harms, Inc. (on 1924-06-10)
sub-publisher:
ワーナー・チャペル音楽出版 Synch事業部 (Warner/Chappell Music Japan K.K., Synch Division), ヤマハミュージックパブリッシング (Yamaha Music Publishing) (until 2017-03-31) 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:
No, No, Nanette
Oscar Peterson Quartet12:52
2Slow Down
double bass [bass]:
Ray Brown (jazz bassist) (on 1952-02-26)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1952-02-26)
Oscar Peterson Quartet12:20
3Oh, Lady Be Good
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:
Oh, Lady Be Good! (on 1952-02-26)
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)
Oscar Peterson Quartet12:08
4Body and Soul
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:
Body and Soul (on 1952-02-26)
lyricist:
Frank Eyton (in 1930), Edward Heyman (in 1930) and Robert Sour (in 1930)
composer:
Edward Heyman, Robert Sour and John Green (composer and conductor, often credited as John Green) (in 1930)
publisher:
Bug Music, Inc., Chappell & Co Ltd., Druropetal Music, Quartet Music Inc., Range Road Music Inc., Warner Bros., Inc. (not for release label use!), 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)
Oscar Peterson Quartet11:48
5Stompin’ at the Savoy
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:
Stompin’ at the Savoy (on 1952-02-26)
lyricist:
Andy Razaf
composer:
Benny Goodman (clarinetist and bandleader), Edgar Sampson and Chick Webb
publisher:
EMI Robbins Catalog (ASCAP), Ragbag Music (ASCAP), Razaf Music, Rytvoc (ASCAP), 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)
Oscar Peterson Quartet10:59
6Rough Ridin’
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:
Rough Ridin' (on 1952-02-26)
writer:
Ella Fitzgerald (American jazz singer), Hank Jones (piano) and William J. Tennyson, Jr.
Oscar Peterson Quartet2:47
7Just 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)
Oscar Peterson Quartet3:02
8Too Marvelous for Words
double bass [bass]:
Ray Brown (jazz bassist) (on 1952-02-26)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (on 1952-02-26)
instrumental recording of:
Too Marvelous for Words (on 1952-02-26)
lyricist:
Johnny Mercer (in 1937)
composer:
Richard A. Whiting (composer) (in 1937)
publisher:
Famous Music Corporation (renamed since 2007‐05 as Sony/ATV Harmony/Melody), Victoria Music Ltd., Warner Bros., Inc. (not for release label use!), Warner Bros., Inc. (Warner Bros. Music Division) and Harms, Inc. (on 1937-01-25)
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)
Oscar Peterson Quartet2:50
9But Not for Me
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:
But Not for Me (on 1952-02-26)
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)
Oscar Peterson Quartet2:31
3▼CD
#TitleRatingLength
1That Makes a Difference to Me
recorded in:
Los Angeles, California, United States (from 1952-05 until 1952-06)
double bass [bass]:
Ray Brown (jazz bassist) (in 1952)
guitar:
Barney Kessel (in 1952)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952)
2:52
2Autumn in New York
recorded in:
Los Angeles, California, United States (from 1952-05 until 1952-06)
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:
Autumn in New York (1934) (in 1952)
lyricist and composer:
Vernon Duke
publisher:
Chappell & Co. and Warner Bros., Inc. (not for release label use!)
2:41
3Pettiford’s Tune (Little Boy)
recorded in:
Los Angeles, California, United States (from 1952-05 until 1952-06)
double bass [bass]:
Ray Brown (jazz bassist) (in 1952)
guitar:
Barney Kessel (in 1952)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952)
3:13
4You Go to My Head
recorded in:
Los Angeles, California, United States (from 1952-05 until 1952-06)
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:
You Go to My Head (in 1952)
lyricist:
Haven Gillespie (in 1938)
composer:
J. Fred Coots (in 1938)
publisher:
B. Feldman & Co. (publisher active since the 1910s), B. Feldman & Co. Ltd. (publisher est. 1946), EMI Music Ltd., Haven Gillespie Music Publishing Co., Remick Music Corp., Toy Town Tunes, Inc., Warner Bros. (holding: file NO releases), Warner Bros. Music (publisher; do NOT use as release label) and Warner Bros. Music Corp.
2:50
5Thou Swell
recorded in:
Los Angeles, California, United States (from 1952-05 until 1952-06)
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:
Thou Swell (in 1952)
lyricist:
Lorenz Hart (in 1927)
composer:
Richard Rodgers (composer) (in 1927)
publisher:
Marlin Enterprises and Warner Bros. (holding: file NO releases)
2:30
6Willow Weep for Me
recorded in:
Los Angeles, California, United States (from 1952-05 until 1952-06)
double bass [bass]:
Ray Brown (jazz bassist) (from 1952-05 until 1952-06)
guitar:
Barney Kessel (from 1952-05 until 1952-06)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (from 1952-05 until 1952-06)
instrumental recording of:
Willow Weep for Me (in 1952)
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)
3:21
7Minor Blues
recorded in:
Los Angeles, California, United States (from 1952-05 until 1952-06)
double bass [bass]:
Ray Brown (jazz bassist) (in 1952)
guitar:
Barney Kessel (in 1952)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952)
2:44
8Pick Yourself Up
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:
Pick Yourself Up (from “Swing Time”) (in 1952)
lyricist:
Dorothy Fields (American librettist and lyricist)
composer:
Jerome Kern
part of:
Swing Time (film)
3:24
9Long Ago and Far Away
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 cover recording of:
Long Ago (and Far Away) (in 1952)
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)
3:47
10Love Walked In
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:
Love Walked In (in 1952)
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
11I Got Rhythm
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:
I Got Rhythm (in 1952)
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
12A Fine Romance
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:
A Fine Romance (from “Swing Time”) (in 1952)
publisher:
Jerome Kern (on 1936-07-24)
lyricist:
Dorothy Fields (American librettist and lyricist) (in 1936)
composer:
Jerome Kern (in 1936)
publisher:
Chappell & Co.
part of:
Swing Time (film)
3:16
13A Foggy Day
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:
A Foggy Day (in London Town) (in 1952)
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)
3:38
14Strike Up the Band!
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:
Strike Up the Band (1927 Gershwin song) (in 1952)
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)
3:17
15Man I Love
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:
The Man I Love (in 1952)
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
16Let’s Do It
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:
Let’s Do It (Noël Coward version) (in 1952)
additional lyricist:
Noël Coward
lyricist and composer:
Cole Porter (composer)
version of:
Let’s Do It (Let’s Fall in Love) (Paris musical)
2:55
17It Ain’t Necessarily So
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:
It Ain’t Necessarily So (jazz standard originally from Porgy and Bess; catch-all for unspecified pop and jazz arrangements) (in 1952)
lyricist:
Ira Gershwin, Dorothy Heyward (playwright) and DuBose Heyward
composer:
George Gershwin (composer)
publisher:
Chappell Music (ASCAP), Gershwin Publishing Corp, Warner Chappell Music (holding behind all publishing activities of Warner Music Group, 2019–), 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
18I’ve Got My Love to Keep Me Warm
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:
I’ve Got My Love to Keep Me Warm (in 1952)
lyricist and composer:
Irving Berlin (in 1937)
publisher:
Irving Berlin Music Company, Irving Berlin Music Corp., Warner Chappell Music Ltd. (no slash; used 1988–1996) and Williamson Music Company
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)
2:49
19I've Got a Crush on You
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:
I’ve Got a Crush on You (in 1952)
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
20Night and Day
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:
Night and Day (Cole Porter; from “The Gay Divorce”) (in 1952)
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
21Isn’t This a Lovely Day
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:
Isn’t This a Lovely Day? (from “Top Hat”) (in 1952)
lyricist and composer:
Irving Berlin (in 1935)
part of:
Top Hat (1935 film)
3:20
22What Is This Thing Called Love?
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:
What Is This Thing Called Love? (Wake Up and Dream musical revue) (in 1952)
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
23Willow Weep for Me (alternate take 4)
recorded in:
Los Angeles, California, United States (from 1952-05 until 1952-06)
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:
Willow Weep for Me (in 1952)
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)
3:23
4▼CD
#TitleRatingLength
1Oh, Lady Be Good
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:
Oh, Lady Be Good! (in 1952)
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)
3:52
2’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)
42:39
3Anything Goes
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:
Anything Goes (in 1952)
lyricist and composer:
Cole Porter (composer) (in 1934)
publisher:
Chappell Music (UK), Chappell Music Ltd. and Warner Bros., Inc. (not for release label use!)
2:58
4I’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
5Fascinatin’ Rhythm
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:
Fascinatin’ Rhythm (in 1952)
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)
2:57
6Cheek to Cheek
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:
Cheek to Cheek (from “Top Hat”) (in 1952)
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)
3:03
7I Got It Bad (And That Ain’t Good)
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)
recording of:
I Got It Bad (and That Ain’t Good) (in 1952)
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)
3:12
8In a Mellow Tone
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:
In a Mellow Tone (in 1952)
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
9I 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
10Somebody Loves Me
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:
Somebody Loves Me (in 1952)
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)
3:24
11I Was Doin’ All Right
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:
I Was Doing All Right (in 1952)
lyricist:
Ira Gershwin (in 1937)
composer:
George Gershwin (composer) (in 1937)
publisher:
Gershwin Publishing Corp (in 1938)
part of:
The Goldwyn Follies
2:42
12In the Still of the Night
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:
In the Still of the Night (Cole Porter song) (in 1952)
lyricist and composer:
Cole Porter (composer) (in 1937)
publisher:
Chappell (library/production music) and Chappell & Co., Inc. (USA)
3:01
13Every Time We Say Goodbye
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:
Ev’ry Time We Say Goodbye (Seven Lively Arts musical revue) (in 1952)
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
14Just A-Sittin’ and A-Rockin’
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:
Just A‐Sittin’ and A‐Rockin’ (in 1952)
lyricist:
Lee Gaines (in 1941)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1941) and Billy Strayhorn (in 1941)
3:42
15Begin the Beguine
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:
Begin the Beguine (in 1952)
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
16So Near and Yet So Far
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:
So Near and Yet So Far (from “You’ll Never Get Rich”) (in 1952)
lyricist and composer:
Cole Porter (composer) (in 1941)
3:21
17Blue Skies
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:
Blue Skies (in 1952)
lyricist and composer:
Irving Berlin (in 1926)
publisher:
Francis, Day & Hunter Ltd., Irving Berlin Music Company and Williamson Music Company
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)
3:03
18Take the “A” Train
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)
recording of:
Take the “A” Train (original instrumental version) (in 1952)
composer:
Billy Strayhorn
part of:
The Real Book (compilation of jazz standards, volume I)
3:17
19Sophisticated Lady
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:
Sophisticated Lady (in 1952)
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
20Cotton Tail
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:
Cotton Tail (in 1952)
lyricist and composer:
Duke Ellington (US composer, pianist & jazz bandleader)
3:50
21Prelude to a Kiss
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:
Prelude to a Kiss (in 1952)
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
22Things Ain’t What They Used to Be
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:
Things Ain’t What They Used to Be (in 1952)
lyricist:
Ted Persons
composer:
Mercer Ellington (in 1942)
publisher:
Tempo Music, Inc. (Duke Ellington’s music publishing company)
3:13
23Rockin’ in Rhythm
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:
Rockin’ in Rhythm (in 1952)
composer:
Harry Carney, Duke Ellington (US composer, pianist & jazz bandleader) and Irving Mills
is based on:
Kinda Dukish
2:54
5▼CD
#TitleRatingLength
1Do Nothin’ Till You Hear From Me
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:
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
2Don’t Get Around Much Anymore
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:
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
3:58
3John Hardy’s Wife
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)
recording of:
John Hardy's Wife (in 1952)
composer:
Mercer Ellington
3:23
4Always
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:
Always (in 1952)
lyricist and composer:
Irving Berlin (in 1925)
publisher:
Francis, Day & Hunter Ltd., Irving Berlin Inc. and Irving Berlin Music
2:51
5Easter Parade
recorded in:
Los Angeles, California, United States (in 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:
Easter Parade (from “Easter Parade”) (in 1952)
lyricist and composer:
Irving Berlin (in 1933)
part of:
Easter Parade (full musical)
3:15
6Alexander’s Ragtime Band
recorded in:
Los Angeles, California, United States (in 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:
Alexander’s Ragtime Band (in 1952)
lyricist and composer:
Irving Berlin (in 1911)
publisher:
Williamson Music, Inc.
2:52
7The Song Is Ended
recorded in:
Los Angeles, California, United States (in 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:
The Song Is Ended (but the Melody Lingers On) (in 1952)
lyricist:
Irving Berlin
composer:
Irving Berlin (in 1927)
publisher:
Irving Berlin Music Corp. and Williamson Music Company
3:20
8Say It Isn’t So
recorded in:
Los Angeles, California, United States (in 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:
Say It Isn’t So (in 1952)
lyricist and composer:
Irving Berlin
publisher:
Irving Berlin Music Corp.
3:09
9Remember
recorded in:
Los Angeles, California, United States (in 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:
Remember (in 1952)
lyricist and composer:
Irving Berlin (in 1925)
publisher:
Irving Berlin Music Corp. and Williamson Music Company
3:20
10If I Had You
recorded in:
Los Angeles, California, United States (in 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:
If I Had You (jazz standard) (in 1952)
writer:
James Campbell (British songwriter and music publisher), Reginald Connelly and Ted Shapiro
publisher:
Campbell Connelly & Co. Ltd., Campbell Connelly Inc. (ASCAP affiliated), EMI Robbins Catalog Inc. (ASCAP) and Robbins Music Corp.
3:12
11How Deep Is the Ocean
recorded in:
Los Angeles, California, United States (in 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:
How Deep Is the Ocean? (in 1952)
lyricist and composer:
Irving Berlin (in 1932)
publisher:
Francis, Day & Hunter Ltd. and Irving Berlin Music Corp.
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)
3:06
12I’m Glad There Is You
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)
recording of:
I’m Glad There Is You (on 1953-05-21)
writer:
Jimmy Dorsey and Paul Madeira (Paul Madeira Mertz)
publisher:
Chappell/Morris Ltd. and Mayfair Music Corp.
2:58
13Polka Dots and Moonbeams
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:
Polka Dots and Moonbeams (on 1953-05-21)
lyricist:
Johnny Burke (American lyricist, 1908–1964)
composer:
Jimmy Van Heusen
publisher:
ABC Music Co. (799 Sevenih Avenue, New York 1930s-1940s), Bourne Co. (not for release label use, this is a music publisher), Dorsey Brothers Music, Marke Music Publishing Co., Inc., Music Sales Corporation (American copyright holder in both popular and classical music), My Dad’s Songs, Inc., Pocketful of Dreams Music Publisher and Reganesque Music Company
sub-publisher:
日音 Synch事業部 (NICHION, INC. Synch Division)
3:14
14One for My Baby
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)
recording of:
One for My Baby (and One More for the Road) (on 1953-05-21)
lyricist:
Johnny Mercer (in 1943)
composer:
Harold Arlen (in 1943)
publisher:
Chappell/Morris Ltd. and Harwin Music
part of:
The Sky’s the Limit (1943 film)
3:17
15I 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
publisher:
Sony/ATV Harmony
sub-publisher:
Sony Music Publishing France
2:29
16Autumn in New York
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:
Autumn in New York (1934) (on 1953-05-21)
lyricist and composer:
Vernon Duke
publisher:
Chappell & Co. and Warner Bros., Inc. (not for release label use!)
4:01
17I Can’t Give You Anything but Love
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 Can’t Give You Anything but Love, Baby (on 1953-05-21)
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)
3:07
18Spring Is Here
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:
Spring Is Here (on 1953-05-21)
lyricist:
Lorenz Hart (in 1938)
composer:
Richard Rodgers (composer) (in 1938)
publisher:
EMI Robbins Catalog Inc. (ASCAP), Robbins Music Corp. and United Partnership Ltd.
2:49
19The Things We Did Last Summer
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:
The Things We Did Last Summer (on 1953-05-21)
lyricist:
Sammy Cahn
composer:
Jule Styne
publisher:
Warner/Chappell North America Ltd. (formerly incorporated as Marmalade Music Ltd., from 1968/09/19–1999/11/09)
4:04
20Streets Boogie
recorded in:
Los Angeles, California, United States (in 1952-12)
double bass [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)
3:23
21Booker T. Blues
recorded in:
Los Angeles, California, United States (in 1952-12)
double bass [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)
3:04
6▶CD
7▶CD