PEGGY LEE — Black Coffee & Dream Street : The Complete Sessions (2009) FLAC (tracks+.cue), lossless

Black Coffee (1956)
1. Black Coffee (3:09)
Written-By – Paul Francis Webster, Sonny Burke
2. I've Got You Under My Skin (2:32)
Written-By – Cole Porter
3. Easy Living (2:47)
Written-By – Leo Robin, Ralph Rainger
4. My Heart Belongs to Daddy (2:12)
Written-By – Cole Porter
5. It Ain't Necessarily So (3:26)
Written-By – George & Ira Gershwin
6. Gee Baby, Ain't I Good to You? (3:26)
Written-By – Andy Razaf, Don Redman
7. A Woman Alone with the Blues (3:17)
Written-By – Willard Robison
8. I Didn't Know What Time It Was (2:21)
Written-By – Richard Rodgers-Lorenz Hart
9. (Ah, the Apple Trees) When the World Was Young (3:21)
Written-By – Angele Uannier, Johnny Mercer, M. Philippe Gerard
10. Love Me or Leave Me (2:11)
Written-By – Gus Kahn, Walter Donaldson
11. You're My Thrill (3:26)
Written-By – Jay Gorney, Sidney Clare
12. There's a Small Hotel (2:48)
Written-By – Richard Rodgers-Lorenz Hart
13. Do I Love You? (1:37)
Written-By – Cole Porter
14. Guess I'll Go Back Home (This Summer) (3:19)
Written-By – Ray Mayer, Willard Robison
Dream Street (1956)
15. Street of Dreams (3:23)
Written-By – Sam M. Lewis, Victor Young
16. What's New (3:00)
Written-By – Bob Haggart, Johnny Burke
17. You're Blase (2:50)
Written-By – Bruce Sievier, Ord Hamilton
18. It's All Right with Me (2:24)
Written-By – Cole Porter
19. My Old Flame (2:39)
Written-By – Arthur Johnston, Sam Coslow
20. Dancing on the Ceiling (3:41)
Written-By – Richard Rodgers-Lorenz Hart
21. It Never Entered My Mind (3:02)
Written-By – Richard Rodgers-Lorenz Hart
22. Too Late Now (3:49)
Written-By – Alan Jay Lerner, Burton Lane
23. I've Grown Accustomed to His Face (2:47)
Written-By – Alan Jay Lerner-Frederick Loewe
24. Something I Dreamed Last Night (2:30)
Written-By – Herbert Magidson, Jack Yellen, Sammy Fain
25. Last Night When We Were Young (2:57)
Written-By – Yip Harburg, Harold Arlen
26. So Blue (2:14)
Written-By – Buddy G. DeSylva, Lew Brown, Ray Henderson
27. I Still Get a Thrill (Thinking of You) (2:21)
Written-By – Benny Davis, J. Fred Coots
Credits :
Arranged By – Shorty Rogers (tracks: 15 to 27), Sy Oliver (tracks: 15 to 27)
Bass – Buddy Clark (tracks: 5, 6, 11 to 14), Max Wayne (tracks: 1 to 4, 7 to 10)
Drums – Ed Shaughnessy (tracks: 1 to 4, 7 to 10), Nick Fatool (tracks: 15 to 27)
Drums, Vibraphone – Larry Bunker (tracks: 5, 6, 11 to 14)
Flute, Saxophone – Bud Shank (tracks: 15 to 27)
Guitar – Bill Pitman (tracks: 5, 6, 11 to 27)
Harp – Stella Castellucci (tracks: 5, 6, 11 to 27)
Piano – Jimmy Rowles (tracks: 1 to 4, 7 to 10), Lou Levy (tracks: 5, 6, 11 to 14)
Saxophone – Bob Cooper (tracks: 15 to 27)
Trumpet – Pete Candoli (tracks: 1 to 4, 7 to 10)
Vibraphone, Percussion – Larry Bunker (tracks: 15 to 27)
Vocals – Peggy Lee
This cd contains the complete sessions from Peggy Lee's two celebrated albums "Black Coffee" and "Dream Street", marking the first time ever that either of these LPs is released with all of the tracks from its studio dates.

Black Coffee :
1-4 & 7-10: New York, April 30, May 1 & May 4, 1953
5-6 & 11-14: LOs Angeles, April 3, 1956

Dream Street :
15-27: Los Angeles, June 5 & 7, 1956
Bass on these sessions was either played by Max Bennett or Buddy Clark.

Tracks 13, 14, 27: from the same sessions but not issued on the original LPs.

ERROLL GARNER – 1946-1947 | The Classics Chronological Series – 1004 (1998) FLAC (tracks+.cue), lossless

This sixth volume of the complete recordings of Erroll Garner reissued in chronological order opens with eight sides recorded in Los Angeles for the Mercury label during the spring and summer of 1946. Only about two years into his recording career, Garner had developed into a master interpreter of ballads both soft and piquant. His own slightly eccentric "Frantonality" is a classic manifestation of Garner's habit of strutting his stuff using quirky twists and rambunctious turns of phrase. While drummers Nick Fatool and Lou Singer each interacted wonderfully with the pianist, bassist Red Callender's resonant tonalities really enhance the atmosphere, adding an extra dimension to each performance. On February 19, 1947, Garner made five beautiful records with Charlie Parker for the Dial label. "Trio" and "Pastel" -- which includes a fine bass solo by Callender -- were waxed at that same session with support from percussionist supreme Harold "Doc" West. In April of 1947 Garner dished out four solo recordings for the Victor label, beginning with two originals, "Erroll's Bounce" and a very attractive "Erroll's Blues." A few weeks later, Garner was invited back to the Dial studio to record eight tracks all by himself. This was to be the only solo piano session ever presented on Dial by that label's owner, Ross Russell. arwulf arwulf  
Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1939 | The Classics Chronological Series – 1025 (1998) FLAC (tracks+.cue), lossless

This CD traces Benny Goodman & His Orchestra during their final Victor recordings and their first sessions for the Columbia label. The band did not change all that much during this time style-wise, although such fixtures as trumpeter Chris Griffin, pianist Jess Stacy, drummer Buddy Schutz, and singer Martha Tilton departed. Along the way the key soloists are trumpeter Ziggy Elman, Jerry Jerome on tenor, and Goodman, while Fletcher Henderson spent a period filling in on piano. There are no small-group performances on this CD, but such fine killer-dillers as "The Kingdom of Swing," "There'll Be Some Changes Made," "Jumpin' at the Woodside," "Stealin' Apples," and "Spring Song." Scott Yanow  
Tracklist + Credits : 

BENNY GOODMAN AND HIS ORCHESTRA – 1939, Vol. 2 | The Classics Chronological Series – 1064 (1999) FLAC (tracks+.cue), lossless

1939 was most significant in Benny Goodman's history for the discovery of electric guitarist Charlie Christian, who became a part of the clarinetist's new sextet with Lionel Hampton, Fletcher Henderson, Artie Bernstein, and Nick Fatool. On this CD, Christian is featured on such numbers as the earliest version of "Flying Home," "Rose Room," "Stardust," "Memories of You," "Soft Winds," and "Seven Come Eleven," plus the big band version of "Honeysuckle Rose." The Goodman orchestra (which still featured trumpeter Ziggy Elman) is heard on the majority of the selections, including the earliest full-length recording of Goodman's theme "Let's Dance" and a few numbers with singer Mildred Bailey. These Columbia sessions have not often been reissued in full, so this disc makes for a fine acquisition for listeners not already owning the Christian sextet tracks. Scott Yanow  

Tracklist + Credits :

BENNY GOODMAN AND HIS ORCHESTRA – 1951-1952 | The Classics Chronological Series – 1450 (2007) FLAC (tracks+.cue), lossless

This is the 34th volume in the Classics Benny Goodman chronology. It combines four titles from the Capitol records session of October 27, 1949 (Goodman's last for that label) with seven tunes recorded for Columbia on October 10 and November 24, 1950 and ten previously hard-to-find selections from a broadcast that aired April 1, 1951. Although the band on the Capitol date had Zoot Sims in the reed section, slick vocals by Dolly Houston, Buddy Greco and the Heathertones seem to use up all the air in the room. The Columbia sessions employed the Goodman Sextet, featuring pianist Teddy Wilson, vibraphonist Terry Gibbs and guitarist Johnny Smith, these last two helping to emphasize a contemporary bop-to-cool stylistic emphasis that was still playing a prominent role in Goodman's approach to music during this period. Vocalists on this leg of the journey include Nancy Reed, a carefully rehearsed, mixed vocal group known as the Pastels, and a deep-voiced male singer billed as "Rickey." This was none other than Jimmy Ricks, bass singer for the Ravens. Issued as Columbia 39121, the two instrumentals -- "Lullaby of the Leaves" b/w "Temptation Rag" -- are stunning examples of the Goodman/Gibbs collaboration at its finest. Yet the real gold in this compilation lies in the ten more traditional jazz melodies that were performed on the air, recorded and sold on a limited-edition LP in order to raise funds to benefit Fletcher Henderson, Goodman's greatest arranger as well as a pioneer of big-band jazz, who made his first jazz recordings in 1923. Henderson was ill and in serious need of cash. The fact that Goodman held this exciting jam session as a benefit for him adds considerable ethical ballast to an already superb bundle of live jazz. Teaming with Goodman in various combinations throughout the session were pianist Teddy Wilson, drummer Gene Krupa, bassist Eddie Safranski, guitarist Johnny Smith, trombonist Lou McGarity and trumpeter Buck Clayton. arwulf arwulf
Tracklist : 

CHARLIE VENTURA – 1945-1946 | The Classics Chronological Series – 1044 (1999) FLAC (tracks+.cue), lossless

Philadelphia native Charlie Ventura was born Charles Venturo in 1916. Following in his father's footsteps, he worked at first for the Stetson hat company. Inspired by tenor saxophonist Leon "Chu" Berry, he took up the sax on his own and eventually made his first appearance on records as a member of Berry's ensemble. After extensive nocturnal gigging while working at the Philadelphia Navy Yard, Venturo sat in with Roy Eldridge and soon began recording with Gene Krupa's orchestra. It was Krupa who first brought Venturo to Los Angeles. This wonderful compilation presents a wealth of precious material recorded between March 1945 and March 1946 in both L.A. and New York. These are the first records that Venturo issued under his own name, and they all used the original spelling. He wasn't presented on records as "Charlie Ventura" until September of 1946. Teamed at first with Howard McGhee and then with Buck Clayton, Venturo cut eight sides for the small-time Sunset and Black & White labels. These were followed by five episodes for tenor and rhythm section recorded in New York for the rapidly rising Savoy label. While Chu Berry was his prime influence, Venturo's progress paralleled that of Coleman Hawkins as swing evolved rapidly into bop. Here Venturo demonstrates his remarkable prowess as both balladeer and front burner. The drumming of Gordon "Specs" Powell enhances and fortifies the two sessions from August of 1945. A loose-limbed live "Jam Session Honoring Charlie Venturo" resulted in extended versions of "The Man I Love" and "Stompin' at the Savoy," and were brought out on the Lamplighter and Crystalette labels by producer Ted Yerxa. The omission of Ventura's famous performance at Town Hall in 1945 -- issued on Commodore and reissued by Atlantic -- is puzzling and somewhat disappointing, but the rest of the material is so rare and excellent as to compensate for the gap. Back with Black & White in March of 1946, Venturo led a sextet including trumpeter Red Rodney and Jimmie Lunceford's star alto saxophonist, Willie Smith. There are several contenders for "best Charlie Ventura compilation," but this one, documenting his first year as leader of his own recording ensembles, rates among the very best. arwulf arwulf  
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JESS STACY – 1944-1950 | The Classics Chronological Series – 1175 (2001) FLAC (tracks+.cue), lossless

Real jazz happens when the musicians really listen to one another. You, the listener after the fact, can hear this communication woven into the music itself. "D.A. Blues," played by Pee Wee Russell's Hot 4 with Jess Stacy at the piano, moves slowly enough for this dynamic to be spelled out as big as skywriting. "Keepin' Out of Mischief Now" works like a charm. The interplay among the four -- and especially between pianist and clarinetist -- is remarkable. It's emblematic of everything that Commodore Records ever stood for. The next session in the Jess Stacy chronology resulted in a fine crop of piano and drum duets. It is strange that Commodore didn't issue them at the time, but such decisions often seem odd many years later. These are really piano solos with gently percussive accompaniment -- about as gentle as Specs Powell ever played on record, in fact. That is, until the fast-paced "Ridin' Easy" and "Song of the Wanderer," where Stacy runs his hands like lightning over the keys and Powell responds with steamy licks of his own. What a shame it is that Jess Stacy's big band only managed to record enough music to fit on both sides of a single, 10" 78 rpm platter. "Daybreak Serenade" is a very pretty instrumental and Stacy's wife Lee Wiley sings "Paper Moon" splendidly. Just imagine what they could have accomplished given the opportunity to wax a few more sides. Instead what we get are one dozen examples of the Jess Stacy Quartet, recording for Capitol and Columbia during the summer of 1950. These are gorgeous reveries, heavily featuring the guitar of George Van Eps. This makes the second-half of the CD decidedly cool and relaxing, friendly and unobtrusive. Bassist Morty Corb walks briskly through the changes of "I'm Gonna Sit Right Down and Write Myself a Letter," a melody still associated with Fats Waller even though he didn't write it. Waller's "Keepin' Out of Mischief Now" reappears, joyously stir-fried to perfection. This handsome collection of top-notch piano jazz ends with a virtuoso realization of Bix Beiderbecke's "In a Mist," something like Chantilly cream over strawberries after four courses. arwulf arwulf
Tracklist + Credits :

JESS STACY – 1951-1956 | The Classics Chronological Series – 1453 (2007) FLAC (tracks+.cue), lossless

The third installment in the Classics chronological overview of recordings issued under the name of pianist Jess Stacy traces a time line from March 16, 1951, to March 3, 1956, with recordings made exclusively in Los Angeles, CA. It opens with eight titles recorded for Brunswick by Stacy, guitarist George Van Eps, bassist Morty Corb, and drummer Nick Fatool. This quartet's marvelous integrity is strongly in evidence on Rodgers & Hart's "You Took Advantage of Me" and endures throughout each of the ensemble members' subsequent collaborations. Tracks nine through 18 were recorded for Atlantic during April 1954 by two different nine-piece Benny Goodman reunion bands under the leadership of Jess Stacy. With all due respect to tenor saxophonists Babe Russin and Vido Musso, the real star of these swinging sessions was front-line trumpeter Ziggy Elman. According to Classics producer Anatol Schenker, these miniature big-band recordings (including a rendition of Gordon Jenkins' "Goodbye" lasting 50 seconds and a tiny take of "Let's Dance" that clocks out at less than half a minute) were only released to the public following the success of the sentimentalist motion picture The Benny Goodman Story. Stacy recorded four more titles (including a blues dedicated to jazz critic Otis Ferguson) for Atlantic on October 6, 1955, this time with bassist Artie Shapiro and drummer Nick Fatool. Stacy and Fatool also recorded four duets (on themes composed by Stacy) for Brunswick on March 3, 1956. This all adds up to one of the most enjoyable Jess Stacy compilations ever assembled by anyone, especially as the range of instrumentation -- duet, trio, quartet, and nonet -- illuminates him as a wonderfully adaptable improviser. arwulf arwulf
Tracklist :

ARTIE SHAW AND HIS ORCHESTRA – 1940 | The Classics Chronological Series – 1127 (2000) FLAC (tracks+.cue), lossless

This CD starts out with the last three titles that Shaw cut on May 13, 1940, with a studio orchestra (including "April in Paris") and then moves on to his third big band, a magnificent string orchestra that included trumpeter Billy Butterfield, trombonist Jack Jenney, and pianist Johnny Guarnieri as key soloists. They perform one of the greatest versions ever of "Stardust," along with memorable renditions of "Temptation," Shaw's "Love of My Life," and the two-part "Blues." In addition, Artie Shaw's Gramercy Five (a sextet that included Butterfield with Guarnieri on celeste) is heard on four catchy numbers, highlighted by their hit record of "Summit Ridge Drive." There are many wonderful performances on this disc and Artie Shaw is heard in consistently inspired form. Scott Yanow
Tracklist + Credits :

ARTIE SHAW AND HIS ORCHESTRA – 1940-1941 | The Classics Chronological Series – 1167 (2001) FLAC (tracks+.cue), lossless

Artie Shaw kept his third jazz orchestra (his Stardust band) together into early 1941 before he decided to break it up. Included on this CD are the big band's last recordings (including "Prelude in C Major," "Dancing in the Dark," and the exciting two-part "Concerto for Clarinet") plus the second session by Shaw's Gramercy Five, featuring trumpeter Billy Butterfield and Johnny Guarnieri on harpsichord. Concluding this CD are four songs with a studio orchestra and four others with a very interesting interracial group that includes trumpeter Henry "Red" Allen, trombonist J.C. Higginbotham, altoist Benny Carter, Lena Horne (taking two vocals), and a string section. There are lots of stimulating and surprising performances heard throughout this pleasing program by the great clarinetist. Scott Yanow
Tracklist + Credits :

ARTIE SHAW AND HIS ORCHESTRA – 1945-1946 | The Classics Chronological Series – 1330 (2003) FLAC (tracks+.cue), lossless

Here lie the last of the Victor recordings by Artie Shaw and his orchestra, dating from July and November of 1945. The first nine titles are charming big band dance numbers. A lot of that charm comes straight up from Dodo Marmarosa's piano and Barney Kessel's guitar, through the trumpet of Roy Eldridge and out of Artie Shaw's elegant clarinet. Those are four good reasons to check these records out, up close. Anybody who loves Dodo Marmarosa needs to hear these recordings in order to be able to appreciate how this young man interacted with a big band. Fortunately, there are only a few vocals by syrupy singer Halsey Stevens. At the tail end of "Yolanda," Dodo executes a mildly dissonant run in an apparent response to the heavily sugared crooning. Every sappy vocal is countered by several handsome instrumental interpretations of melodies by George Gershwin, Jerome Kern and Rodgers & Hart. Five solid performances by Artie Shaw Gramercy Five constitute the artistic high point of this CD. But the clarinetist seems to have been unwilling to stick with one style for more than a little while. Personnel changes began to occur and the music itself soon became radically different. Beginning on November 14, 1945, Shaw switched from Victor to the Musicraft label. Eldridge was gone, and the hip team of Kessel and Marmarosa were on the way out, along with much of the jazz element. On April 30 1946 the orchestra was augmented with strings. Succumbing to some sort of Hollywood malaise, Shaw's orchestra found itself supporting the confectionary voices of Mel Tormé & the Mel-Tones. The session of June 6 featured Shaw's clarinet backed by an enormous ensemble consisting of 12 violins, five violas, four cellos, three basses [one of which was played by Art Shapiro], harp, piano, guitar, drums, oboe, flute, two bassoons, four French horns and five saxophones. Arrangements were by Teddy Walters. Pointing in the direction of Technicolor, television and Tupperware, these recordings are as different as can be from the exciting jazz cooked up by Shaw's band only a few months earlier. While Shaw had his own reasons for heading in this direction, he was also at the mercy of the entertainment industry, and said as much in his autobiography, The Trouble with Cinderella. arwulf arwulf  
Tracklist :

ARTIE SHAW AND HIS ORCHESTRA – 1946-1950 | The Classics Chronological Series – 1368 (2004) FLAC (tracks+.cue), lossless

Tracklist + Credits :

WINGY MANONE – 1944-1946 | The Classics Chronological Series – 1412 (2006) FLAC (tracks+.cue), lossless

Volume eight in the Classics complete chronologically reissued recordings of Wingy Manone documents the singing trumpeter's recording activity during a time period extending from July 1944 to March 1946. Manone, a hard-swinging, husky voiced hipster with New Orleans roots, is at his best on a very funny rendition of "O Sole Mio," the rather libidinous "Where Can I Find a Cherry (For My Banana Split)?" and Slim Gaillard's "Cement Mixer," which Wingy makes sound like it was written expressly for him. Of all the instrumentalists who participated in these recordings, it is the clarinetists who seem to be pointing in a futuristic direction; not so much the merry Matty Matlock but rather Joe Marsala and Hank D'Amico, traditionally based individuals who were in the process of branching out onto adventuresome and distinctly modern stylistic turf. In addition to Wingy (and certain rather overbearing bandmembers whose chatty outbursts clutter up an otherwise enjoyable "Salt Pork West Virginia"), vocals are by Kay Starr and Kay Kyser's Gloria Wood. arwulf arwulf
Tracklist & Credits :

BING CROSBY – The Bing Crosby CBS Radio Recordings 1954-56 (2009) 7xCD BOX-SET | FLAC (tracks+.cue), lossless

Aficionados of Bing Crosby's '50s recordings have often looked in vain for more material along the same lines. Crosby's artistic highlights of the era, outings like 1956's Bing Sings Whilst Bregman Swings and 1957's Bing with a Beat, simply let him exercise his interpretive chops with arrangements that were as loose and seemingly unstudied as his singing. The reissue label Mosaic has consistently made the dreams of vocal and jazz fans come true for years, so the release of The Bing Crosby CBS Radio Recordings 1954-56 is only a half-surprise. Recorded by Crosby for use on a short radio show (it was one of his last regular appearances on a medium that was quickly losing the race to television), these 160 sides usually feature only a small quartet led by keyboard player Buddy Cole. These are small but valuable trifles; Crosby excelled in this setting, and despite his fears about a weakening voice, he sounds fine. Granted, there are few surprises here, especially with the material. These are, in the main, standards of the past, many of them songs from the '20s and '30s that Crosby surely knew by heart (even if he hadn't sung all of them before in front of a microphone). Recorded at the same time as his career retrospective A Musical Autobiography, this functions as the flip side of that release, including very few songs he was associated with, but allowing him to use the lessons he'd learned over 30 years of professional performance. John Bush  

Tracklist 1:

1 If I Give My Heart To You 3:23

2 Mandy 1:39

3 Count Your Blessings Instead Of Sheep 2:52

4 I'm A Fool To Care 2:52

5 Hey There 3:04

6 Anyone Can Fall In Love 2:56

7 I Need You Now 3:06

8 I Want To Be Happy 1:48

9 Keepin' Out Of Mischief Now 2:06

10 But Not For Me 2:20

11 Honeysuckle Rose 2:25

12 The Nearness Of You 2:06

13 Ain't Misbehavin' 2:12

14 Just You, Just Me 2:08

15 Once In A While 3:39

16 You Took Advantage Of Me 2:29

17 Ol' Man River 2:18

18 Thou Swell 1:46

19 'S Wonderful 1:46

20 Oh, Look At Me Now 1:30

21 I've Got My Love To Keep Me Warm 2:32

22 All Through The Night 2:58

23 Taking A Chance On Love 2:01

Tracklist 2:

1 We're In The Money (The Golddiggers' Song) 1:39

2 This Can't Be Love 1:28

3 I Can't Believe That You're In Love With Me 1:24

4 Love Is The Sweetest Thing 2:01

5 Back In Your Own Backyard 2:13

6 I Guess I'll Have To Change My Plan 2:30

7 Don't Take Your Love From Me 2:55

8 You're In Kentucky Sure As You're Born 1:57

9 Young And Foolish 3:05

10 My Own True Love (Tara's Theme) 3:02

11 Sunday 1:42

12 That's All I Want From You 2:22

13 Unsuspecting Heart 3:07

14 A Man Chases A Girl 2:56

15 Melody Of Love 1:23

16 Darling, Je Vous Aime, Beaucoup 3:11

17 How Important Can It Be? 2:17

18 I Hear Music 1:38

19 As Long As I Live 2:13

20 Try A Little Tenderness 3:33

21 What Is There To Say? 2:38

22 Cherry Pink And Apple Blossom White 2:36

23 Danger! Heartbreak Ahead 3:26

Tracklist 3:

1 In A Little Spanish Town 2:12

2 It's A Most Unusual Day 1:55

3 Unchained Melody 2:46

4 Something's Gotta Give 1:59

5 I Belong To You 3:07

6 Keep It Gay 1:44

7 Just A Baby's Prayer At Twilight 3:18

8 You Do Something To Me 1:24

9 Nice Work If You Can Get It 1:47

10 How Long Has This Been Going On? 2:44

11 'Deed I Do 1:58

12 Cocktails For Two 3:00

13 Between The Devil And The Deep Blue Sea 1:59

14 How Am I To Know? 2:48

15 I Get A Kick Out Of You 2:26

16 I See Your Face Before Me 2:51

17 The Lady Is A Tramp 2:00

18 I'm Yours 3:16

19 Get Happy 2:15

20 My Ideal 3:03

21 Gypsy In My Soul 2:05

22 That's The Way Love Goes 2:02

Tracklist 4:

1 I'll Never Say "Never Again" Again 1:59

2 It's All Right With Me 3:46

3 Serenade In The Night 3:34

4 Wake The Town And Tell The People 2:29

5 She's Funny That Way 3:31

6 If I May 2:46

7 Domani (Tomorrow) 2:30

8 I'll Never Stop Loving You 3:04

9 Goodnight, Sweet Dreams, Mary Lou 2:55

10 Love Me Or Leave Me 2:20

11 (You Gotta Have) Heart 2:35

12 Swanee 2:03

13 Shhh In Madrid 2:25

14 Avalon 1:40

15 Blue Star (The Medic Theme) 2:54

16 Love Is A Many Splendored Thing 2:59

17 The Tender Trap 3:07

18 My Blue Heaven 2:20

19 What Is This Thing Called Love? 2:19

20 When I Take My Sugar To Tea 2:57

21 Someone You Love 3:21

22 Avalon Town 2:08

23 There Should Be Rules 2:48

Tracklist 5:

1 New Sun In The Sky 1:39

2 Love And Marriage 2:20

3 Merci Beaucoup 2:30

4 Way Down Yonder In New Orleans 1:47

5 Waitin' For The Evening Mail 2:35

6 Isle Of Capri 2:54

7 I Feel A Song Comin' On 1:21

8 You're The Top 2:30

9 Breezin' Along With The Breeze 2:07

10 Anything Goes 1:55

11 Manhattan 2:32

12 From This Moment On 1:53

13 Yours 2:56

14 We'll Be Together Again 2:46

15 My Funny Valentine 3:31

16 Jeannine, I Dream Of Lilac Time 3:05

17 Carolina In The Morning 2:11

18 Crazy Rhythm 2:08

19 You Turned The Tables On Me 2:24

20 That Old Black Magic 2:16

21 Arrivederci Roma 2:30

22 No, Not Much 2:55

23 On The Alamo 2:52

Tracklist 6:

1 Come Rain Or Come Shine 3:30

2 If You Can Dream 3:18

3 I Can't Get Started 3:14

4 Little Man, You've Had A Busy Day 2:46

5 I've Got A Crush On You 2:07

6 Margie 2:32

7 Yes Sir! That's My Baby 2:44

8 The Object Of My Affection 2:56

9 Sometimes I'm Happy 2:08

10 When My Baby Smiles At Me 2:00

11 I Got Rhythm 2:01

12 Just Around The Corner 3:35

13 Strike Up The Band 2:03

14 Muskrat Ramble 2:17

15 That's A-Plenty 1:57

16 At The Jazz Band Ball 2:15

17 Smiles 2:11

18 I'd Climb The Highest Mountain 2:14

19 My Baby Just Cares For Me 2:35

20 Fine And Dandy 1:44

21 Georgia On My Mind 3:19

22 Alabamy Bound 1:52

23 When The Red, Red Robin Comes Bob, Bob, Bobbin' Along 2:03

Tracklist 7:

1 You're Driving Me Crazy 2:52

2 On The Street Where You Live 2:30

3 If I Could Be With You (One Hour Tonight) 2:16

4 I've Grown Accustomed To Her Face 2:41

5 Softly, As In A Morning Sunrise 3:21

6 Too Marvelous For Words 2:31

7 Moonglow 3:16

8 Chinatown, My Chinatown 1:37

9 I Wish You Love 3:01

10 Lullaby Of Broadway 2:43

11 I Almost Lost My Mind 2:53

12 You're Sensational 3:19

13 Then I'll Be Happy 2:28

14 Don't Blame Me 3:36

15 My Heart Stood Still 3:12

16 L'Amour, Tonjours, L'Amour (Love Everlasting) 2:03

17 Button Up Your Overcoat 1:49

18 Chicago 2:02

19 Get Me To The Church On Time 2:21

20 More Than You Know 2:32

21 Cheek To Cheek 2:00

22 I'm Confessin' That I Love You 3:41

23 They Didn't Believe Me 2:55

Credits:

Bass – Don Whitaker 

Clarinet – Matty Matlock (tracks: 7-6 to 7-19)

Drums, Percussion – Nick Fatool

Guitar, Banjo – Vince Terri

Piano, Organ, Celesta, Harpsichord, Producer – Buddy Cole

Tenor Saxophone – Fred Fallensby (tracks: 7-6 to 7-19)

Trombone – Abe Lincoln (tracks: 7-6 to 7-19)

Trumpet – Clyde Hurley (tracks: 7-6 to 7-19)

Vocals – Bing Crosby