MILDRED BAILEY – 1943-1945 | The Classics Chronological Series – 1316 (2003) FLAC (tracks+.cue), lossless

Most of Mildred Bailey's recordings have been reissued, but this CD is particularly special. With the exception of the final four songs, all of the music was originally out on fairly rare V-discs, making this a strong addition to swing and vocal jazz fans' collections. Bailey was one of the most distinctive singers of the 1930s and '40s and she was at the peak of her powers during the World War II years. Particularly worthy are the first four selections (including an extended version of "Rockin' Chair") in which she is accompanied by pianist Teddy Wilson. "Squeeze Me" is taken from the Esquire All-American concert of 1944. There are three songs in which Bailey is joined by a sextet led by her husband vibraphonist Red Norvo (clarinetist Aaron Sachs is in good form), ten songs on which Bailey is accompanied by Paul Baron's orchestra, a heated version of "Dinah" with Wilson and trumpeter Charlie Shavers, and the final studio date with a nonet. In addition to the first version of "Rockin' Chair," other highlights include "Sunday, Monday or Always," "More Than You Know," "Downhearted Blues," "From the Land of the Sky Blue Water," and "I'm Glad There Is You." Recommended. Scott Yanow  
Tracklist :

MILDRED BAILEY – 1945-1947 | The Classics Chronological Series – 1337 (2003) FLAC (image+.cue), lossless

As she neared the end of her recording career, Mildred Bailey suffered from a steadily shrinking voice, but her interpretive powers were undiminished. The Classics volume 1945-1947 proves that point with a program of 25 performances backed by orchestras including Eddie Sauter's and Ted Dale's, and sidemen including vibraphonist Red Norvo (Mr. Swing to her Mrs. Swing), pianist Ellis Larkins, clarinetist Hank d'Amico, and trumpeter Dick Vance. Bailey reflects on her long professional life with a raft of melancholy standards -- "Lover, Come Back to Me," "These Foolish Things," and a tender "Can't We Be Friends?" John Bush  
Tracklist + Credits :

ELLA FITZGERALD – 1950 | The Classics Chronological Series – 1195 (2001) FLAC (tracks+.cue), lossless

Few vocalists have managed to succeed so well in both jazz and pop music as did Ella Fitzgerald. The 11th installment in her complete Classics chronology presents 24 Decca recordings made between February 2 and December 20, 1950. On eight of these she is backed by Sy Oliver & His Orchestra, sometimes singing duets with Oliver himself. Fitzgerald seems to have been able to make sense out of any routine and had the ability to put a song across in virtually any company. During this period she collaborated with two vocal groups: the aggressively wholesome Four Hits & a Miss and the Ink Spots, with whom she'd made records back in 1944. She also rendered up a suite of eight Gershwin tunes with Ellis Larkins at the piano, sat in with Louis Jordan & His Tympany 5, cut a pair of delightful duets with Louis Armstrong, and rattled off a couple of idiotic novelty tunes, accompanied by a giggling, unidentified vocal group composed of either children or foolish adults. "Molasses, Molasses" was also recorded by Spike Jones & His City Slickers with a falsetto group vocal led by squeaky-voiced George Rock, a capable trumpeter who had an annoying habit of impersonating little boys. Ella Fitzgerald's version is better, if that means anything. For a much hipper and funnier song about molasses, see Bob Howard (1937-1947, Classics 1055). arwulf arwulf
Tracklist + Credits :

ELLA FITZGERALD – 1953-1954 | The Classics Chronological Series – 1404 (2005) FLAC (tracks+.cue), lossless

The 14th installment in the Classics Ella Fitzgerald chronology examines a trail of Decca recordings made between February 13, 1953, and March 30, 1954. Aside from a pair of sentimental numbers sweetened by the Ray Charles Singers, Fitzgerald spent most of the year 1953 making records with Sy Oliver's orchestra. "Somebody Bad Stole de Wedding Bell" is yet another chapter in Fitzgerald's ongoing involvement with West Indian or calypso-styled repertoire; earlier Caribbean manifestations were "Stone Cold Dead in the Market" and "My Bonnie Lies Over the Ocean." Ella closed out the year by recording with a string-laden orchestra led by John Scott Trotter, then famous for his work with Bing Crosby. Her next three studio sessions occurred toward the end of March 1954. The first of these involved the dreaded Gordon Jenkins string orchestra and chorus. Although few singers could have withstood the avalanche of refined white sugar represented by Jenkins and his soporific ensemble, Fitzgerald stood her ground and sounded great. At the beginning of the following week she made her second collaborative series of recordings with pianist Ellis Larkins; their first studio duets had taken place in September of 1950 (see Classics 1195). These beautiful performances benefit from the sort of professional autonomy and artistic integrity that Ella Fitzgerald would soon enjoy after ditching Decca and signing on with Norman Granz. arwulf arwulf
Tracklist :

ELLA FITZGERALD – 1954-1955 | The Classics Chronological Series – 1457 (2008) FLAC (tracks+.cue), lossless

The 15th installment in the complete studio recordings of Ella Fitzgerald as reissued in the Classics Chronological Series contains 22 titles cut between March 30, 1954, and August 5, 1955, marking the tail end of her contractual obligations as a Decca recording artist. Ella's involvement with Decca extended a full 20 years back to her initial recording session with the Chick Webb Orchestra in June 1935; by January of 1956 she would be working with Norman Granz (who had already been recording her in live performance with his Jazz at the Philharmonic package), inaugurating one of the great longstanding singer/producer collaborations in the entire history of recorded jazz. Drawing upon material originally made available on the LPs Sweet and Hot, Songs in a Mellow Mood, The First Lady of Song, Lullabies of Birdland and Songs from "Pete Kelly's Blues" (a motion picture in which Ella appeared cast as a jazz singer), this patchwork compilation opens with three songs that close out one of the delightful sessions that she shared with pianist Ellis Larkins during the spring of 1954. The next two titles come from a date that was typical of Decca's approach to artists and repertoire, for here Ella and a sextet including tenor saxophonist Sam Taylor, pianist Hank Jones, and organist Bill Doggett were pitted against a standard issue '50s pop vocal choir. Other ensembles heard on this disc were conducted or supervised by Benny Carter, Sy Oliver, André Previn, Dick Hyman, and Toots Camarata. Altogether, it's a fine portrait of Ella Fitzgerald in one of her primes, and an effective appetizer for the next chapter in her musical biography. arwulf arwulf
Tracklist + Credits :

HAZEL SCOTT – 1939-1945 | The Classics Chronological Series – 1308 (2003) FLAC (tracks+.cue), lossless

A brilliant pianist who also had a warm singing voice, Hazel Scott gained some recognition in the early '40s for her swinging versions of classical themes. This valuable CD has all of her early recordings through May 1945, most of which have been rarely reissued. Scott is first heard on four songs with a pickup group organized by Leonard Feather called the Sextet of the Rhythm Club of London. While that unit features clarinetist Danny Polo and altoist Pete Brown, the next 16 selections (four of which are V-discs) put the spotlight entirely on Scott, who is backed by either J.C. Heard or Sid Catlett on drums. She shows off both her technique and her creativity on six classical works, swing standards, and a couple basic blues originals, singing on "People Will Say We're in Love" and "C Jam Blues." The final four numbers are quite a bit different as Scott is showcased as a fairly straight and sophisticated singer with orchestras conducted by Toots Camarata. Overall, this CD is highly recommended, reminding today's listeners how talented a pianist Scott was in her early days. Scott Yanow
Tracklist + Credits :

EDMOND HALL – 1944-1945 | The Classics Chronological Series – 872 (1996) FLAC (tracks), lossless

What you have here is a veritable audio lexicon of Edmond Hall's style and musical personality. From the first few bars of "It's Been So Long," the clarinetist conjures a disarming atmosphere of warmth and reassurance. The effect is quadrupled as Harry Carney enters, puffing away at his baritone saxophone. The entire Swingtet was in perfect form on May 5, 1944, and the recordings they made on that day are among the very best from Blue Note's first decade. Benny Morton's temperament was perfectly suited for the task of interacting with the other two horns. Their rhythm section was strong enough to provide unflinching support, even when Carney's baritone bellowed and chortled during "Steamin' and Beamin'." The Blue Note date is perfectly complemented by eight magnificent Commodore sides cut during the summer of 1944 in the company of Teddy Wilson. Hall is alternately gentle or briskly bracing. "Caravan" is a wild ride you'll not want to miss. The Swing Sextet session of December 4, 1944, begins with "Opus 15," a slightly modern set of vamps composed by the pianist Ellis Larkins. "Mouse" Randolph does some fine growling through his trumpet and the band runs it down with measured ease. Hall weaves a 45-second introduction to "The Sheik of Araby" before the guys cut loose with it. Four additional sides were cut by practically the same band on some unspecified day in 1945. Larkins contributed another very hip original called "Ellis Island," Hall dreamed up a feisty "Continental Blues," and Randolph shone during a second realization of his own creation, which he simply titled "Face." It sounds like something Lester Young would have enjoyed coasting through. This CD would bear up well under highway driving conditions, even heard twice or thrice through. Every consecutive track is pure pleasure. arwulf arwulf  
Tracklist + Credits :

LUCKY MILLINDER AND HIS ORCHESTRA – 1943-1947 | The Classics Chronological Series – 1026 (1998) FLAC (tracks+.cue), lossless

The Lucky Millinder Orchestra's best-known recordings are from 1941-42, making this Classics CD of great interest due to the many rarities and a lot of variety. First there are four V-discs from 1943 that showcase with Millinder (for the last time) the singing and guitar playing of Sister Rosetta Tharpe, who does remakes of four of her hits (including "That's All" and "Rock Daniel"). "Savoy," from the same period, is highlighted by one of trumpeter Joe Guy's best-recorded solos, and "Shipyard Social Junction" was one of the band's final top-notch instrumentals. Of the four numbers from 1944, two songs have the recording debut of singer Wynonie Harris, and on "Hurry, Hurry," the legendary trumpeter Freddy Webster can be heard briefly. There are also two okay numbers from 1945, six from 1946 (including singer Annisteen Allen on "There's Good Blues Tonight" and some good spots for the tenor of Sam "The Man" Taylor) and four vocal cuts from the following year. Many of the very interesting sidemen actually have no real solo space (including tenors Lucky Thompson and Eddie "Lockjaw" Davis), but most of the vocals are easy to take and the Millinder Orchestra was adjusting well to the rise of R&B. An interesting and often historic set. Scott Yanow  
Tracklist :

DICKIE WELLS – 1927-1943 (1997) The Classics Chronological Series – 937 | FLAC (tracks), lossless

This is the definitive Dickie Wells collection, presenting three very distinct periods in his remarkable career. As an appetizer for five sessions led by this fine trombonist, listeners get to hear his very first recordings, with Springfield, OH, native Lloyd Scott's orchestra in 1927 and Lloyd's brother Cecil Scott's Bright Boys -- featuring trumpeters Frankie Newton and Bill Coleman -- in 1929. This shot of seven outstanding old-fashioned numbers is a perfect example of great music from the late '20s, all but forgotten by the public today but available to dedicated early jazz addicts as part of the Classics Chronological Series. Dickie Wells spent the first half of the 1930s working in bands led by Elmer Snowden, Benny Carter, Chick Webb, and Fletcher Henderson. He joined Teddy Hill's band in 1934 and it was with Hill that Wells traveled to Paris during the summer of 1937. At the heart of this collection lie 12 marvelous recordings waxed during that tour, with the great Django Reinhardt and a few of his French friends sitting in with Wells (billed here as "Dicky") and a small team of seasoned North American swing musicians. Bill Coleman made himself at home, scat singing with gutsy nonchalance on "Hangin' Around Boudon." Additional trumpeters were Bill Dillard and Shad Collins, with further U.S. input from alto saxophonist Howard Johnson, pianist Sam Allen, bassist Richard Fullbright, and ace drummer Bill Beason. Dickie Wells was an accomplished trombonist, capable of expressing a full range of human emotions using growls, smears, glissandi, and honest, straight-up melodic candor. "Oh, Lady Be Good" and "Dicky Wells Blues" feature the trombone backed by a rhythm trio, highlighting his musical personality in living color. A veritable chasm lies between these 1937 recordings and the next session, recorded in December 1943 for Bob Thiele's Signature label. By this time, Wells had come through the fire of the Count Basie Orchestra, bringing with him several key players from that formidable swing machine. Most importantly, listeners get to hear Lester Young only months before his ill-fated encounter with the U.S. Army. Prez, Dickie, and Bill Coleman are each in fine form, jamming hard with solid support from a fine rhythm section in pianist Ellis Larkins, guitarist Freddie Green, bassist Al Hall, and master drummer Jo Jones. Because of Wells' nominal leadership and the fact that it was originally issued by a small independent label, this session is less well-known than Young's work with Basie and his Aladdin and Verve recordings. It is essential listening for all Lester Young fans, and should be digested along with Young's remarkable Keynote Quartet session that took place one week later. arwulf arwulf  
Tracklist :
1 Harlem Shuffle 3:03    
Kenneth Roane
Dicky Wells / feat: Lloyd Scott & His Orchestra
2 Symphonic Screach (Symphonic Scronch) 2:50    
Don Frye / Hubert Mann / Lloyd Scott
Dicky Wells / feat: Lloyd Scott & His Orchestra
3 Happy Hour Blues 2:40    
Don Frye / Lloyd Scott
Dicky Wells feat: Lloyd Scott & His Orchestra
4 Lawd, Lawd 3:07    
Cecil Scott
Dicky Wells feat: Cecil Scott & His Bright Boys
5 In a Corner 2:54    
Cecil Scott
Dicky Wells feat: Cecil Scott & His Bright Boys
6 Bright Boy Blues 3:06    
Don Frye / Cecil Scott
Dicky Wells feat: Cecil Scott & His Bright Boys
7 Springfield Stomp 3:07    
Don Frye / Cecil Scott
Dicky Wells feat: Cecil Scott & His Bright Boys
8 Bugle Call Rag 2:40    
Billy Meyers / Jack Pettis / Elmer Schoebel
 9 Between the Devil and the Deep Blue Sea 2:45    
Harold Arlen / Ted Koehler
 10 I Got Rhythm 2:11    
George Gershwin / Ira Gershwin
 11 Sweet Sue 3:03    
Will J. Harris / Victor Young
 12 Hangin' Around Boudon 2:52    
Dicky Wells
13 Japanese Sandman 2:56    
Richard A. Whiting / Albert Willemetz
 14 I've Found a New Baby 2:50    
Jack Palmer / Spencer Williams
 15 Dinah 2:46    
Harry Akst / Sam M. Lewis / Joe Young
 16 Nobody's Blues But My Own 3:00    
Dicky Wells
 17 Hot Club Blues 3:06    
Dicky Wells
 18 Oh, Lady Be Good 2:55    
George Gershwin / Ira Gershwin
 19 Dicky Wells Blues 3:18    
Dicky Wells
 20 I Got Rhythm 4:13    
George Gershwin / Ira Gershwin
21 I'm Fer It, Too 4:10    
Dicky Wells
22 Linger Awhile 3:05    
Harry Owens / Vincent Rose
23 Hello Babe 3:06
Dicky Wells

COLEMAN HAWKINS - 1943-1944 | The Classics Chronological Series – 807 (1995) FLAC (tracks+.cue), lossless

A fine set that finds Hawkins in his mid-'40s prime. Having already spent five years in Europe and returning home to triumph with his classic reading of "Body and Soul," Hawkins spent a good portion of the '40s playing with the younger, up-and-coming players of the burgeoning bebop era. This very enjoyable Classics disc brings together highlights from both his 52nd Street collaborations and ongoing recordings with contemporaries he played with during the swing years. On the more modern end, Hawkins heads up a quartet featuring a young Thelonious Monk at the piano. Hawkins then switches things around and is heard teaming up with pianist Teddy Wilson and Basie alum and trumpeter Buck Clayton for such standouts as "Under a Blanket of Blue" and "I'm Yours." And like many of his contemporaries, Hawkins did a little R&B time, in particular on the two cuts here by Walter Thomas and His Jump Cats. The tenor giant returns to jazz form, though, on four stellar sides with trumpeter Charlie Shavers and His All-American Five. A solid yet non-essential Hawkins collection. Stephen Cook
Tracklist :
1     Esquire Bounce 3'15
Leonard Feather
2     Boff Boff (Mop Mop) 3'10
Coleman Hawkins    
3     My Ideal 3'09
Newell Chase / Leo Robin / Richard A. Whiting    
4     Esquire Blues 3'18
Leonard Feather    
5     Voodte 3'07
Coleman Hawkins    
6     How Deep Is the Ocean? 3'25
Irving Berlin    
7     Hawkins Barrel House 2'58
Coleman Hawkins    
8     Stumpy 3'20
Coleman Hawkins    
9     Lover, Come Back to Me 3'06
Oscar Hammerstein II / Sigmund Romberg    
10     Blues Changes 4'14
Coleman Hawkins    
11     Crazy Rhythm 3'15
Irving Caesar / Roger Wolfe Kahn / Joseph Meyer    
12     Get Happy 3'24
13    Harold Arlen / Ted Koehler 5'08
The Man I Love
George Gershwin / Ira Gershwin    
14     Sweet Lorraine 4'20
Clifford R. Burwell / Sidney Mitchell / Mitchell Parish
15     I Only Have Eyes for You 3'10
Al Dubin / Harry Warren    
16     'S Wonderful 2'39
George Gershwin / Ira Gershwin    
17     I'm in the Mood for Love 3'14
Dorothy Fields / Jimmy McHugh    
18     Bean at the Met 3'02
Coleman Hawkins    
19     Woodyn' You 3'03
Dizzy Gillespie    
20     Bu-Dee-Daht 3'16
Charlie Hart / Budd Johnson    
21     Yesterdays 2'58
Otto Harbach / Jerome Kern

ANITA ELLIS - A Legend Sings (1979) FLAC (tracks), lossless

A jazz and pre-rock vocalist, Anita Ellis did most of her recording in the late '70s for Audiophile, Orion Meter and made one live date issued on Michael's Pub records. She's also appeared in several New York cabarets and clubs.
Tracklist
1 A Flower Is A Lovesome Thing - Spring will be a little late this year 5:35          
Written-By – Billy Strayhorn
2 Anyone Can Whistle      3:59
Written-By – Stephen Sondheim
3 What Is This Thing Called Love?     2:01
Written-By – Cole Porter     
4 Four Walls (and One Dirty Window) Blues      3:35
Written-By – Willard Robison
5 Who Can I Turn To?          4:04
Written-By – Alec Wilder, William Engvick
6 Lazy Afternoon               4:10
Written-By – Jerome Moross, John Latouche
7 Prelude to a Kiss              4:48
Written-By – Ellington, Mills, Gordon
8 I Hear Music        3:03
Written-By – Burton Lane, Frank Loesser
9 Porgy and Bess, Act I: Summertime          
Written-By – DuBose Heyward, George Gershwin
10 Wait Till You See Him          2:38
Written-By – Lorenz Hart, Richard Rodgers
11 But Beautiful          4:39
Written-By – Jimmy Van Heusen And Johnny Burke
12 I Wonder What Became of Me          3:11
Written-By – Harold Arlen, Johnny Mercer
13 Sometimes I Feel Like A Motherless Child 3:24
Traditional
Credits :
Piano – Ellis Larkins
Vocals – Anita Ellis

BEVERLY KENNEY - Sings for Playboys (1958-1999) RM / FLAC (image+.cue), lossless

Beverly Kenney had a tragically brief life, committing suicide in 1960 when she was just 28, probably over a broken love affair. A subtle improviser with a haunting voice and a real skill for interpreting lyrics, she had six albums released during her lifetime. Sings for Playboys, despite its lightweight title, is one of her finest efforts. Accompanied by just pianist Ellis Larkins (who doubles on celeste) and bassist Joe Benjamin, Kenney digs into a dozen songs, only five of which could qualify as standards. While she brings new life to such tunes as "A Woman's Intuition" and "Try a Little Tenderness," she performs definitive versions of such forgotten numbers as "You're My Boy," "Life Can Be Beautiful," and "It's a Most Unusual Day." The music alternates between ballads and lightly swinging pieces with Larkins being a perfect accompanist for Kenney, who is heard throughout at her most expressive. The Japanese have rediscovered Beverly Kenney during the past decade; she's long overdue for American recognition. by Scott Yanow
Tracklist :
1. Do It Again 2:38
Buddy DeSylva / George Gershwin
2. A Woman's Intuition 3:33
Ned Washington / Victor Young
3. You're My Boy 3:00
Sammy Cahn / Jule Styne
4. Mama,Do I Gotta? 2:07
Manny Kurtz / Victor Mizzy
5. What Is There To Say 3:56
Vernon Duke / E.Y. "Yip" Harburg
6. A Lover Like You 3:30
Otis Clements / Lester Judson
7. A Summer Romance 3:08
Lester Judson / Raymond Taylor
8. Life Can Be Beautiful 2:59
Harold Adamson / Jimmy McHugh
9. It's Magic 2:30
Sammy Cahn / Jule Styne
10. A-You're Adorable (The Alphabet Song) 2:32
Buddy Kaye / Sidney Lippman / Fred Wise
11. Try A Little Tenderness 3:14
Jimmy Campbell / Reginald Connelly / Harry Woods
It's A Most Unusual Day 1:47
Jimmy McHugh
Credits :
Bass – Joe Benjamin
Piano – Ellis Larkins
Vocals – Beverly Kenney

BEVERLY KENNEY - Born to Be Blue (1959- 1999) RM / FLAC (image+.cue), lossless

Born to Be Blue captures Beverly Kenney at her most intimate and compelling. Created in collaboration with arrangers Hal Mooney and Charles Albertine, the music channels the emotional depth of the blues with startling clarity, employing Kenney's deep, commanding vocals to vividly poignant effect. Mooney and Albertine forgo excess and sentimentality in favor of stark simplicity, architecting taut modern jazz contexts that shift the spotlight squarely on Kenney's vocals. Her readings of familiar songs like "For All We Know" are forged from both resiliency and vulnerability, articulating an emotional depth matched by few singers of her era. by Jason Ankeny
Tracklist :
1. Born To Be Blue 3:28
Sid Robin / Charlie Shavers
2. Isn't It A Pity 2:30
George Gershwin, Ira Gershwin
3. For All We Know 3:06
J.Fred Coots, Sam Lewis
4. It Only Happens When I Dance With You 2:41
Irving Berlin
5. Again 3:15
Orchestrated By – Hal Mooney
Written By – Cochran, Dorcas, Lionel Newman
6. I Walk A Little Faster 2:50
Carolyn Leigh, Cy Coleman
7. Go Away, My Love 2:30
Orchestrated By – Hal Mooney
Written By – Jay Livingston, Ray Evans
8. Beyond The Next Hill 2:51
Orchestrated By – Hal Mooney
Bob Haymes, Bobby Woeth
9. It's A Blue World 2:18
Bob Wright, Chet Forrest
10. Vanity 2:56
Orchestrated By – Hal Mooney
Written By – Bierman, Manus, Wood
11. Somewhere Along The Way 3:02
Kurt Adams, Sammy Gallop
12. Where Can I Go Without You 2:24
Orchestrated By – Hal Mooney
Written By – Peggy Lee, Victor Young
Credits :
Orchestrated By Charles Albertine (tracks: 1, 6, 9, 11, 13), Hal Mooney (tracks: 2-5, 7, 8, 10, 12)
Piano – Ellis Larkins
Trumpet – Charlie Shavers (tracks: 3, 4, 10)
Vocals – Beverly Kenney

MILDRED BAILEY - Sings "Me and the Blues" (1957-2000) FLAC (tracks), lossless

Mildred Bailey was quite popular for a time, being married to vibraphonist Red Norvo; the couple was referred to as "Mr. & Mrs. Swing." After their divorce, the swinging vocalist continued to record until diabetes sidelined her not long before her premature death in 1951. This Savoy CD compilation gathers recordings that she made with the Eddie Sauter Orchestra and the Ellis Larkins Orchestra, along with a small group date with a rhythm section led by Larkins. Bailey's sweet voice and clear enunciation give her a little girl quality at times. Her moving take of Mel Tormé's "Born to be Blue" and softly swinging "Lover, Come Back to Me" are among the highlights. The first CD issued in 1992 had a miserly playing time of just over 31 minutes, though a 2000 reissue added four more tracks. by Ken Dryden
Tracklist:
1 In Love In Vain 3:05
Written-By – Jerome Kern, Leo Robin
2 It's A Woman's Prerogative 2:56
Written-By – Harold Arlen - Johnny Mercer
3 I'll Close My Eyes 3:03
Written-By – Billy Reid, Buddy Kaye
4 Me And The Blues 3:05
Written-By – Harry Warren, Ted Koehler
5 At Sundown 3:20
Written-By – Walter Donaldson
6 Lover, Come Back To Me 3:10
Written-By – Oscar Hammerstein II, Sigmund Romberg
7 Born To Be Blue 2:51
Written-By – Mel Tormé, Robert Wells  
8 You Started Something 3:00
Written-By – E.Y. Harburg, Jay Gorney
9 Can't We Be Friends 3:05
Written-By – Kay Swift, Paul James 
10 All That Glitters Is Not Gold 3:07
Written-By – A. Asherman, E. Asherman, L. Kuhn
Bonus Tracks Not On Original LP Or CD Release
11 Almost Like Being In Love 3:05
Written-By – Frederick Loewe - Alan Lerner
12 The Heather On The Hill 3:11
Written-By – Frederick Loewe - Alan Lerner
13 Gone On That Guy 3:16
Written-By – Unknown Artist
14 Don't Worry 'Bout Strangers 3:00
Written-By – P. Moore
Credits:
Arranged By, Conductor [Directing] – Eddie Sauter (tracks: 1, 2, 10)
Bass – Al Hall (tracks: 1, 2, 10), Beverley Peer (tracks: 7 to 9, 13, 14)
Bass, Arranged By [Musical] – Bob Haggert (tracks: 3 to 6)
Clarinet – Hank D'Amico (tracks: 3 to 6)
Drums – Gordon "Specs" Powell (tracks: 1, 2, 10), Jimmy Crawford (tracks: 3 to 6)
Guitar – Barry Galbraith (tracks: 3 to 9, 13, 14)
Orchestra – The Ted Dales Orchestra (tracks: 1, 2, 10), The Ellis Larkins Orchestra (tracks: 3 to 6), Ellis Larkins Trio (tracks: 7 to 9, 13, 14), The Julian C. Work Orchestra (tracks: 11, 12)
Piano – Ellis Larkins (tracks: 1 to 10, 13, 14)
Trombone – Henderson Chambers (tracks: 3 to 6)
Trumpet – Irving "Mouse" Randolph (tracks: 3 to 6)