Peggy Lee's Bio-Discography:
The Capitol Years, Part V (1960-1962)
by Iván Santiago-Mercado

Page generated on Mar 31, 2017


PRELIMINARY NOTES

The Peggy Lee Look




Peggy Lee's Recording Career, 1960-1962

For commentary about the development of Peggy Lee's career in the early 1960s, see note at the bottom of this page. A tabulation of this page's 135 masters and takes can be found in that final note as well. Also included in the bottom note: the results of various Best Female Singer polls that ran in 1960, 1961, and 1962. As for details pertaining to Lee's Grammy nominations, see relevant sessions, beginning with her "I'm Gonna Go Fishin'" date (July 26, 1960) and ending with a Basin Street East session that is dated March 1, 1961.  


Suggestions, Recommendations And Technicalities

Viewers looking for CD recommendations should pay attention to items whose titles are typed in uppercase and boldface.  (Note also that, under each song, the listing of releases has been arranged chronologically, by year of release.)  In addition, you may want to consult this page (section I).

My recommendations take into consideration both sound quality and track comprehensiveness.  Ideally, a recommended issue should rank high on both areas; FEVER; THE BEST OF PEGGY LEE is one such instance.  However, in some cases the rarity of the tracks or comprehensives of the track listing have granted recommended status to a collection with middling (antiseptic, over-cleaned, over-brightened) sound quality; the Capitol CD CHRISTMAS CAROUSEL and CDs #3 and #4 of the MISS PEGGY LEE set are notorious examples.  

As for the blue arrowheads that are periodically found through the page, click on them if you want to see a full list of issues -- LPs, CDs, etc. -- containing any given Peggy Lee performance.  (I have aimed at listing every single issue in existence, with the following exceptions:  various-artists compilations, foreign editions of domestic issues, and MP3 files. The first two categories are covered separately, within the miscellaneous section of this bio-discography.  As for the MP3 category, I have chosen to make very limited mention of such a format in my work; I consider it a non-physical configuration of inherently poor sound quality and ephemeral issue production.)


Date: February 15, 1960 (2:00 p.m. to 5:00 p.m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #9252

Peggy Lee (ldr), Emmanuel "Manny" Klein (om), Dave Cavanaugh (pdr), Billy May (con), Billy May And His Orchestra (acc), Al Hendrickson (g), Max K. Bennett, Meyer Rubin (b), Lou Levy (p), Stella Castellucci (hrp), Stan Levey (d), Arnold Belnick, David Frisina, James Getzoff, Ben Gill, Anatol Kaminsky, Murray Kellner, Daniel "Dan" Lube, Nathan Ross, Marshall Sosson, Joe Stepansky, Gerald Vinci, William Weiss (vn), Alvin Dinkin, Cecil Figelski, Virginia Majewski, Paul Robyn (vl), Charles Gates, Ralph "Ray" Kramer, George Neikrug, Eleanor Slatkin (vc), Peggy Lee (v)

a. 33210Master Take (Capitol) I Wanna Be Loved - 3:05(Johnny Green, Edward Heyman, Billy Rose) / arr: Billy May
Pickwick Licensed 8-track/LPP8 139/(S)Pc 3090 — Once More With Feeling   (1968)
Pickwick Licensed LPPtp 2028 2 — Once More With Feeling / I've Got The World On A String ("2 Sensational Albums In 1 Hit Package")    (1968)
b. 33211Master Take (Capitol) Pretty Eyes - 2:37(Jimmy Lunceford, Joshua Milton Redding, Ona Piper Welsh) / arr: Billy May
c. 33212Master Take (Capitol) It Could Happen To You - 2:27(Johnny Burke, Jimmy Van Heusen) / arr: Billy May
Pickwick Licensed 8-track/LPP8 139/(S)Pc 3090 — Once More With Feeling   (1968)
Pickwick Licensed LPPtp 2028 2 — Once More With Feeling / I've Got The World On A String ("2 Sensational Albums In 1 Hit Package")    (1968)
CAPITOL©EMI CS/CD(United Kingdom) CdFever 1 / 72437 80361 2 8 — FEVER; THE BEST OF PEGGY LEE   (1992)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
d. 33213Master Take (Capitol) Remind Me - 4:24(Dorothy Fields, Jerome Kern) / arr: Billy May
CAPITOL©EMI CD(Korea) 8806344820326 — The Very Best Of Peggy Lee; The Capitol Years   (2006)
All titles on: CAPITOL LP(S)T 1401 — Pretty Eyes   (1960)
CAPITOL reel-to-reel tapeY2t 2235 — Pretty Eyes / Beauty And The Beat!   (1965)
World Record Club Licensed reel/LP(United Kingdom) Tt/T 484 — Pretty Eyes [LP skips 1 track on original US version, adds non-sessions track]   (1965)


The Pretty Eyes Album Sessions (Cross-references)

Dates: February 15, 18 and 19, 1960.


Songs And Songwriters

1. "Pretty Eyes"
2. Marvin Phillips
3. The Jimmie Lunceford Orchestra
The original Capitol LP Pretty Eyes credits its titular song to Marvin Phillips, and the same credit holds true for all ensuing reissues. However, Phillips is being erroneously credited. He did compose a song titled "Pretty Eyes," but the music and lyrics of his song are different from those performed by Peggy Lee. As a member of the doo-wop duo Marvin & Johnny (along with Emory Perry), Phillips also
recorded his composition for an Aladdin Records single, which could be heard here the time of this writing.

The number sung by Peggy Lee is instead the same one that The Jimmie Lunceford Orchestra recorded for Columbia's subsidiary Vocalion on December 14, 1939, with vocals by Dan Grissom. (Lunceford recorded a second version in 1944, for Decca.) The original Vocalion 78-rpm disc does not credit Lunceford among the songwriters, but copyright notices do.


Personnel

1. Billy May
During the first half of 1960, Peggy Lee entrusted the arranging and conducting of her sessions to the man who she would later name her favorite arranger.

Their earliest work together dated back to the singer's first year as a Capitol artist (1944). At that time, May was playing trumpet in combos led by Lee's husband, Dave Barbour.

Billy May was particularly proud of the work that he did during the sessions for the ballad album Pretty Eyes. As for Lee's assessment, she loved May's conducting and arranging for not only Pretty Eyes but also their subsequent album together Christmas Carousel (the latter recorded in June of 1960). Most of all, Peggy Lee admired Billy May's versatility, amply evident in his arrangements for his 1960 sessions for her.

2. Alvin Dinkin versus Alvin Dinken
This musician's last name is given as Dinkin in some sources, Dinken in others. Herein I have chosen to enter his name as "Dinkin" because that's the spelling used in the more reliable sources.


Arrangements

1. Source
The Capitol LP Pretty Eyes credits all arrangements to Billy May. Eleven of the album's twelve scores (including all four from this session) are also extant in Capitol's library, and May is the credited arranger for all of them.

2. "Remind Me"
Peggy Lee's sheet music library contains not only the May's arrangement of "Remind Me" but also a Benny Carter arrangement of the same song.


Date: February 18, 1960 (2:00 p.m. to 5:00 p.m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #9263

Peggy Lee (ldr), Dave Cavanaugh (pdr), Billy May (con), Billy May And His Orchestra (acc), Al Hendrickson (g), Max K. Bennett, Meyer Rubin (b), Lou Levy (p), Stella Castellucci (hrp), Stan Levey (d), Arnold Belnick, David Frisina, James Getzoff, Ben Gill, Anatol Kaminsky, Murray Kellner, Erno Neufeld, Nathan Ross, Marshall Sosson, Joe Stepansky, Gerald Vinci, William Weiss (vn), Joseph Di Fiore, Alvin Dinkin, Virginia Majewski, Paul Robyn, Abraham Weiss (vl), Naoum Benditzky, Charles Gates, Kurt Reher, Eleanor Slatkin (vc), Peggy Lee (v)

a. 33226Master Take (Capitol) As You Desire Me - 2:53(Allie Wrubel) / arr: Billy May
Pickwick Licensed 8-track/LPP8 139/(S)Pc 3090 — Once More With Feeling   (1968)
Pickwick Licensed LPPtp 2028 2 — Once More With Feeling / I've Got The World On A String ("2 Sensational Albums In 1 Hit Package")    (1968)
CAPITOL©EMI CD(Korea) 8806344820326 — The Very Best Of Peggy Lee; The Capitol Years   (2006)
b. 33227Master Take (Capitol) I'm Walking Through Heaven With You - 2:41(Jimmy Lunceford, Joseph 'Joe' Turner) / arr: Billy May
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
c. 33228Master Take (Capitol) Fly Me To The Moon (In Other Words) - 2:23(Bart Howard) / arr: Billy May
CAPITOL LP(Japan) Ecs 65039/65040 — Peggy Lee ("Golden Double 32" Series)   (1976)
Harmony Collection Licensed CS/CD(United Kingdom) Har c/cd 116 — Peggy Lee ("Portrait Of A Song Stylist" Series)   (1990)
CAPITOL©EMI CS/CD(United Kingdom) CdFever 1 / 72437 80361 2 8 — FEVER; THE BEST OF PEGGY LEE   (1992)
d. 33229Master Take (Capitol) Because I Love Him So - 2:59(Peggy Lee, Milt Raskin) / arr: Billy May
CAPITOL©EMI CS/LP(United Kingdom) Caps __/1006 (also reissued by Emi as Vine 1020) — Songs For My Man   (1977)
Capitol©EMI's Axis CS/LP(Australia) Tc.Axis 6329 / Axis 6329 — Songs For My Man   (1977)
e. 33230Master Take (Capitol) I Remember You - 2:32(Johnny Mercer, Victor Schertzinger) / arr: Billy May
CAPITOL©EMI CD(United Kingdom) 7243 4 97143 2 8 — C'est Magnifique   (1998)
All titles on: CAPITOL LP(S)T 1401 — Pretty Eyes   (1960)
CAPITOL reel-to-reel tapeY2t 2235 — Pretty Eyes / Beauty And The Beat!   (1965)
World Record Club Licensed reel/LP(United Kingdom) Tt/T 484 — Pretty Eyes [LP skips 1 track on original US version, adds non-sessions track]   (1965)


The Pretty Eyes Album Sessions (Cross-references)

Dates: February 15, 18 and 19, 1960.


Songs And Songwriters

1. "I'm Walking Through Heaven With You"
2. Jimmie Lunceford
The number of songwriters that contributed to "I'm Walking Through Heaven With You" is in dispute. Pianist Joe Turner is the only one credited in the Capitol LP Pretty Eyes. Similarly, the Library of Congress gives credit to Turner for both words and music.

However, BMI credits the tune to both Joe Turner and Ruth "Rozz" Gordon. She is also listed at the Library of Congress, but not as a co-writer; Gordon is instead identified as one of the song's 'claimants.'

Meanwhile, numerous CDs credit not only Turner, but also Jimmie Lunceford, whose band first recorded the song in 1934 (and again in 1940 or 1941). The original Decca 78-rpm disc also credits Lunceford. Even though Lunceford might have nabbed a credit without actually contributing to the writing, the inclusion of his name on the original release had led me credit him in this discography, too.


Arrangements

1. Source
The Capitol LP Pretty Eyes credits all arrangements to Billy May. Corroboration comes from Capitol's sheet music library, where ten of the album's twelve scores are also extant, with May indeed credited as arranger on all of them. (From this particular session, the library misses only the arrangement for "Because I Love Him So.")

2. "As You Desire Me"
Peggy Lee's sheet music library contains an arrangement of "As You Desire Me" that is not by Billy May, but by Bill Holman. I am assuming that the Holman arrangement was not the one used in this studio session. It might have been used for a 1966 televised performance, or else in concerts.


Date: February 19, 1960 (2:00 p.m. to 5:00 p.m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #9264

Peggy Lee (ldr), Dave Cavanaugh (pdr), Billy May (con), Billy May And His Orchestra (acc), Arthur "Art" Fleming, Jules Jacob[s], Ronnie Lang, Ted Nash aka Theodore Nash, Wilbur "Willie" Schwartz (sax), Bobby Gibbons (g), Max K. Bennett (b), Lou Levy (p), Stan Levey, Carlos Mejía (d), Peggy Lee (v)

a. 33232Master Take (Capitol) You Fascinate Me So - 2:12(Cy Coleman, Carolyn Leigh) / arr: Billy May
World Record Club Licensed reel/LP(United Kingdom) Tt/T 484 — Pretty Eyes [LP skips 1 track on original US version, adds non-sessions track]   (1965)
b. 33233Master Take (Capitol) Moments Like This - 1:57(Burton Lane, Frank Loesser) / arr: Billy May
Pickwick Licensed 8-track/LPP8 139/(S)Pc 3090 — Once More With Feeling   (1968)
Pickwick Licensed LPPtp 2028 2 — Once More With Feeling / I've Got The World On A String ("2 Sensational Albums In 1 Hit Package")    (1968)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
c. 33234Master Take (Capitol) Too Close For Comfort - 2:34(Jerry Bock, Lawrence Holofcener, George David Weiss) / arr: Billy May
World Record Club Licensed reel/LP(United Kingdom) Tt/T 484 — Pretty Eyes [LP skips 1 track on original US version, adds non-sessions track]   (1965)
CAPITOL CS/CD7243 8 28533 4 3 — Spotlight On... Peggy Lee ("Great Ladies And Gentlemen Of Song" Series)   (1995)
Green Hill Licensed CS/CDGhc/Ghd 5199/5318 (7243 5 39935 2 8) — Fever; Original Recordings ("Legendary Masters Collection" Series)   (2002)
Starbucks Coffee Licensed CD509996 — Come Rain Or Come Shine ("Opus Collection" Series)   (2010)
All titles on: CAPITOL LP(S)T 1401 — Pretty Eyes   (1960)
CAPITOL reel-to-reel tapeY2t 2235 — Pretty Eyes / Beauty And The Beat!   (1965)
CAPITOL©EMI's Pathé Marconi CS/LP(United Kingdom) Tcems/Ems 1153; also Ed 26 0913 4/1 — Pretty Eyes ("Nostalgia" & "Retrospect" Reissue Series)   (1986)
CAPITOL©EMI CD(United Kingdom) 7243 4 98883 2 6 — Pretty Eyes / Guitars Ala Lee   (1999)
Real Gone Jazz Public Domain CD(Holland) Rgjcd 329 — Peggy Lee ("Eight Classic Albums" Series), Volume 2   (2012)
Armed Forces Radio Service 12" Transcription DiscP 7287 - P 7288 — Basic Music Library [LP Pretty Eyes]   


The Pretty Eyes Album Sessions (Cross-references)

Dates: February 15, 18 and 19, 1960.


Songs (Cross-references)

1. "Moments Like This"
For Peggy Lee's two other Capitol versions of "Moments Like This," see sessions dated February 5 and March 1, 1961. See also session dated September 8, 1992.


Arrangements

1. Source
The Capitol LP Pretty Eyes credits all arrangements to Billy May. Ten of the album's twelve scores are also extant in Capitol's library, and May is the credited arranger on all of them. (From this session, the library misses only the score for "You Fascinate Me So.")


Issues

1. Pretty Eyes [LP, World Record Club]
2. "Moments Like This"
The World Record Club vinyl T 484 differs from the original LP issue of Pretty Eyes (Capitol S/ST 401). It substitutes the song "Moments Like This" for " 'Deed I Do," a master recorded back on November 19, 1947. This change occurs in the LP only; World Record Club reel Tt 484 includes "Moments Like This," not " 'Deed I Do."


Date: June 15, 1960 (4:30 p.m - 8:00 p.m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #9490

Peggy Lee (ldr), Dave Cavanaugh (pdr), Jimmy Joyce (vdr), Harry Klee, Ronnie Lang, Wilbur "Willie" Schwartz (r), George Van Eps (g), Max K. Bennett (b), Lou Levy (p), Stella Castellucci (hrp), Stan Levey (d), Harry Bluestone aka Blostein, Harold Dicterow, Jacques Gasselin, Anatol Kaminsky, Murray Kellner, Marvin Limonick, Joseph Livoti, Nathan Ross, Felix Slatkin (vn), Alvin Dinkin, Virginia Majewski, Alex Niemann, Abraham Weiss (vl), Charles Gates, Edgar Lustgarten, David Pratt, Joseph Saxon (vc), Peggy Lee (v), Jimmy Joyce Children's Choir (bkv)

a. 33974-8Master Take (Capitol) White Christmas - 2:01(Irving Berlin) / arr: Billy May
CAPITOL LP(S)T 1423 — Christmas Carousel   (1960)
CAPITOL little LP (aka jukebox EP)Sxa 1423 — Christmas Carousel ("33 Compact" Series)   (1960)
CAPITOL LP(S)T 2390 — Happy Holiday   (1965)
b. 33975-9Master Take (Capitol) The Christmas Waltz - 2:55(Sammy Cahn, Jule Styne) / arr: Billy May
CAPITOL LP(S)T 1423 — Christmas Carousel   (1960)
CAPITOL LP(S)T 2390 — Happy Holiday   (1965)
CAPITOL's Cema Special Markets cassette4xl 9237 (also S41 56724) — White Christmas {Dean Martin, Peggy Lee}   (1985)
c. 33976-8Master Take (Capitol) The Christmas Song - 2:19(Mel Torme, Robert Wells) / arr: Billy May
CAPITOL LP(S)T 1423 — Christmas Carousel   (1960)
CAPITOL little LP (aka jukebox EP)Sxa 1423 — Christmas Carousel ("33 Compact" Series)   (1960)
CAPITOL LP(S)T 2390 — Happy Holiday   (1965)
d. 33977-9Master Take (Capitol) Christmas Carousel - 2:26(Peggy Lee) / arr: Billy May
CAPITOL 454474 — Merry Christmas From Peggy Lee {Jingle Bells (I Like A Sleighride) / Christmas Carousel}   (1960)
CAPITOL LP(S)T 1423 — Christmas Carousel   (1960)
CAPITOL little LP (aka jukebox EP)Sxa 1423 — Christmas Carousel ("33 Compact" Series)   (1960)
e. 33977-_Alternate Take (Capitol) Christmas Carousel(Peggy Lee) / arr: Billy May
CAPITOL's Creative Products 8-track cartridge8xl 6728 — [Various Artists] Holiday Magic   (1971)
f. 33998-7Master Take (Capitol) The Star Carol - 2:35(Alfred Burt, Wihla Hutson) / arr: Jimmy Joyce, Billy May
CAPITOL LP(S)T 1423 — Christmas Carousel   (1960)
CAPITOL's Cema Special Markets cassette4xl 9488 (S41 56733) [reissued 1991] — The Christmas List   (1987)
CAPITOL CS/CD7777 94450 4 / Cdp 7 94450 2 — CHRISTMAS CAROUSEL   (1990)


The Christmas Carousel Album Sessions (Cross-references)

Dates: June 15 and 19, 1960. Also singles session, dated October 10, 1959.


Arrangements And Arrangers

1. Christmas Carousel [LP]
2. Happy Holiday [LP]
3. Billy May, Part 1
In her autobiography, Peggy Lee writes that Billy May "did all the wonderful arrangements" for the albums Christmas Carousel and Happy Holiday. Lee's statement is accurate only as a generalization.

May indeed was the chief arranger for the main sessions of Christmas Carousel (held on June 15 and 19, 1960) but not for an earlier session (October 10, 1959) whose songs were incorporated to the album long after they had been originally released on a single.

As for Happy Holiday, three of its songs come from a July 9, 1965 session whose songs were arranged by Sid Feller. (The rest of Happy Holiday is a reissue of the earlier LP, Christmas Carousel, minus a few songs.)

4. Billy May, Part 2
5. Jimmy Joyce
Billy May is identified as the arranger of this session's five titles in various sources: the album Christmas Carousel, Lee's autobiography, and Jack Mirtle's The Music Of Billy May: A Discography.

Further corroboration comes from Capitol's sheet music library, in which eleven of the twelve arrangements are kept. May is credited in all of them. Missing from the Capitol library is the score for the album's titular song.

Copies of eleven of the twelve arrangements can also be found in Lee's own sheet music library, where the score for "The Christmas Song" is the one missing. Of the four masters from this session, the scores of "White Christmas" and "The Christmas Waltz" do have May's name but the arrangement of "Christmas Carousel" gives no author information. More problematically, the arrangement for "The Star Carol" is credited not to May but to Jimmy Joyce, the session's vocal director. In this discography, I have decided to jointly credit the "Star Carol" score to Joyce and May.


Masters, Alternate Takes And Issues

1. "Christmas Carousel"
The existence and availability of the above-listed alternate take of "Christmas Carousel" should be deemed possible, rather than definitive. The information that I have about the take and about its alleged release seems reliable but is still in need of corroboration. (The same degree of tentativeness applies to a master from the next Christmas Carousel session.) Since I have not been able to track down the 8-track cartridge where the alternate can supposedly be found, I would appreciate any assistance on this matter.

2. "The Star Carol" [Masters #33978 And #33998]
According to the Capitol Label Discography, "The Star Carol" bears the number 33978 in at least one Capitol file. At some point, the number was changed to 39998, and it appears as such in most other Capitol files. This alteration was made in order to fix an inadvertent duplication: the same number had also been used for the first master from the next session (#9491, by Dwayne Hickman).


Date: June 19, 1960 (1:00 p.m - 5:00 p.m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #9502

Peggy Lee (ldr), Dave Cavanaugh (pdr), Jimmy Joyce (vdr), Billy May (con), Billy May And His Orchestra (acc), Arthur "Art" Fleming, Jules Jacob[s], Harry Klee, Ted Nash aka Theodore Nash, Wilbur "Willie" Schwartz (sax), James "Jim" Decker, Vincent DeRosa, Richard "Dick" Perissi (frh), Clarence Karella (tu), George Van Eps (g), Max K. Bennett (b), Lou Levy (p), Stella Castellucci (hrp), Stan Levey (d), Emil Richards, aka Emil Radocchia (per), Peggy Lee (v), Jimmy Joyce Children's Choir (bkv)

a. 34022-11Master Take (Capitol) Jingle Bells / I Like A Sleighride - 2:03(James Lord Pierpont, possibly Peggy Lee) / arr: Dave Cavanaugh, Billy May
CAPITOL 454474 — Merry Christmas From Peggy Lee {Jingle Bells (I Like A Sleighride) / Christmas Carousel}   (1960)
CAPITOL LP(S)T 1423 — Christmas Carousel   (1960)
CAPITOL little LP (aka jukebox EP)Sxa 1423 — Christmas Carousel ("33 Compact" Series)   (1960)
b. 34022-_Alternate Take (Capitol) Jingle Bells / I Like A Sleighride(James Lord Pierpont, possibly Peggy Lee) / arr: Dave Cavanaugh, Billy May
CAPITOL's Creative Products 8-track cartridge8xl 6728 — [Various Artists] Holiday Magic   (1971)
c. 34023-8Master Take (Capitol) Deck The Halls - 2:10(Traditional) / arr: Billy May
CAPITOL LP(S)T 1423 — Christmas Carousel   (1960)
CAPITOL little LP (aka jukebox EP)Sxa 1423 — Christmas Carousel ("33 Compact" Series)   (1960)
CAPITOL LP(S)T 2390 — Happy Holiday   (1965)
d. 34024-6Master Take (Capitol) Santa Claus Is Comin' To Town (Big Bad Santa Is On His Way) - 2:16(Haven Gillespie, John Fred Coots) / arr: Billy May
CAPITOL LP(S)T 1423 — Christmas Carousel   (1960)
CAPITOL little LP (aka jukebox EP)Sxa 1423 — Christmas Carousel ("33 Compact" Series)   (1960)
CAPITOL LP(S)T 2390 — Happy Holiday   (1965)
e. 34025-2Master Take (Capitol) The Christmas Riddle - 3:18(Stella Castellucci, Peggy Lee) / arr: Billy May
CAPITOL LP(S)T 1423 — Christmas Carousel   (1960)
CAPITOL CS/CD7777 94450 4 / Cdp 7 94450 2 — CHRISTMAS CAROUSEL   (1990)
CAPITOL©EMI Gold/Music For Pleasure CD(UK & Australia) Cdmfp 6149 (reissues 9753, 31067) — The Christmas Album   (1990)
f. 34027-10Master Take (Capitol) Don't Forget To Feed The Reindeer - 2:46(Peggy Lee) / arr: Billy May
CAPITOL LP(S)T 1423 — Christmas Carousel   (1960)
CAPITOL CS/CD7777 94450 4 / Cdp 7 94450 2 — CHRISTMAS CAROUSEL   (1990)
CAPITOL©EMI Gold/Music For Pleasure CD(UK & Australia) Cdmfp 6149 (reissues 9753, 31067) — The Christmas Album   (1990)


The Christmas Carousel Album Sessions (Cross-references)

Dates: June 15 and 19, 1960. Also singles session, dated October 10, 1959.


Masters, Alternate Takes And Issues

1. "Don't Forget To Feed The Reindeer" [Master #34026 Or Master #34027?]
According to Billy May discographer Jack Mirtle, the personnel files at the American Federation of Musicians identify the master that contains "Don't Forget To Feed The Reindeer" as #34026. In Capitol's session files, it is given as #34027, and master #34026 is skipped. A minor sequencing error -- either at Capitol or at AFM -- seems to be at play.

2. "Jingle Bells (I Like A Sleighride)"
The existence and availability of the above-listed alternate take of "Jingle Bells (I Like A Sleighride)" should be deemed possible, rather than definitive. The information that I have about the take and about its alleged release seems reliable but is still in need of corroboration. (The same tentativeness applies to a master from the previous Christmas Carousel session.) Since I have not been able to track down the 8-track cartridge where the alternate can supposedly be found, I would appreciate any assistance on this matter.

3. Christmas With Peggy Lee [CD]
In 2006, this compact disc (containing 9 of the 12 tracks from the LP Christmas Carousel, plus 7 tracks from other sources) peaked at #r2 in Billboard's Top Jazz Albums chart, where it stayed for four weeks. It was Peggy Lee's 21st entry in the album charts.


Songs And Songwriters

1. "Jingle Bells (I Like A Sleighride)"
2. James Pierpont
Most issues, including Peggy Lee's own albums, list this master simply as "I Like A Sleighride." In truth, the actual performance consists of two lyrics: the traditional holiday song "Jingle Bells" combined with a few newly written lines, perhaps by Lee herself.

Although the songwriting credits for "Jingle Bells" often list it as a "Traditional" -- thus giving the impression that it is a folk song or a centuries-old anonymous tune -- this number was actually written in 1857 by American composer James Pierpont (1822-1893).

3. "Deck The Hall(s)"
This traditional number exists in more than one variant, each with a set of partially different choruses. The set sung by Lee is the one that mentions boughs of holly, a burning yule log and the mistletoe.

The title itself has two variants, one singular, the other plural. In the covers of the Capitol LPs Christmas Carousel and Happy Holiday, the title was printed in singular. However, in the vinyl of Christmas Carousel the plural was used -- not, however, in the vinyl of Happy Holiday. As for the CD version of Christmas Carousel, it lists the track as "Deck The Halls." Since the word that Peggy Lee clearly sings is halls, I have chosen to use the plural.


Arrangers

1. Billy May
2. Dave Cavanaugh
Capitol's sheet music library contains the arrangements for this session's "Jingle Bells (I Like A Sleigh Ride)," "Deck The Halls" and "Santa Claus Is Comin' To Town." All three of them are credited to Billy May. As for this session's two other songs, their arrangements can be found instead in Peggy Lee's sheet music library, but neither one has an author credit. In secondary sources, including Jack Mirtle's The Music Of Billy May: A Discography, May is named as the arranger of all five titles.

3. "Jingle Bells (I Like A Sleighride)"
In the LP Christmas Carousel, the words "arr. & adapted by Billy May and Dave Cavanaugh" can be found under this song's title. Hence I have credited both men for the arrangement. The LP's credit is not reproduced in the CD version.


Date: July 16, 1960
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #9550

Peggy Lee (ldr), Dave Cavanaugh (pdr), Joe Harnell (con), Peggy Lee (v), Other Individuals Unknown (unk)

a. 34206Master Take (Capitol) Love And Marriage - 2:07(Sammy Cahn, Jimmy Van Heusen) / arr: Joe Harnell
CAPITOL EPEap/Sep 2 1475 — Olé Ala Lee!, Part 2   (1960)
CAPITOL©EMI CS/CD(United Kingdom) CdFever 1 / 72437 80361 2 8 — FEVER; THE BEST OF PEGGY LEE   (1992)
CAPITOL©EMI CD(United Kingdom) 7243 4 97143 2 8 — C'est Magnifique   (1998)
HMV Licensed CD(United Kingdom) Hmv 7243 5 22253 2 3 — The Peggy Lee Collection ("HMV Easy" Series)   (1999)
b. 34207Master Take (Capitol) You're So Right For Me - 1:47(Raymond B. "Ray" Evans, Jay Livingston) / arr: Joe Harnell
c. 34208Master Take (Capitol) Together Wherever We Go - 1:46(Stephen Sondheim, Jule Styne) / arr: Joe Harnell
USA Government's Air Force Recruitment Service AFRS 45Program No. 245 — Music In The Air {Together Wherever We Go / Calcutta [Lawrence Welk instrumental]}    
d. 34209Master Take (Capitol) Come Dance With Me - 2:28(Sammy Cahn, Jimmy Van Heusen) / arr: Joe Harnell
CAPITOL EPEap/Sep 1 1475 — Olé Ala Lee!, Part 1   (1960)
CAPITOL©EMI CS/CD(United Kingdom) CdFever 1 / 72437 80361 2 8 — FEVER; THE BEST OF PEGGY LEE   (1992)
CAPITOL©EMI's Music For Pleasure CS/CD(United Kingdom) 7243 8 56805 2 6 [also Mfp 6342] — The Very Best Of Peggy Lee [tracks same as EMI Presents The Magic, diff. artwork]   (1997)
All titles on: CAPITOL LP(S)T 1475 — Olé Ala Lee!   (1960)
CAPITOL jukebox EPX 1475 — Olé Ala Lee!   (1960)
World Record Club Licensed LP(United Kingdom) ST 973/(Australia) T 4068 — Olé Ala Lee!   (1970)


The Olé Ala Lee! Album Sessions (Cross-references)

Dates: July 16, 23, and 24, 1960.


Issues

1. Olé Ala Lee! [British LP Edition Versus American LP Edition]
2. "Together Wherever We Go"
The American edition of the album Olé Ala Lee! (Capitol 1475) contains twelve tracks. All twelve titles are listed in the album's back cover, and on the vinyl itself.

The British edition of Olé Ala Lee! bears the same catalogue number and the same artwork as the American original, but differs in one respect: the back cover lists only eleven tracks. The missing number is "Together Wherever We Go." It turns out, however, that all twelve tracks are heard in the actual vinyl of the UK edition. (The label on the vinyl lists all of them, too.) My thanks to Yvan Tarbouriech and to Steve Dodd for confirming these details. Steve has further corroborated that the above-described situation applies to both the mono and stereo versions.

I do not know the reason for the omission of "Together Wherever We Go" from the back cover of the British edition. It could have been merely an inadvertent error. It could also be that, when the cover went to press, EMI intended to skip the track. The likeliest reason for such hypothetical exclusion would have been contractual. "Together Wherever We Go" came from the 1959 Broadway show Gypsy, which had yet to make its British debut in 1961, when Olé Ala Lee! was originally slated for release in the United Kingdom. EMI might have lacked permission to issue any versions of the show's songs until after the show's British debut. (A similar situation had happened with the album Latin Ala Lee!. "Till There Was You" had to be skipped from the 1960 British edition of that LP because the song had originated in The Music Man, a show which did not premiere in the UK until 1961. As for Gypsy, it actually had to wait until 1973 for its British debut.)

Oddly, the EMI CD Latin Ala Lee! / Olé Ala Lee! (produced in the United Kingdom) identifies its track "Together Wherever We Go" as a bonus , thereby implying that the track had not been previously issued in British land. Presumably, the producers of the CD made this incorrect claim because they only took a look at the track listing as it appeared in the back of the LP, not on the label of the vinyl itself.

To further complicate the picture, the British LP edition of Olé Ala Lee! did not actually come out until around 1965 -- five years after the American original. Steve Dodd speculates that the delay might have been due to a couple of factors, including the assumed restrictions over "Together Wherever We Go." The artwork of Olé Ala Lee! might have posed an additional challenge. To quote Steve:

"in the UK ... album covers were almost exclusively printed with a laminated coloured front, flipped over a non-laminated b&w reverse ... It now seems to me more likely that the album was prepared for release back in 1960, with a black & white reverse and 'Together Wherever We Go' omitted because Gypsy had not yet opened in the U.K. I don't know why it was finally released in 1965, but by then there would have been no restrictions on 'Together Wherever We Go, and it was possible to include it. Perhaps they then decided to use the original back cover artwork [listing only 11 tracks] - for reasons of economy, or because it just wasn't noticed that a track had been omitted from the listing; by 1965, the standard number of tracks on a pop album had been reduced from twelve to eleven, anyway. (Sugar 'N' Spice, which also had a humorous double-sided colour sleeve, defeated them completely and the album was never released in the U.K.) Calling 'Together Wherever We Go' a 'bonus track' on the twofer CD decades later might be because [record store owner] Ray Purslow, who supplied the original artwork for the CD, sent them only the cover and not the record! Or maybe they didn't check the record, having the eleven-track precedent of Latin Ala Lee! in front of them."


Masters

1. "Come Dance With Me"
According to Michel Ruppli et al in the Capitol Label Discography, "Come Dance With Me" was first attempted on this date (the 16th) and then remade later, on the 23rd. Nevertheless, Peggy Lee's session file lists master #34209 only under this July 16 session, and includes no later remake.

Here is a reproduction of the data given by Ruppli et al:

July 16, 1960
34209 Come Dance With Me - unissued

July 23, 1960
34209 Come Dance With Me (remake) - Cap. T/ST 1475 [etc.]

As can be seen, the Ruppli data would seem to suggest that the song is preserved in both versions, with the same master number.

Since Peggy Lee's session file does not back up the suggestion that a remake happened, I have listed "Come Dance With Me" only once, under this session -- not under the 23rd. (This decision does not mean that I am dismissing the possibility that the remake took place. On the contrary, I am inclined to think that it did. But stronger confirmation is needed. I hope to be able to inspect the session's AFM report one day, since such an inspection would probably settle the matter. There is also need to listen to the Capitol master reels that contain takes of #34209, to determine if all takes are from the same date or from two different ones.)


Arrangements

1. Joe Harnell
Capitol's library of scores contains all the arrangements for the album Olé Ala Lee!. They are uniformly credited to Joe Harnell.


Personnel

This date's musicians are unknown, but presumed to be mostly the same ones who participated in a later Olé Ala Lee! session, dated July 23, 1960.


Date: July 23, 1960 (1:00 p.m. - 5:00 p.m.)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #9562

Peggy Lee (ldr), Emmanuel "Manny" Klein (om), Dave Cavanaugh (pdr), Joe Harnell (con), Justin Gordon, Jules Kinsler, Harry Klee, Wilbur "Willie" Schwartz (sax), Henry Miranda, Alfonso "Al" Rojo, James Salko (t), Tony Reyes (b), Eduardo "Eddie" Cano (p), Fred Aguirre, Eduardo Aparicio, Carlos Mejía, Ray Rivera (d), Peggy Lee (v)

a. 34245Master Take (Capitol) I Can't Resist You - 2:10(Will Donaldson, Ned Wever) / arr: Joe Harnell
CAPITOL jukebox EPX 1475 — Olé Ala Lee!   (1960)
CAPITOL EPEap/Sep 2 1475 — Olé Ala Lee!, Part 2   (1960)
Nova AP Music Public Domain CD(United Kingdom) Aupcd 4012 — Fever; The Best Of Peggy Lee ("The Ultimate 101 Collection" Series)   (2014)
b. 34246Master Take (Capitol) You Stepped Out Of A Dream - 2:30(Nacio Herb Brown, Gus Kahn) / arr: Joe Harnell
CAPITOL EPEap/Sep 1 1475 — Olé Ala Lee!, Part 1   (1960)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
CAPITOL©EMI Publishing House CDMp Aw 11/05 — The EMI Songs Collection ("Great Singers Sing Great Songs," Volume 4: Peggy Lee)   (2005)
Nova AP Music Public Domain CD(United Kingdom) Aupcd 4012 — Fever; The Best Of Peggy Lee ("The Ultimate 101 Collection" Series)   (2014)
[label unclear] promotional CD — The Unforgettable Peggy Lee   
c. 34247Master Take (Capitol) From Now On - 1:55(Cole Porter) / arr: Joe Harnell
CAPITOL EPEap/Sep 1 1475 — Olé Ala Lee!, Part 1   (1960)
CAPITOL©EMI's Music For Pleasure CS/CD(United Kingdom) 7243 8 56805 2 6 [also Mfp 6342] — The Very Best Of Peggy Lee [tracks same as EMI Presents The Magic, diff. artwork]   (1997)
CAPITOL©EMI CD(United Kingdom) 7243 8 57013 2 0 [also Mfp 6371] — EMI Presents The Magic Of Peggy Lee [tracks same as The Very Best Of, diff. artwork]   (1997)
d. 34248Master Take (Capitol) Fantástico - 2:05(John Keller, Noel Sherman) / arr: Joe Harnell
CAPITOL jukebox EPX 1475 — Olé Ala Lee!   (1960)
CAPITOL EPEap/Sep 2 1475 — Olé Ala Lee!, Part 2   (1960)
Pigeon Public Domain CD(Japan) Gx 106 — Latin! Peggy Lee ("Latin Music" Series)   (1987)
All titles on: CAPITOL LP(S)T 1475 — Olé Ala Lee!   (1960)
World Record Club Licensed LP(United Kingdom) ST 973/(Australia) T 4068 — Olé Ala Lee!   (1970)
CAPITOL©Toshiba-EMI CD(Japan) Tocj 5418 — Latin Ala Lee! / Olé Ala Lee! ("We Love Jazz" Series)   (1991)
CAPITOL©EMI CD(United Kingdom) 7243 8 56056 2 8 — Latin Ala Lee! / Olé Ala Lee!   (1997)
Real Gone Jazz Public Domain CD(Holland) Rgjcd 314 (also 5036408133823) — Peggy Lee ("Eight Classic Albums" Series)   (2012)
Blue Moon Licensed/Public Domain CD(Spain) Bmcd 869 — Latin Ala Lee - Olé Ala Lee!   (2015)


The Olé Ala Lee! Album Sessions (Cross-references)

Dates: July 16, 23, and 24, 1960.


Arrangers And Arrangements

1. Joe Harnell
2. Marty Paich
3. "I Can't Resist You"
The back cover of the Capitol album Olé Ala Lee! includes the collective credit "arranged & conducted by Joe Harnell." All 12 album arrangements are extant in Capitol's music sheet library, where they are uniformly credited to Harnell. However, an arrangement of "I Can't Resist You" kept in Lee's sheet music library is credited to Marty Paich.

Unfortunately, I have not inspected the Paich arrangement; hence I do not know whether it is the same one heard in this session. I suspect that it is the same. I can imagine any number of reasons why Capitol might have inaccurately credited Harnell with all of the scores -- for instance, Paich's ties to another record company, or the possibility that Harnell farmed out the arrangement, or a scribe's lax behavior in the handling of the label's paperwork.

Leaving my suspicions aside, the most logical assumptions would be that (a) Paich wrote his arrangement for Lee's concert performances, perhaps back during her Decca years, and (b) that Harnell's identification as the author of this session's arrangement is accurate.

Until the Paich score is inspected and compared with the performance on master #34245, I am following the most logical option.

(Lee recorded another version of "I Can't Resist You" in 1979. The arrangement for that version is credited to Dick Hazard.)


Personnel

1. Ray Rivera
This musician is chiefly known as a guitarist. However, the official documentation for this and in other Peggy Lee sessions lists him as a drum player.


Issues

1. Olé Ala Lee! [EPs]
Capitol culled a total of three EPs out of Latin Ala Lee!, the popular album of which Olé Ala Lee! is clearly a sequel. In the case of the Olé Ala Lee! album sessions, only two EPs were issued:

Eap/Sep 1 1475 - "Come Dance With Me " & "You Stepped Out Of A Dream" & "From Now On" & "Non Dimenticar""

Eap/Sep 2 1475 - "Love And Marriage" & "I Can't Resist You" & "Fantástico" & "Olé"

Had there been a third Olé Ala Lee EP, it would have included the four songs that were left out of these other two EPs: "You're So Right For Me," "Together Wherever We Go," "Just Squeeze Me," and "By Myself."

If I am to rely on data which at this time is incomplete, it would seem that different songs were paired in the mono and stereo versions of the two issued EPs. The pairings listed above reflect the contents of the mono editions. Once I am able to corroborate that the data about the stereo versions is accurate (and it might not be), I will enter it in the database, and will modify this note accordingly.

2. Olé Ala Lee! [45-rpm Singles?]
No single from the Olé Ala Lee! sessions was ever released to retail stores. (You will notice that the database above does list some singles. However, the various 45-rpm discs listed are not singles made for sale at commercial stores. Instead, some of them were manufactured by the AFRS strictly for radio airplay in their military service stations, and others were produced by Capitol for playing in jukeboxes. See also point 3 below.)

This absence of an Olé Ala Lee! single stands in contrast with most previous and subsequent original Lee LPs on Capitol. (Joining Olé Ala Lee! as exceptions are the earlier album Pretty Eyes and the later album Something Groovy!.)

3. Olé Ala Lee! [Jukebox EP]
The catalogue number X-1475 belongs to the jukebox EP version of Olé Ala Lee!. The EP set consists of the following 33 rpm discs, all of them released only in stereo:

X1 1475 - "Come Dance With Me" & "Just Squeeze Me"
X2 1475 - "By Myself" & "You're So Right For Me""
X3 1475 - "Fantástico" & "Together Wherever We Go"
X4 1475 - "Olé" & "Love And Marriage"
X5 1475 - "I Can't Resist You" & "'Non Dimenticar"

This jukebox set thus culls 10 of the 12 songs from its LP counterpart, leaving out "From Now On" and "You Stepped Out Of A Dream."

An additional side note, pertaining to jukebox EPs in general. Oftentimes, discs such as the ones from the EP under discussion wound up being sold as separate pieces. Online auction sites sometimes misrepresent their true nature, failing to acknowledge that they were originally part of a larger unit.


Date: July 24, 1960
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #9564

Peggy Lee (ldr), Dave Cavanaugh (pdr), Joe Harnell (con), Peggy Lee (v), Other Individuals Unknown (unk)

a. 34296 [remaster of 34253] Master Take (Capitol) Just Squeeze Me - 1:54(Duke Ellington, Lee Gaines) / arr: Joe Harnell
Pigeon Public Domain CD(Japan) Gx 106 — Latin! Peggy Lee ("Latin Music" Series)   (1987)
CAPITOL©EMI Publishing House CDMp Aw 11/05 — The EMI Songs Collection ("Great Singers Sing Great Songs," Volume 4: Peggy Lee)   (2005)
[label unclear] promotional CD — The Unforgettable Peggy Lee   
b. 34254Master Take (Capitol) Non Dimenticar (T'Ho Voluto Bene) - 2:26(Shelley Dobbins, Michele Galdieri, P. Gino Redi) / arr: Joe Harnell
CAPITOL EPEap/Sep 1 1475 — Olé Ala Lee!, Part 1   (1960)
Nova AP Music Public Domain CD(United Kingdom) Aupcd 4012 — Fever; The Best Of Peggy Lee ("The Ultimate 101 Collection" Series)   (2014)
c. 34297 [remaster of 34255]Master Take (Capitol) Olé - 2:26(Peggy Lee) / arr: Joe Harnell
CAPITOL EPEap/Sep 2 1475 — Olé Ala Lee!, Part 2   (1960)
Dcc Licensed CDDzs 181/7243 5 23808 2 4 — Latin Ala Lee! [3 bonus tracks, 2 diff. from S&P]   (2000)
S&P Licensed audiophile LP/CDSp 504/ Spr 712 [EMI 7243 5 84238 2 2] — LATIN ALA LEE! [3 bonus tracks, 2 diff. from DCC; 180 gram vinyl]   (2003)
d. 34256Master Take (Capitol) By Myself - 3:20(Harold Dietz, Arthur Schwartz) / arr: Joe Harnell
All titles on: CAPITOL LP(S)T 1475 — Olé Ala Lee!   (1960)
CAPITOL jukebox EPX 1475 — Olé Ala Lee!   (1960)
World Record Club Licensed LP(United Kingdom) ST 973/(Australia) T 4068 — Olé Ala Lee!   (1970)


The Olé Ala Lee! Album Sessions (Cross-references)

Dates: July 16, 23, and 24, 1960.


Personnel

This date's musicians are unknown, but presumed to be mostly the same ones who participated in an earlier Olé Ala Lee! session, dated July 23, 1960.


Arrangers And Arrangements

1. Joe Harnell
All arrangements for the album Olé Ala Lee! are extant in Capitol's music score library. They are uniformly credited to Joe Harnell.

2. "Olé"
Peggy Lee kept a copy of Harnell's "Olé" arrangement in her sheet music library.


Masters And Sources

This discography's June 24, 1960 date actually holds the contents of two Capitol file sessions which I have conflated into one. Below is the sessions data as it appears in the Capitol file. My reasons for the conflation are also given below.

First entry

Peggy Lee (vo) with Joe Harnell's Music.
LA, July 24, 1960
(Session #9564)
34253 Just Squeeze Me (But Don't Tease Me) - (see master 34296)
34254 Non Dimenticar - Cap. Eap 1 1475 [etc.]
34255 Olé - (see master 34297)
34256 By Myself
All titles issued on Cap. T/St 1475.

Second Entry

Peggy Lee (vo) with Joe Harnell's Music.
LA, 1960
Prob. remastered from session #9564
34296 Just Squeeze Me (But Don't Tease Me) - (see master 34253)
34297 Olé - (see master 34255)
All titles issued on Cap. T/St 1475.


I have decided to list the contents of the two entries together in one session because

a) arguably, Capitol's file does not fully treat the second entry as a separate session. No session number is given to the entry, and no full date is provided either. (It is worth noting, however, that the files do not have a session #9565. Maybe that number was intended for this entry, but it was inadvertently left unused.)

b) the file itself states that the second entry probably consists of remasters of the previous session, not new performances.

c) I am told that, in a different document (a Capitol inventory) only masters #34296 and #34297 are listed -- not masters #34253 nor #34255. This piece of information further strengthens the likelihood that the song titles common to the first and second entries refer to the same Lee performances.


Date: July 26, 1960
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #9570

Peggy Lee (ldr), Dave Cavanaugh (pdr), Bill Holman (con), Bill Holman and His Orchestra (acc), Peggy Lee (v), Other Individuals Unknown (unk)

a. 34269-9Master Take (Capitol) A Bucket Of Tears - 2:17(Dorothy Goodman, Winfield Scott) / arr: Bill Holman
CAPITOL 454498 — {A Bucket Of Tears / I Love Being Here With You}   (1960)
CAPITOL 45(United Kingdom) Cl 15184 — {Till There Was You [not released as a single in the USA] / (A) Bucket Of Tears}   (1961)
Armed Forces Radio Service 12" Transcription DiscP 10285 - P 10286 — Basic Music Library [7 songs from LP Extra Special!]   (1967)
b. 34270-11Master Take (Capitol) Call Me Darling, Call Me Sweetheart, Call Me Dear - 2:37(Dorothy Dick, Mort Fryberg, Rolf Marbet, Bert Reisfeld) / arr: Bill Holman
Armed Forces Radio Service 12" Transcription DiscP 10285 - P 10286 — Basic Music Library [7 songs from LP Extra Special!]   (1967)
CAPITOL LP(S)T 2732 — Extra Special!   (1967)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
CAPITOL©EMI CD(United Kingdom) 7243 4 93065 2 3 — Extra Special! / Somethin' Groovy!   (1998)
c. 34271-12Alternate Take (Capitol) I'm Gonna Go Fishin' - 2:05(Duke Ellington, Peggy Lee) / arr: Bill Holman
USA Government's Air Force Recruitment Service AFRS 45Programs No. 133-134 — Music In The Air {I'm Gonna Go Fishin' / Midnight Lace [Ray Ellis instrumental]}    (1960)
Armed Forces Radio Service 12" Transcription DiscP 10285 - P 10286 — Basic Music Library [7 songs from LP Extra Special!]   (1967)
CAPITOL LP(S)T 2732 — Extra Special!   (1967)
d. 34271-23Master Take (Capitol) I'm Gonna Go Fishin' - 2:09(Duke Ellington, Peggy Lee)
CAPITOL 454449 — {I'm Gonna Go Fishin' / My Gentle Young Johnny}   (1960)


The 1960-1962 Singles Sessions And The Extra Special! Pick-up Sessions (Cross-references)

Dates: July 26, 1960. September 1, 1960. May 19, 1961. November 14, 1962. These four dates were the only singles sessions that Peggy Lee held between 1960 and 1962. During the same three-year period, she naturally recorded numerous album sessions as well, and Capitol culled additional singles from such sessions. But the four dates in question were the only ones exclusively dedicated to recording songs for release on singles.

Of the songs recorded at this July 26, 1960 date, Capitol promptly issued two ("Bucket Of Tears" and "I'm Gonna Go Fishin' ") on Capitol 45-rpm discs. The session's third master, "Call Me Darling, Call Me Sweetheart, Call Me Dear," was left unissued.

Seven years later, all three masters were incorporated to a Capitol LP called Extra Special!. Deceptively posing as an original album, this 1967 LP picked up songs that had been released on 45-rpm disc earlier in the decade, and also a few that had been left unissued. (In addition to "Call Me Darling, Call Me Sweetheart, Call Me Dear": "The Shining Sea" and "Oh! You Crazy Moon").

Whether unintentionally or by design, the 1967 album features recordings from every preceding year of the 1960s, except for 1964. To be more precise, the album's other tracks come from not only 1960 (july 26, September 1) but also 1961 (May 19), 1962 (April 2), 1963 (May 29), 1965 (February 19), and 1966 (May 21 & September 13).






Songs And Cross-references (Film)

1. "I'm Gonna Go Fishin' "
2. Anatomy Of A Murder
The melody of "I'm Gonna Go Fishin' " is the "Main Title Music" of Otto Preminger's film Anatomy Of A Murder, which premiered on July 1, 1959. That courtroom thriller featured a full score by Duke Ellington, recorded between May 29 and June 2, 1959. According to Peggy Lee in her autobiography, "[o]ne day Duke Ellington brought me the tape with the theme music from the movie Anatomy Of A Murder, and I was impressed. He just said, Here you are, your Highness - write this, and he left." Elsewhere, Lee has chucklingly remarked that Ellington vanished before she even uttered a word, leaving her standing there, all by herself.

"I'm Gonna Go Fishin' " is actually a vocalese number of sorts. Explains Klaus Stratemann, in his exhaustive text Duke Ellington: Day By Day And Film By Film: "Peggy Lee, vocalist and poetess, composed a set of lyrics to go with the main title of Anatomy Of A Murder. To be more precise, she took the obstinato saxophone figure with brass interjections that follows Quentin Jackson's opening 'Wah-Wah' trombone statements and used this as thematic material for a song that came to be titled I'm Gonna Go Fishin'. It was recorded by its lyricist, of course, but by several others as well."

The persona of Lee's lyric is a woman whose man has lied to (and possibly cheated on) her: "Woke up this morning', / Wanted to cry. / ... / He's a real good one / For having his cake, / ... / Sweet-talking liar / Spin me your yarn, / Tell me a story / Big as a barn. / Gonna stop list'nin', / I won't hear you out, / ... / Sweet-talking liar/ You're in for a fall, / You tell me a story, / You talk to the wall! / Gonna go my way / On down the highway / ..." The woman of this lyric also follows the common adage that 'there are plenty more fish in the sea,' as she proclaims that she's out to find herself a new, better man: "Yeah, I'm gonna go fishin' / That's what I'll do. / Think about nothing, / Not even you. / Catch a real big one / A big speckled trout / Snapping in the water / I'll pull him on out! / ... / Here in the water / Look at him shine, / There goes a big one, / That one is mine!" Simple yet sharp, this lyric can be said to be an update of old blues numbers with which it shares a "my-man-done-me-wrong" thematics.

The film itself inspired the basic concept that permeates Peggy Lee's lyrics: fishing as a metaphor. In Anatomy Of Murder, Jimmy Stewart plays a small-town lawyer for whom fishing is a way to both relax and meditate on how to solve his cases. Throughout the movie, he is dealing with a rape-murder case that compels him to also do some detective work. The movie's fishing scenes inspired Lee to conceive of the lawyer-detective as a fisherman for whom the fish represented the elusive perp that he is trying to catch. It was such a parallel -- or, as she calls it, poetic symbol -- that guided Lee during the writing of her own set of words.

"I finished the lyric and gave it to Duke Ellington," she adds in her autobiography, "The Duke liked it all, and that was enough for me."

3. "I'm Gonna Go Fishin' " (And Anatomy Of A Murder) At The Grammys
On April 12, 1961, the third Grammy Awards ceremony was held. This time, two separate awards had been created for the category of Best Vocal Performance, Female. One honored albums, the other "single records or tracks. For the third consecutive year, both Ella Fitzgerald and Peggy Lee received nominations -- in both categories. The other nominees in the singles category were Doris Day, Eileen Farrell and Brenda Lee. As had previously been the case, the winner was Fitzgerald, thanks to her endearing concert performance of "Mack The Knife."

During the previous ceremony (1959), the original Anatomy Of A Murder movie soundtrack had been the winner of three Grammys. In Duke Ellington: Day By Day And Film By Film, Klaus Stratesmann further points out that Gerry Mulligan's instrumental version of I'm Gonna Go Fishin' "gained the distinction of being nominated for a Grammy award [the next] year, in the category of Best Jazz Performance - Large Group (DB: 25.5.61)." Apparently left unmentioned in the Downbeat quote that is his source (and in Stratemann's otherwise comprehensive comments) is the aforementioned fact that Peggy Lee's vocal version was also Grammy-nominated on that same year.

Lee's name was connected to yet another nomination at the Grammy ceremony; see notes under session dated August 14, 1959.


Dating

1. "I'm Gonna Go Fishin' "
2. Jane Harvey (1959)
3. Gerry Mulligan (1960)
A previous paragraph quotes a comment from Peggy Lee's autobiography, to the effect that she had handed her lyric of "I'm Gonna Go Fishin' "
shortly after having finished writing it. Perhaps this passing of the lyric to Ellington explains why at least two versions were recorded long before Lee's own.

One said version was by Jane Harvey, another Benny Goodman Orchestra that would go on to a solo career in concert and on record. At an unknown session in 1959 (or, otherwise, January of 1960), Harvey recorded a full date of Ellington compositions, including Lee's lyric of "I'm Gonna Go Fishin'." Accompanied by members of the Duke's orchestra, she did that session for the Signature label, which was owned by her then-husband Bob Thiele. He was a record producer who was previously worked with Ellington on several dates of note. It is thus likely that the Lee lyric arrived at the session courtesy of Duke and company. Harvey's version saw release in the form of a 45-rpm disc (Signature 12007), with Ellington and Johnny Burke's "A Hundred Dreams From Now" on its back. The same single was issued by Pye International in the United Kingdom around February of 1960, and more recently (2011) reissued on two Harvey CDs. (My thanks to Walter at Honeydhont for his kind assistance in researching this matter.)

The other early version of "I'm Gonna Go Fishin' " was an instrumental by Gerry Mulligan. It is listed in discographies as recorded on May 21, 1960 -- two months earlier than Lee's version. It occupies both sides of 45-rpm disc V-10216 and the last slot of the LP The Concert Jazz Band (MG V-8388 or, in stereo MG VS-3888). The single had been commercially issued by June 13, the LP probably a bit later during the year. In addition to those two Verve items, there is a third one from 1960, pictured below: another Verve 45-rpm disc, with catalogue number V-2030. (Also extant is a Mulligan concert version, live in Paris, from November 19, 1960.) All these Verve releases of the instrumental give songwriting credit to not only Ellington but also Lee.

Mulligan might have received a tape from Ellington. It could also be that he became acquainted with the song by listening to Lee do it in concert. In 1960, both artists performed at the Basin Street East club in New York. (As for the vocal versions by Chris Connor, Mel Tormé, Annie Ross, and The Four Freshmen, they are all from a couple years later; 1962 and 1963.)





Issues

1. Capitol #4449 [45]
2. Capitol #4498 [45]
This session generated songs for two singles which were given somewhat similar numbers, 4449 and 4498. More curiously, and unlike Lee's previous 45-rpm discs, those two singles lack the prefix F. (It is absent from Capitol session sheets, and it is missing in the vinyl itself.) As for the songs on the flip side of each single, both were recorded on September 1, 1960.


Masters And Takes

1. "I'm Gonna Go Fishin'"
2. Takes #12 And #23
The Capitol Label Discography lists "I'm Gonna Go Fishin' " under two dates: July 26 and September 1, 1960. In both cases, the master is identified as #34271. Under September 1, "I'm Gonna Go Fishin' " is described as a remake and the following note has been supplied: "this title is listed in artist files, but issues are listed as using the July 26 version (see session #9570)."

Meanwhile, Capitol's Peggy Lee session file lists "I'm Gonna Go Fishin' " only under one session -- the one dated July 26.

As elsewhere, I have given priority to the data in the session file, even though I am actually inclined to believe that the master was remade on September 1 -- just as the documentation consulted by Ruppli and company indicates. Unfortunately, there is not enough evidence to corroborate this bit of divergent data. Definitive confirmation (or a rebuttal) won't probably be forthcoming until a careful listening of Lee's session tapes from both dates is made. The AFM's session report should also be consulted. (Unfortunately, this humble discographer has no access to Capitol's tapes or AFM sheets.)

Also of note is the fact that two takes of "I'm Gonna Go Fishin' " have been commercially released. The original 45-rpm single uses take #12. To my knowledge, take #12 is not found in any other release. Instead, all other issues appear to contain take #23. (My thanks to fellow fan Ken, who listened to the single and informed me about its contents. To Ken's ears, the differences are minimal, and pertain to the music -- a longer intro, and some slight divergences in the horns' playing.)

3. Master #34272
Notice that this session contains three songs whose master numbers are 34269, 34270, and 34271. According to the Capitol Label Discography, Capitol's session files do not have any information for master #34272. Ruppli et al presume that the master number was simply left unused. Perhaps so; maybe Lee and the musicians exhausted their pre-scheduled session time. ("I'm Gonna Go Fishin' " seems to have required a particularly high number of takes.)

Another possibility is that Lee and company did use master #34572 for a performance that was ultimately scrapped. If such was the case, the main suspect would be a performance of "I Love Being Here With You." The released version of that song was recorded in Lee's next singles session (September 1, 1960); under our "suspicion" or theory, it would have been first attempted at the present session. The September 1 session was conducted by Ralph Carmichael, who arranged at least one of the session's other four songs. Carmichael is likely to have arranged that session's other songs as well, with one exception: "I Love Being Here With You," which is credited to Bill Holman (this session's conductor).

In a nutshell: though highly circumstantial, the details surrounding these July 26 and September 1 sessions do allow for the hypothesis that the seemingly non-existent master #34272 was a scrapped attempt at "I Love Being Here With You." Additional details on this subject matter can be found in the notes under the September 1, 1960 session.


Arrangements And Sources

1. Bill Holman
2. "I'm Gonna Go Fishin' "
The source for this session's arranging credits is the back cover of the LP Extra Special!. Bill Holman's authorship of the arrangement for "I'm Gonna Go Fishin' " is further confirmed by the existence of the score, credited to him, in Capitol sheet music library.


Date: August 19, 1960
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #9604

Peggy Lee (ldr), Dave Cavanaugh (pdr), Nat King Cole, Peggy Lee, Nancy Wilson (v), The Chipmunks (bkv), Other Individuals Unknown (unk)

a. 34349-34350Master Take (Capitol) Toys For Tots - 2:03(Sammy Fain, Paul Francis Webster)
CAPITOL 33 rpm singleKb 2820 - Kb 2821 — {Toys For Tots (sung by Peggy Lee) / Toys For Tots (sung by Nat King Cole)}   (1960)
CAPITOL 45Tb 2497-2498 — {Toys For Tots (sung by Peggy Lee) / Toys For Tots (sung by Nancy Wilson)}   (1965)
CAPITOL CS/CD7777 94450 4 / Cdp 7 94450 2 — CHRISTMAS CAROUSEL   (1990)
CAPITOL©EMI Gold/Music For Pleasure CD(UK & Australia) Cdmfp 6149 (reissues 9753, 31067) — The Christmas Album   (1990)
Disky Licensed CD(Netherlands) Ch 877292 — Christmas   (1997)
b. 17965+34349+53805Composite Master Toys For Tots (Three-Singers Edit) - 2:27(Sammy Fain, Paul Francis Webster)
CAPITOL CD7243 8 52559 2 2 — [Various Artists] Christmas Cocktails ("Ultra Lounge" Series)   (1996)


Toys For Tots: The Humanitarian Campaign Sessions (Cross-references)

Dates: August 19 and September 1, 1960. Peggy Lee was one of various Capitol artists who recorded a promotional spot in support of the Marine Reserve charity campaign Toys for Tots, which distributes toys to children in need. Other artists to do so were Nat King Cole, Vic Damone and Nancy Wilson. In their respective versions, the same "Toys For Tots" musical performance is heard. All four singers may have thus sung their interpretations to a pre-recorded track. All "Toys for Tots" singles are likely to have been sent directly to Marine Corps facilities and to radio stations, and not sold in commercial stores.


Song, Dating, And Issues

1. Capitol Kb 2820 [45]
2. Capitol Tb 2497-2498 [45]
Only the first of these two sitems is listed in Peggy Lee's Capitol session file, where it is actually given the wrong catalogue number (2830). I should add that the release year which I have entered for that single is tentative, and thus in need of confirmation.

As for Capitol 45-rpm disc Tb 2497-2498, which is not listed in the session file, I learned of its existence through secondary sources, including an eBay auction. The release year that I have entered for it is approximate, and thus subject to alteration if/when additional information turns up. (Because it contains a Nancy Wilson version known to have been recorded in June 1965, the earliest possible release date for disc Tb 2497-2498 is the second half of 1965, with the entire year of 1966 also qualifying as a strong possibility. Please bear in mind that, in this specific case, the term "release" refers to the date in which the disc was sent out to radio stations. I do no believe that this issue was commercially released.)

3. Christmas Cocktails [CD]
4. Secret Track: The Three-Singers Edit Of "Toys For Tots"
The Capitol CD Christmas Cocktails (the first out of three holiday volumes from the "Ultra Lounge" series) contains three so-called secret tracks. (They are considered "secret" because the CD's track listing does not list these titles, leaving the unknowing listener to be surprised at their inclusion.) The trio of surprise numbers is positioned at the very end of the disc, after track #18. One of them is "Jingle Bells," sung by Johnny Mercer. Another one is a tongue-in-cheek parlando version of "Violets For Your Furs," spoken by a 1950s act known as The Continental.

The remaining secret track is a special version of "Toys For Tots," sung by Peggy Lee, Nat King Cole, and Nancy Wilson, who are heard in that order. The track is a mix of those artists' separate versions of "Toys For Tots," presumably put together specifically for inclusion in the Christmas Cocktails CD under discussion. So clever is this mix that listeners might be left with the impression that all three singers gathered together to record one single performance. But no such event happened: Cole recorded his "Toys For Tots" (master #17965) on November 22, 1957, and Wilson did hers (master #53805) on June 4, 1965.


Personnel

1. The Chipmunks
For her "Toys For Tots," Lee is accompanied by an uncredited group that talks in the manner of the cartoon rodents who, along with David Seville, sang novelty hits such as "The Chipmunk Song" and "The Witch Doctor" in 1958. (Seville created those Chipmunks vocals by recording a trio of human voices at half-speed, and then playing them back at normal speed.)

Since Lee's is the only voice credited in the official documentation that I have consulted, my identification of the group as The Chipmunks is tentative. Independently of whether Seville was or was not involved, the vocal style is identical to the one heard in his Chipmunks recordings. Hence the backing voices of Lee's track must have been created essentially through the same engineering methods that Seville used.

October 2009 addendum to this note: a belated consultation of the Capitol Label Discography has now strengthened the claim that I made in the previous paragraph (originally written in the late 1990s). Ruppli's text lists The Chipmunks as the accompaniment for this session.


Masters And Sources

1. Master #34349 And Master #34350
Notice that, in this session, I have listed together two masters that are separately found in Capitol vaults: #34349 and #34350. Master #34350 is identified in Peggy Lee's Capitol session files as a 'voice track.' Master #34349 apparently contains the pre-recorded, instrumental component of the track.

2. "Toy For Tots" [sic]
Capitol's Peggy Lee session file lists the title of this master as "Toy For Tots." Evidently, the plural particle has been inadvertently skipped from the first word. The actual single correctly uses the plural for both nouns.


Date: September 1, 1960
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #9629

Peggy Lee (ldr), Dave Cavanaugh (pdr), Ralph Carmichael (con), Ralph Carmichael and His Orchestra (acc), Peggy Lee (v), Other Individuals Unknown (unk)

a. 34417-6Master Take (Capitol) When He Makes Music - 2:50(Marvin Fisher, Jack Segal) / arr: Ralph Carmichael
CAPITOL 454610 — {Hey, Look Me Over / When He Makes Music}   (1961)
Armed Forces Radio Service 12" Transcription DiscP 10285 - P 10286 — Basic Music Library [7 songs from LP Extra Special!]   (1967)
CAPITOL LP(S)T 2732 — Extra Special!   (1967)
CAPITOL©EMI CS/LP(United Kingdom) Caps __/1006 (also reissued by Emi as Vine 1020) — Songs For My Man   (1977)
Capitol©EMI's Axis CS/LP(Australia) Tc.Axis 6329 / Axis 6329 — Songs For My Man   (1977)
CAPITOL©EMI CD(United Kingdom) 7243 4 93065 2 3 — Extra Special! / Somethin' Groovy!   (1998)
b. 34418-5Master Take (Capitol) My Gentle Young Johnny - 2:37(Jerry Bock, Sheldon Harnick)
CAPITOL 454449 — {I'm Gonna Go Fishin' / My Gentle Young Johnny}   (1960)
Armed Forces Radio Service 12" Transcription DiscP 7603 - P 7604 — Basic Music Library [6 songs from Broadway's Tenderloin, 1 of them a Peggy Lee vocal]   (1961)
CAPITOL©EMI CD7243 5 39756 2 3 — THE SINGLES COLLECTION   (2002)
CAPITOL©EMI CD7243 82680 2 7 — The Best Of The Singles Collection    (2003)
c. 34419-1Master Take (Capitol) Meals For Millions - 2:33(Peggy Lee)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
d. 34420-1Master Take (Capitol) I Love Being Here With You - 2:44(Dave Cavanaugh aka Bill Schluger, Peggy Lee) / arr: Bill Holman
CAPITOL 454498 — {A Bucket Of Tears / I Love Being Here With You}   (1960)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
BMG MUSIC PUBLISHING CD[promo] Pub 016 — PEGGY LEE: SONGWRITER   (2001)


The 1960-1962 Singles Sessions (Cross-references)

Dates: July 26, 1960. September 1, 1960. May 19, 1961. November 14, 1962. These four dates were the only singles sessions that Peggy Lee held between 1960 and 1962. During the same three-year period, she naturally recorded numerous album sessions as well, and Capitol culled additional singles from such sessions. But the four dates in question were the only ones exclusively dedicated to recording songs for release on singles.

Of the songs recorded at this September 1, 1960 date, Capitol promptly issued two ("My Gentle Young Johnny" and "I Love Being Here with You") on Capitol 45-rpm discs. A third master (When He Makes Music") was used the following year, as the flip side of a another single. (To be discussed at more length below, the fourth song from this date does not seem to have been meant for commercial release. "Meals For millions" was a promotional item, intended for charity.)


Meals For Millions: The Humanitarian Campaign Sessions (Cross-references)

Dates: August 19 and September 1, 1960. Peggy Lee wrote and recorded the song "Meals For Millions" in an effort to promote Meals for Millions, Inc., a non-profit organization for which she had become the chairman. This Los Angeles-based organization provided high-protein, multi-purpose food to hunger areas worldwide.


Masters And Issues

1. The Issuing Of "Meals For Millions"

Although no 45-rpm disc release of the song "Meals For Millions" is listed in Capitol's files, a disc was presumably pressed and distributed for promotional, non-commercial purposes. Hence the following remark, made by Gene Handsaker in an interview with Peggy Lee, conducted for the Associated Press: "Peggy Lee spun her latest recording on her turntable. Out came the familiar rich, warm voice pleading not of love or joy in living, but – soybeans!"

2. "Leave It To Love": Master #34416 (September 1, 1960)
3. "Leave It To Love": Master #39916 (May 31, 1963)
Capitol's session files indicate that Peggy Lee recorded the song "Leave It To Love" twice, three years apart, and that the number 34416 was given to one master, 39916 to the other. The 1960 master is shown as the one included in Lee's 1965 album Then Was Then And Now Is Now!, the 1963 master is shown as unreleased.

Nevertheless, a search of Capitol's vaults and a perusal of official paperwork have retrieved no traces of a master #34416. The Capitol Label Discography by Ruppli et al backs up this state of affairs: the note "no information" is found next to that master number.

I believe that a numerical duplication was mistakenly made in the session file: number 3[99]16 was inadvertently re-entered as number 3[44]16. All issues were wrongly listed under that duplicate master number. In this discography, the duplicate has not been entered, and the album Then Was Then And Now Is Now! (along with its derivates) has been re-assigned to master #39916, recorded on May 31, 1963.

This subject matter remains open to further scrutiny, of course. Perhaps a master #34416 will be found one day in the future, even if at the present time it seems unlikely.

4. "I'm Gonna Go Fishin'", Master #34271 (July 26 / September 1, 1960)
Back in the late 1990s, this discography's main original source of information was the Peggy Lee session file at Capitol Records. Another important source, the Capitol Label Discography, by Michel Ruppli, Bill Daniels and Ed Novitsky, was published in 2007 and did not become available to me until a few years later. One advantage of that 2007 CD-ROM source is that it culled its data not only from session files but also from other Capitol documents that had not been previously available to me.

One of the few variations or divergences between these two sources pertain to master #34271 ("I'm Gonna Go Fishin' "). Although both sources agree in giving a July 26, 1960 date to this master, only Ruppli's text lists a September 2, 1960 remake with the same master number. Ruppli also includes the following note: "this title is listed in artist files, but issues are listed as using the July 26 version (see session #9570)."

Because original and remake show the same master number, this is a matter that needs further investigation. The tapes from both sessions should be played in order to corroborate that (a) both sets of tapes really contain versions of the same song and that (b) the released version truly comes from the July 26 session. Furthermore, an inspection of AFM files both both sessions could prove helpful, too.

For as long as the matter remains unclear, I will be listing master #34271 only in the July 26 session; for further details, see that session's notes about masters.


Arrangements, Conductors And Sources

1. "When He Makes Music"
2. Ralph Carmichael
The back cover of the LP Extra Special! is one of my sources for this session's arranging credit to Ralph Carmichael ("When He Makes Music"). My other source is Peggy Lee's sheet music library, where a Carmichael arrangement of the song has been preserved. As can be seen above, Carmichael is also credited with conducting "When He Makes Music" and the other songs from this date. (The conducting credit comes from the session file, which does not include credits for the arrangements.)

3. "I Love Being Here With You"
4. Bill Holman
Peggy Lee's own personal sheet music library is my main source for the identification of Bill Holman as the arranger of "I Love Being Here With You." Two other sources also credit Holman: the label of the original 45-rpm single (#4498) and the liner notes of Capitol's boxed set Miss Peggy Lee.

The identity of the arranger of "I Love Being Here With You" is a more problematic matter. The original 45-rpm single credits Holman. Probably relying on the credit given on that single, the set Miss Peggy Lee follows suit. However, this credit is not supported by Capitol's session file. According to the file, Ralph Carmichael was the man who conducted "I Love Being Here with You" and all other songs from the September 1, 1960 session.

Which source is offering the facts, and which one is in error? Therein lies the question.

For the original 45-rpm single to be accepted as the correct source, one of the following two possibilities would have to be proven: (1) the session file erred in listing the master of "I Love Being Here With You" under this September 1, 1960 session or (2) Holman was present at the session and took over Carmichael for the conducting of "I Love Being Here With You," although no official credit was given in the file. Without going into an extensive argument, I will say that neither of these possibilities convince me as likely to be correct. (I would consider the second possibility only after consulting the AFM sheets: were Holman's name to be found among the personnel listed there, then this second possibility would be validated.)

Instead of supporting either of the above-mentioned possibilities, I am operating under the belief that master #34420 ("I Love Being Here With You") was arranged by Bill Holman but conducted by Ralph Carmichael. In other words, I believe that the 45-rpm single wrongly credits Holman as the conductor of that particular master, and I believe that the session file correctly lists the conductor of the master. Furthermore, I am inclined to think that the error in the credit stemmed from a misreading of certain circumstances that will be specified below.

Because he had arranged "I Love Being Here With You" and because he had also arranged and conducted the single's flip side, Holman could have been automatically and/or carelessly credited with conducting "I Love Being Here With You" as well.

Of even greater relevance: I suspect that "I Love Being Here With You" was originally attempted but scrapped on July 26, 1960, when it would have indeed been conducted by Holman himself. (As mentioned in the notes under the July 26 session, Capitol's session file leaves blank -- no title listed -- master #34272. The master was thus either left unused or it was used but deemed unsatisfactory and scrapped.)

If the suspicions expressed in the last paragraph are true, then the 45-rpm single that contains "I Love Being Here With You" and "A Bucket Of Tears" would have been originally scheduled to be entirely arranged and conducted by Holman. Such plans would have been modified when "I Love Being Here With You" could not be completed at the session for which Holman was hired. The single would thus be a faithful reflection of the original "schedule" but a partial misrepresentation of the actual, final events.


The Basin Street East Sessions: February 5 - March 8, 1961

Peggy Lee's Basin St. East sessions took place in February and March 1961. The extant amount of data about them is actually substantial. It is also confusing and, in some areas, inconclusive. The various official documents and the releases from Capitol Records do not fully agree in matters such as the dates, and nature of each master (i.e., live or studio). Ultimately, after careful inspection of all the data, I have arrived at my own hypotheses, which will hopefully be corroborate or refute in time. As readers check my account of these Basin Street East sessions, they should be mindful of he following caveats:

a) session information found in the Basin Street East LPs and CDs should not be fully trusted, because producers and annotators seem to have jumped to facile conclusions.

b) my presentation is partially based on speculation, or on my own interpretation of conflicting data.

c) conclusive or definitive data will not be available until a systematic aural revision of the many Basin Street East tapes in Capitol's vaults is made.

For an in-depth, session-by-session analysis of the data, and for an overview of Peggy Lee's engagement at Basin Street East (including some of the difficulties faced during the live tapings), consult this supplementary page.


Arrangements

Throughout these Basin Street East sessions, Peggy Lee's sheet music library is the source for the arranging credits that I have listed. As elsewhere, all such library credits should be considered tentative: a comparison of the written arrangements with the music audio has not yet been made.


Date: February 5, 1961
Location: 137 E48th St., Basin Street East Night Club, New York
Label: CAPITOL
Capitol Session #8253 / Taped In Concert

Peggy Lee (ldr), Dave Cavanaugh (pdr), Joe Harnell (con, p), Bob Donovan (r, f), Danny Stiles, Phil Sunkel, Willie Thomas (t), Ray De Sio, Mickey Gravine (tb), Dennis Budimir (g), Max K. Bennett (b), Abe Rosen (hrp), Stan Levey (d), Francisco "Chino" Pozo (bo, cng), Peggy Lee (v)

a. 23457-"A"Mastered By Capitol Day In - Day Out - 1:44(Rube Bloom, Johnny Mercer) / arr: Bill Holman
CAPITOL LP(S)T 1520 [Reissued as Sm 1520] — Basin Street East Proudly Presents Miss Peggy Lee   (1961)
Capitol©EMI's Axis CD(Australia) 7017482 — Beauty And The Beat! / Basin Street East   (1991)
CAPITOL Jazz CD7243 8 32744 2 0 — Basin Street East Proudly Presents Miss Peggy Lee   (1995)
Joker Tonverlag/Sarabandas/Promo Sound AG Bootleg CD(Switzerland) 346 — Peggy Lee In Concert ("The Entertainers" Series)   (1996)
CAPITOL©EMI's Gold CD(United Kingdom) G 7047302 — Trav'lin' Light / Basin Street East Proudly Presents Miss Peggy Lee   (2012)
Real Gone Jazz Public Domain CD(Holland) Rgjcd 314 (also 5036408133823) — Peggy Lee ("Eight Classic Albums" Series)   (2012)
b. 23458-"A"Mastered By Capitol Moments Like This - 2:55(Burton Lane, Frank Loesser)
CAPITOL LP(S)T 1520 [Reissued as Sm 1520] — Basin Street East Proudly Presents Miss Peggy Lee   (1961)
Capitol©EMI's Axis CD(Australia) 7017482 — Beauty And The Beat! / Basin Street East   (1991)
CAPITOL Jazz CD7243 8 32744 2 0 — Basin Street East Proudly Presents Miss Peggy Lee   (1995)
Joker Tonverlag/Sarabandas/Promo Sound AG Bootleg CD(Switzerland) 346 — Peggy Lee In Concert ("The Entertainers" Series)   (1996)
CAPITOL©EMI's Gold CD(United Kingdom) G 7047302 — Trav'lin' Light / Basin Street East Proudly Presents Miss Peggy Lee   (2012)
Real Gone Jazz Public Domain CD(Holland) Rgjcd 314 (also 5036408133823) — Peggy Lee ("Eight Classic Albums" Series)   (2012)
c. 23459-Rejected?-"A"Mastered By Capitol One Kiss: Operetta/Jumbo Medley(Sigmund Romberg, Oscar Hammerstein II)
unissued
d. 23459-Rejected?-"A"Mastered By Capitol My Romance: Operetta/Jumbo Medley(Lorenz Hart, Richard Rodgers)
unissued
e. 23459-Rejected?-"A"Mastered By Capitol The Vagabond King Waltz: Operetta/Jumbo Medley(Rudolph Friml, Brian Hooker) / arr: Quincy Jones
unissued
f. 23590-"A"Mastered By Capitol Fever - 2:55(Otis Blackwell aka John Davenport, Eddie Cooley, Uncredited Second Lyricist) / arr: Peggy Lee
CAPITOL LP(S)T 1520 [Reissued as Sm 1520] — Basin Street East Proudly Presents Miss Peggy Lee   (1961)
Capitol©EMI's Axis CD(Australia) 7017482 — Beauty And The Beat! / Basin Street East   (1991)
CAPITOL Jazz CD7243 8 32744 2 0 — Basin Street East Proudly Presents Miss Peggy Lee   (1995)


Dating

In 1961, February 5 fell on a Sunday. Oddly, the words "nightly except Sunday" appears in the few 1961 Basin Street East trade ads that I have seen. If the ads' wording means that the club was invariably closed on Sundays in 1961, then either (a) Capitol's session files show a wrong date or (b) a special concert took place on that night, perhaps with a special audience.


Sources, Masters, And Dating

Due to the complex nature of the Basin Street East sessions, I have provided a supplementary page with raw data about them (e.g, transcriptions of the Basin Street East dates as they appear in Capitol's session file). That supplementary page also includes my analysis of various conflicting or tentative matters, such as my dating and my (live versus studio) identification of the masters.


Date: February 8, 1961 ("Dinner" Show)
Location: Basin Street East, E48th St., New York
Label: CAPITOL
No Assigned Session Number / Taped In Concert

Peggy Lee (ldr), Dave Cavanaugh (pdr), Joe Harnell (con, p), Bob Donovan (r, f), Danny Stiles, Phil Sunkel, Willie Thomas (t), Ray De Sio, Mickey Gravine (tb), Dennis Budimir (g), Max K. Bennett (b), Abe Rosen (hrp), Stan Levey (d), Francisco "Chino" Pozo (bo, cng), Peggy Lee (v), Session Musicians (bkv)

a. "B"Mastered By Capitol Day In - Day Out - 1:47(Rube Bloom, Johnny Mercer) / arr: Bill Holman
b. "A"Mastered By Capitol Call Me Darling, Call Me Sweetheart, Call Me Dear - 2:32(Dorothy Dick, Mort Fryberg, Rolf Marbet, Bert Reisfeld) / arr: Bill Holman
c. "B"Mastered By Capitol One Kiss: Operetta/Jumbo Medley - 1:03(Sigmund Romberg, Oscar Hammerstein II)
d. "B"Mastered By Capitol My Romance: Operetta/Jumbo Medley - 1:17(Lorenz Hart, Richard Rodgers)
e. Mastered By Capitol The Most Beautiful Girl In The World: Operetta/Jumbo Medley - 1:53(Lorenz Hart, Richard Rodgers)
f. "A"Mastered By Capitol But Beautiful - 2:43(Johnny Burke, Jimmy Van Heusen) / arr: Richard "Dick" Hazard
g. "A"Mastered By Capitol The Second Time Around - 2:44(Sammy Cahn, Jimmy Van Heusen) / arr: Richard "Dick" Hazard
h. "B"Mastered By Capitol Fever - 2:59(Otis Blackwell aka John Davenport, Eddie Cooley, Uncredited Second Lyricist) / arr: Peggy Lee
i. Mastered By Capitol I'm Gonna Go Fishin' - 3:46(Duke Ellington, Peggy Lee) / arr: Bill Holman
j. "A"Mastered By Capitol I Love Being Here With You - 2:32(Dave Cavanaugh aka Bill Schluger, Peggy Lee) / arr: Bill Holman
k. Mastered By Capitol By Myself - 3:56(Harold Dietz, Arthur Schwartz)
l. Mastered By Capitol Heart - 1:56(Richard Adler, Jerry Ross, John M. "Jack" Elliot)
m. Mastered By Capitol I've Never Left Your Arms - 4:08(Lew Spence) / arr: Richard "Dick" Hazard
n. Mastered By Capitol Intro: Ray Charles Medley - 1:39(Peggy Lee) / arr: Quincy Jones
o. Mastered By Capitol Hallelujah, I Love Him So: Ray Charles Medley - 1:33(Ray Charles) / arr: Quincy Jones
p. "A"Mastered By Capitol I Got A (Wo)Man: Ray Charles Medley - 1:59(Ray Charles, Denise Rich) / arr: Quincy Jones
q. Mastered By Capitol You Won't Let Me Go: Ray Charles Medley - 1:33(Bud Allen, Woodrow "Buddy" Johnson) / arr: Quincy Jones
r. "A"Mastered By Capitol Just For A Thrill: Ray Charles Medley - 3:04(Lillian Hardin Armstrong, Don Raye) / arr: Quincy Jones
s. "A"Mastered By Capitol Yes, Indeed!: Ray Charles Medley - 3:37(Sy Oliver) / arr: Quincy Jones
t. Mastered By Capitol I Don't Know Enough About You: Hits Medley - 1:23(Dave Barbour, Peggy Lee)
u. Mastered By Capitol Mañana: Hits Medley - 0:30(Dave Barbour, Peggy Lee)
v. Mastered By Capitol Why Don't You Do Right?: Hits Medley - 0:42(Joe McCoy) / arr: Bill Holman
w. Mastered By Capitol Lover: Hits Medley - 1:04(Lorenz Hart, Richard Rodgers)
x. Mastered By Capitol It's A Good Day: Hits Medley - 1:02(Dave Barbour, Peggy Lee)
All titles on: Collectors' Choice Licensed CDCcm 294 2 — PEGGY AT BASIN STREET EAST   (2002)


Sources

Though not listed in Capitol's session files, this concert was found in the company's vaults. It was made commercially available in the form of a Collectors' Choice CD aptly titled Peggy At Basin Street East: The Unreleased Closing Night - February 8, 1961, New York City (#294 2), whose booklet is my main source of information. In a note that is part of the CD's booklet, co-producer Cy Godfrey explains that this concert survived in the form of mis-marked tapes, which "might have been destroyed were they not listed in Capitol's computers as backup or safety tapes made on February 16, 1961. It was not until they were examined and played that we realized that they were the long-lost closing night recordings made on February 8, 1961, and that February 16 was a tape transfer date."


Masters And Songs

1. Instrumentals
2. "Overture"
3. "Peggy Lee's Bow Music"
Among the 14 tracks that are part of Collectors' Choice CD #294 2, there are two instrumentals: an "Overture" with which Joe Harnell and the other musicians open the show (timing: 1:32) and a thematic track titled "Peggy Lee Bow Music" (timing: 1:24), obviously played while the singer is taking her bows.

4. Medleys
5. The Hits Medley
6. The Love Medley
This concert includes 4 medleys. Those are not medleys of the 'garden variety' type (i.e. not the kind of superficial medley which circumscribes itself to just two or three lines from each song). Lee sings a fair number of choruses from each song, and interprets each medley cohesively.

The only arguable exception is the fourth medley, which Peggy Lee jokingly calls "a fruit compote." Dedicated to her hits of yore, Lee sings one fast chorus or two from each of the chosen songs. She still brings a fresh twist to them. New arrangements are heard during "Mañana," "It's A Good Day" and, most notably, "Lover." There are partially different phrasing in some of the selections, too. This hits medley is the concert's encore.

The four medleys are:

a) One Kiss / My Romance / The Most Beautiful Man In The World (Timing: 4:15)
b) But Beautiful / The Second Time Around (Timing: 5:46)
c) Ray Charles Tribute, which begins with a sung intro. (I am tentatively crediting Lee as the songwriter of that brief bit of introductory, special material.) / Hallelujah, I Love Him So / I Got A Man / You Won't Let Me Go / Just For A Thrill / Yes, Indeed! (Timing: 14:30)
d) I Don't Know Enough About You / Mañana / Why Don't You Do Right? / Lover / It's A Good Day (Timing: 4:45)

Comments from a concertgoer (who attended on a different night) suggest that Lee sometimes treated the second medley as a three-song arc about love. Without pausing, she would sing back-to-back and complete versions of "But Beautiful," "I've Never Left You Arms," and "The Second Time Around." (In this session's concert, however, she chose to sing "I've Never Left You Arms" separately.)


Issues

1. "You Won't Let Me Go"
2. Peggy At Basin Street East [CD]
The track listing of Collectors' Choice CD #294 2 misses "You Won't Let Me Go," which is part of Lee's tribute medley to Ray Charles.

3. Peggy Lee's Goodbye To Her Basin Street East Audience
4. Basin Street East Proudly Presents Miss Peggy Lee [CD]
Notice that Capitol licensed the entire contents of this session to Collectors' Choice, and that Capitol itself has not released any of it. The material that Capitol has issued on its LP and CD incarnations of Basin Street East Proudly Presents Miss Peggy Lee comes instead from the other Basin Street East sessions listed in this page.

There is, however, one minor exception to the points made in the paragraph above: the instrumental "Peggy Lee's Bow Music" is part of both Capitol and Collectors' Choice releases. Incidentally, Lee is heard at the end of this instrumental, thanking and saying farewell to the audience. Capitol issues end with this farewell but the Collectors' Choice disc continues with one final track -- Lee's encore, aka the hits medley.


Miscellanea

1. Peggy Lee Plugs Frances Faye
2. "It's A Good Day"
While singing "It's A Good Day," Peggy Lee sneaks in the words "don't forget Frances Faye ....... tomorrow!" The winningly raucous performer was indeed scheduled to follow Lee at Basin Street East. (Lee obviously wanted the club to maintain the successful, over-capacity attendance that it had been enjoying during her engagement. And she was fond of Faye as well. I am not completely sure that the singer-pianist was able to start her engagement on the next day, however. I have heard of one Basin Street East engagement that Faye had to postpone due to illness; it could have been this one.)


Date: February 8, 1961 ("Supper" Show)
Location: 137 E48th St., Basin Street East Night Club, New York
Label: CAPITOL
Capitol Session #8254 Or #8255 / Taped In Concert

Peggy Lee (ldr), Dave Cavanaugh (pdr), Joe Harnell (con, p), Bob Donovan (r, f), Danny Stiles, Phil Sunkel, Willie Thomas (t), Ray De Sio, Mickey Gravine (tb), Dennis Budimir (g), Max K. Bennett (b), Abe Rosen (hrp), Stan Levey (d), Francisco "Chino" Pozo (bo, cng), Peggy Lee (v)

a. 23460-Rejected?-"B"Mastered By Capitol But Beautiful(Johnny Burke, Jimmy Van Heusen) / arr: Richard "Dick" Hazard
unissued
b. 23461-Rejected?-"A"Mastered By Capitol Them There Eyes(Maceo Pinkard, Doris Tauber, William Tracey) / arr: Richard "Dick" Hazard
unissued
c. 23462-Rejected?-"B"Mastered By Capitol I Got A (Wo)Man(Ray Charles, Renald Richard)
unissued
d. 23463-"B"Mastered By Capitol Just For A Thrill - 3:20(Lillian Hardin Armstrong, Don Raye)
CAPITOL LP(S)T 1520 [Reissued as Sm 1520] — Basin Street East Proudly Presents Miss Peggy Lee   (1961)
Capitol©EMI's Axis CD(Australia) 7017482 — Beauty And The Beat! / Basin Street East   (1991)
CAPITOL Jazz CD7243 8 32744 2 0 — Basin Street East Proudly Presents Miss Peggy Lee   (1995)
Joker Tonverlag/Sarabandas/Promo Sound AG Bootleg CD(Switzerland) 346 — Peggy Lee In Concert ("The Entertainers" Series)   (1996)
CAPITOL©EMI's Gold CD(United Kingdom) G 7047302 — Trav'lin' Light / Basin Street East Proudly Presents Miss Peggy Lee   (2012)
Real Gone Jazz Public Domain CD(Holland) Rgjcd 314 (also 5036408133823) — Peggy Lee ("Eight Classic Albums" Series)   (2012)


Songs And Songwriters

1. "I Got A Man"
Peggy Lee sings a gender-altered variation of the song "I Got A Woman," co-written and popularized by Ray Charles. Heard throughout this feminized version are quite a few modified lyrics, perhaps conceived by Lee herself.

2. Renald Richard
The song "I Got A (Wo)man" is credited only to Ray Charles in many issues, including the original Capitol LP Basin Street East Proudly Presents Miss Peggy Lee. Nonetheless, the song is actually a collaboration between Charles and trumpet player Renald Richard.


Sources, Masters, And Dating

Due to the complex nature of the Basin Street East sessions, I have provided a supplementary page with raw data about them (e.g, transcriptions of the Basin Street East dates as they appear in Capitol's session file). That supplementary page also includes my analysis of various conflicting or tentative matters, such as my dating and my (live versus studio) identification of the masters.


Date: February 9, 1961 (Extra Show, With Invited Audience)
Location: 137 E48th St., Basin Street East Night Club, New York
Label: CAPITOL
Capitol Session #8255 Or #8256) / Taped In Concert

Peggy Lee (ldr), Dave Cavanaugh (pdr), Joe Harnell (con, p), Bob Donovan (r, f), Danny Stiles, Phil Sunkel, Willie Thomas (t), Ray De Sio, Mickey Gravine (tb), Dennis Budimir (g), Max K. Bennett (b), Abe Rosen (hrp), Stan Levey (d), Francisco "Chino" Pozo (bo, cng), Peggy Lee (v)

a. 23464-"B"Mastered By Capitol Call Me Darling, Call Me Sweetheart, Call Me Dear - 2:30(Dorothy Dick, Mort Fryberg, Rolf Marbet, Bert Reisfeld) / arr: Bill Holman
CAPITOL Jazz CD7243 8 32744 2 0 — Basin Street East Proudly Presents Miss Peggy Lee   (1995)
CAPITOL©EMI's Gold CD(United Kingdom) G 7047302 — Trav'lin' Light / Basin Street East Proudly Presents Miss Peggy Lee   (2012)
b. 23465-"B"Mastered By Capitol I Love Being Here With You - 2:40(Dave Cavanaugh aka Bill Schluger, Peggy Lee) / arr: Bill Holman
CAPITOL LP(S)T 1520 [Reissued as Sm 1520] — Basin Street East Proudly Presents Miss Peggy Lee   (1961)
CAPITOL jukebox EPX 1520 — Basin Street East Proudly Presents Miss Pegg Lee   (1961)
Capitol©EMI's Axis CD(Australia) 7017482 — Beauty And The Beat! / Basin Street East   (1991)
c. 23466-"B"Mastered By Capitol Yes, Indeed! - 3:11(Sy Oliver)
CAPITOL 454576 — {Yes, Indeed / Boston Beans}   (1961)
CAPITOL LP(S)T 1520 [Reissued as Sm 1520] — Basin Street East Proudly Presents Miss Peggy Lee   (1961)
USA Government's Air Force Recruitment Service AFRS 45Programs No. 169-170 — Music In The Air {Yes, Indeed / I Can Just Imagine [Floyd Cramer instrumental]}    (1961)
d. 23462-"C"Mastered By Capitol I Got A (Wo)Man - 2:42(Ray Charles, Renald Richard)
CAPITOL LP(S)T 1520 [Reissued as Sm 1520] — Basin Street East Proudly Presents Miss Peggy Lee   (1961)
Capitol©EMI's Axis CD(Australia) 7017482 — Beauty And The Beat! / Basin Street East   (1991)
CAPITOL Jazz CD7243 8 32744 2 0 — Basin Street East Proudly Presents Miss Peggy Lee   (1995)
Joker Tonverlag/Sarabandas/Promo Sound AG Bootleg CD(Switzerland) 346 — Peggy Lee In Concert ("The Entertainers" Series)   (1996)
CAPITOL©EMI's Gold CD(United Kingdom) G 7047302 — Trav'lin' Light / Basin Street East Proudly Presents Miss Peggy Lee   (2012)
Real Gone Jazz Public Domain CD(Holland) Rgjcd 314 (also 5036408133823) — Peggy Lee ("Eight Classic Albums" Series)   (2012)
e. 23459-Rejected-"C"Mastered By Capitol One Kiss: Operetta/Jumbo Medley(Sigmund Romberg, Oscar Hammerstein II)
unissued
f. 23459-Rejected-"C"Mastered By Capitol My Romance: Operetta/Jumbo Medley(Lorenz Hart, Richard Rodgers)
unissued
g. 23459-Rejected-"B"Mastered By Capitol The Vagabond King Waltz: Operetta/Jumbo Medley(Rudolph Friml, Brian Hooker) / arr: Quincy Jones
unissued
h. 23460-Rejected-"C"Mastered By Capitol But Beautiful(Johnny Burke, Jimmy Van Heusen) / arr: Richard "Dick" Hazard
unissued
i. 23460-Rejected-"B"Mastered By Capitol The Second Time Around(Sammy Cahn, Jimmy Van Heusen) / arr: Richard "Dick" Hazard
unissued


Songs

1. Tribute Medley To Ray Charles
2. "I Got A Man"
During regular concerts, Peggy Lee sang "I Got A Man" as part of a medley in tribute to Ray Charles. She does so, for instance, in the full concert from February 8 that was released on CD by Collectors' Choice. For this session she performed "I Got A Man" not as part of a medley, however, but as a separate track. (See also parallel comment about "Them There Eyes," in notes under session dated February 28, 1961.)

2. Peggy Lee's Bow Music"
Since master #23467 is an instrumental in which Lee does not play, I have not entered it in this Peggy Lee sessionography. (It was played by the musicians while she was taking her bows.)


Issues

1. Basin Street East Proudly Presents Miss Peggy Lee [CD]
The track listing of this Capitol CD contains a minor mistake. Its last two tracks are listed in the following manner:

12. A Tribute To Ray Charles:
Just For A Thrill
Yes Indeed
13. Peggy Lee Bow Music


The mistake is that, based on how these selection are tracked by music players, the total number of tracks should be 14. "Peggy Lee Bow Music" is tracked as #14 Moreover, players track "Yes, Indeed!" as #13 (despite the fact that, being part of the tribute to Ray Charles, it would be more logical to expect "Yes Indeed" among the titles gathered under #12).


Collectors' Corner

1. "Yes, Indeed! / Boston Beans" [45]
Capitol 45-rpm single F 4576 was issued with a picture sleeve. A smiling Peggy has her arms half raised. Her hands are under the collar of the white blouse that she is wearing.


Sources, Masters, And Dating

Due to the complex nature of the Basin Street East sessions, I have provided a supplementary page with raw data about them (e.g, transcriptions of the Basin Street East dates as they appear in Capitol's session file). That supplementary page also includes my analysis of various conflicting or tentative matters, such as my dating and my (live versus studio) identification of the masters.


Date: February 28, 1961
Location: unknown
Label: CAPITOL
Session Number, If Any, Unknown / Overdub Date

Peggy Lee (ldr), Dave Cavanaugh (pdr), Other Individuals Unknown (acc), Peggy Lee (v)

a. 23459-"D"Master Take (Capitol) One Kiss: Operetta/Jumbo Medley - 0:48(Sigmund Romberg, Oscar Hammerstein II)
b. 23459-"D"Master Take (Capitol) My Romance: Operetta/Jumbo Medley - 2:00(Lorenz Hart, Richard Rodgers)
c. 23459-"C"Master Take (Capitol) The Vagabond King Waltz: Operetta/Jumbo Medley - 2:50(Rudolph Friml, Brian Hooker) / arr: Quincy Jones
d. 23461-"B"Master Take (Capitol) Them There Eyes - 1:48(Maceo Pinkard, Doris Tauber, William Tracey) / arr: Richard "Dick" Hazard
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
e. 23468-"C"Master Take (Capitol) The Second Time Around - 3:05(Sammy Cahn, Jimmy Van Heusen)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
Reader's Digest Licensed CS/CDRf 140 / Krf 140 [also Emi 72434 99216] — The Legendary Peggy Lee; Her Greatest Hits & Finest Performances   (1999)
CAPITOL©EMI Publishing House CDMp Aw 11/05 — The EMI Songs Collection ("Great Singers Sing Great Songs," Volume 4: Peggy Lee)   (2005)
[label unclear] promotional CD — The Unforgettable Peggy Lee   
All titles on: CAPITOL LP(S)T 1520 [Reissued as Sm 1520] — Basin Street East Proudly Presents Miss Peggy Lee   (1961)
CAPITOL jukebox EPX 1520 — Basin Street East Proudly Presents Miss Pegg Lee   (1961)
Capitol©EMI's Axis CD(Australia) 7017482 — Beauty And The Beat! / Basin Street East   (1991)


Songs

1. Tribute Medley To Billie Holiday
2. "Them There Eyes"
Through her February 1961 Basin Street East engagement, Peggy Lee sang two tribute medleys. One was dedicated to Ray Charles, the other to Billie Holiday. In all likelihood, Lee sang both medleys on most nights, but alternated between them: one was done at the early show, the other at the late show. Taped by Capitol, the Ray Charles medley has been preserved, fortunately.

The Billie Holiday medley does not seem to have been taped, unfortunately. "God Bless The Child" and "Loverman" are among the numbers that Lee probably sang as part of this medley. "Them There Eyes" might have been its centerpiece.

At this studio session, Cavanaugh and Lee decided to reprise not the entire medley but its centerpiece. Lee sings the number in full. "Them There Eyes" was actually a song to which Lee returned often during her career, not only in concert but also on record (1946, 1947, 1952) and on TV (1962, 1983).

(See also parallel comment about the Ray Charles Medley and its "I Got A Man," in notes under session dated February 9, 1961.)

3. One Kiss Medley
4. "The Vagabond King Waltz"
5. "The Most Beautiful Man In The World"
Another medley that Peggy Lee did at the Basin Street East club consisted of the songs "One Kiss," "My Romance" and a varying third number. In the February 8 concert that was issued on CD by Collectors' Choice, the medley's third song is "The Most Beautiful Man In The World." In this studio session, it is instead "The Vagabond King Waltz."

In the interest of variety, Lee probably alternated between "The Most Beautiful Man In The World" and "The Vagabond King Waltz" during her live shows. (As already mentioned, she alternated between her Ray Charles and her Billie Holiday medleys, too. There are also two or three other titles, such as "It All Depends On You" and "Moments Like This," which she did not sing on every show during this run.)

6. Ballad Medley
7. "But Beautiful"
8. "The Second Time Around"
In the February 8 concert that was released by Collectors' Choice, Peggy Lee performs "But Beautiful" and "The Second Time Around" as one ballad medley. At these studio sessions, Lee and Cavanaugh chose to record the two numbers separately.


Arrangements

1. "Them There Eyes"
2. Mundell Lowe
3. Marty Paich
In addition to this session's score by Dick Hazard, Peggy Lee kept two other arrangements of "Them There Eyes" in her sheet music library, one by Mundell Lowe and the other by Marty Paich.


Sources, Masters, And Dating

Due to the complex nature of the Basin Street East sessions, I have provided a supplementary page with raw data about them (e.g, transcriptions of the Basin Street East dates as they appear in Capitol's session file). That supplementary page also includes my analysis of various conflicting or tentative matters, such as my dating and my identification of the masters as either live taping or studio recordings.


Date: March 1, 1961
Location: unknown , unknown
Label: CAPITOL
Session Number, If Any, Unknown / Overdub Date

Peggy Lee (ldr), Dave Cavanaugh (pdr), Other Individuals Unknown (acc), Peggy Lee (v)

a. 23458?-"B"Master Take (Capitol) Moments Like This - 2:46(Burton Lane, Frank Loesser)
CAPITOL©EMI CD7243 5 39756 2 3 — THE SINGLES COLLECTION   (2002)
CAPITOL©EMI CD7243 82680 2 7 — The Best Of The Singles Collection    (2003)
b. 23460-"D"Master Take (Capitol) But Beautiful - 2:49(Johnny Burke, Jimmy Van Heusen) / arr: Richard "Dick" Hazard
CAPITOL LP(S)T 1520 [Reissued as Sm 1520] — Basin Street East Proudly Presents Miss Peggy Lee   (1961)
Capitol©EMI's Axis CD(Australia) 7017482 — Beauty And The Beat! / Basin Street East   (1991)
CAPITOL Jazz CD7243 8 32744 2 0 — Basin Street East Proudly Presents Miss Peggy Lee   (1995)
c. 234566-"C"Master Take (Capitol) Yes, Indeed!(Sy Oliver)
unissued


Songs And Cross-references

1. "Moments Like This"
Lane and Loesser's "Moments Like This" seems to have been a favorite Peggy Lee standard. She taped or recorded quite a few versions. There are three studio masters (February 19, 1960; March 1, 1961; September 8, 1992 ), one extant live performance (February 5, 1961) and one televised broadcast (May 25, 1966).

Of course, she probably sang this number often through her Basin Street East engagement, although not on every show. For the sake of variety, Lee is likely to have skipped "Moments Like This" at times, substituting it with another ballad (possibly "It All Depends On You").


Issues

1. Capitol #4576 [45]
2. "Moments Like This"
3. "Boston Beans"
According to an oral report for which I have no official confirmation, this studio recording of "Moments Like This" was slated for release as a single. Ultimately, however, it was excluded from release not only on 45-rpm disc but also on all other formats. The producers of The Singles Collection made the smart decision of finally releasing it in that CD set, on the rationale that -- though previously unissued -- it had been originally intended for 45-rpm issue, after all.

It occurs to me that "Moments Like This" might have been originally planned for inclusion in Capitol single #4576. That 45-rpm disc does include one song from the Basin Street sessions ("Yes, Indeed!"). The flip side features "Boston Beans" (recorded on April 15, 1961), which bears no relation to Basin Street East, however.

A Capitol ad for single #4576 suggests that it was rush-released, and that the reason for the rush was the unexpected demand for "Boston Beans," particularly in the Massachusetts record market. If this information is true (rather than mere promotional overstatement), then perhaps Cavanaugh decided to bump "Moments Like This" out of the single in favor of the interest-arising "Boston Beans."

4. Basin Street East Proudly Presents Miss Peggy Lee [Jukebox EP]
The catalogue number X-1520 belongs to the jukebox EP version of Basin Street East Proudly Presents Miss Peggy Lee. The EP set consists of the following 33 rpm discs, all of them released only in stereo:

X1 1520 - [titles unknown]
X2 1520 - "The Second Time Around" & "Medley: One Kiss-My Romance/ The Vagabond King Waltz"
X3 1520 - [titles unknown]
X4 1520 - "Them There Eyes" & "I Love Being Here With You"
X5 1520 - [titles unknown]

This jukebox set thus culls 10 of the 12 tracks sung by Lee in its LP counterpart.

An additional note, pertaining to jukebox EPs in general. Oftentimes, discs such as the ones from the EP under discussion wound up being sold as separate pieces. Online auction sites sometimes misrepresent their true nature, failing to acknowledge that they were originally part of a larger unit.

5. The Album Basin Street East Proudly Presents Miss Peggy Lee In The Music Charts And At The Grammys
This long play entered Billboard's Best-Selling Pop LPs chart on the week of September 11, 1961 and thereby became Peggy Lee's 9th album entry. It peaked at #77 and spent 22 weeks in this chart. (For her 9th album entry, see earlier session, dated March 28, 1959).

Held on May 29, 1962, the fourth Grammy awards ceremony downsized its awards for best female popular singer from two to one. The category was renamed Best Solo Vocal, Female. Also, this time all nominations were for albums, none for singles. Those differences aside, tidings in this category went almost as usual: Ella Fitzgerald and Peggy Lee were nominated for the fourth straight year -- Fitzgerald for an album that the Academy listed as Mr. Paganini. (I presume that the album in question is the one officially titled Ella In Hollywood, whose most popular song was "Mr. Paganini.") On this occasion, the winner was not Fitzgerald but Judy Garland, for her concert piece Live At Carnegie Hall. The other two nominees were Billie Holiday and Lena Horne.


Sources, Masters, And Dating

Due to the complex nature of the Basin Street East sessions, I have provided a supplementary page with raw data about them (e.g, transcriptions of the Basin Street East dates as they appear in Capitol's session file). That supplementary page also includes my analysis of various conflicting or tentative matters, such as my dating and my (live versus studio) identification of the masters.


Date: April 14, 1961
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #10044

Peggy Lee (ldr), Dave Cavanaugh (pdr), Quincy Jones (con), Benny Carter, Buddy Collette (as), Bill Green, Bill Perkins (ts), Jack Nimitz (bar), Robert "Bob" Fowler, Conrad Gozzo, Al Porcino, Jack Sheldon (t), Vernon "Vern" Friley, Lewis "Lew" McCreary, Frank Rosolino (tb), Bob Knight (bt), Dennis Budimir (g), Max K. Bennett (b), Frank Strazzeri (p), Stan Levey (d), Francisco "Chino" Pozo (cng, per), Peggy Lee (v)

a. 35741-8Master Take (Capitol) Kansas City - 2:28(Mike Stoller, Jerry Leiber) / arr: Richard "Dick" Hazard
CAPITOL 45Pro 1976 — {Kansas City / Goin' To Chicago Blues} (Selections From The Album Blues Cross Country)   (1962)
Pickwick Licensed 8-track/LPP8 139/(S)Pc 3090 — Once More With Feeling   (1968)
Pickwick Licensed LPPtp 2028 2 — Once More With Feeling / I've Got The World On A String ("2 Sensational Albums In 1 Hit Package")    (1968)
b. 35742-6Master Take (Capitol) I Lost My Sugar In Salt Lake City - 2:50(Johhny Lange, Leon Rene)
Both titles on: CAPITOL LP(S)T 1671 — Blues Cross Country   (1962)
CAPITOL jukebox EPXe 1671 — Blues Cross Country   (1962)
Armed Forces Radio Service 12" Transcription DiscP 7983- P 7984 — Basic Music Library [LP Blues Cross Country]   (1962)


The Blues Cross Country Album Sessions (Cross-references)

Dates: April 14, 15, 17 and 19, 1961. May 19, 1961.


Sources And Personnel

1. Reliability
I have three main sources for the personnel of the 1961 Blues Cross Country sessions: Capitol's Peggy Lee sessions file, the booklet of the official CD issue (Capitol Jazz #724352008827, produced by Michael Cuscuna), and Michel Ruppli's The Capitol Label Discography. To simplify this commentary, I will call these three sources A, B, and C, respectively. There is also a fourth source of note, the booklet of the Public Domain CD Blues Cross Country / If You Go from the Fresh Sound company, identified in the paragraphs below as source D.

Out of these four sources, I consider B (the Capitol Jazz CD) the most trustworthy, in part because of my assumption that producer Michael Cuscuna and company consulted the session reports at the American Federations of Musicians. (The rationale behind the assumption: Cuscuna is known to have done so for many of the jazz-oriented releases in which he has been involved.) On the matter of session personnel, the AFM reports are considered the most reliable of all the existent sources. (It is still healthy to bear in mind that, even if my assumption that source B comes from the AFM reports were to be proven correct, we should never discard the possibility of human error, particularly during the process of transcribing and printing information.)

Although my four sources do agree to a large extent, there are discrepancies among them, especially in the matter of which musicians were present for each session, and less significantly in the identification of instruments played. Sources B, C, and D are actually closely aligned, with a few exceptions, such as the sax distribution for this April 14, 1961 date.

Source A is, by far the most divergent of the four. It gives a collective personnel for all the April 1961 dates, and no personnel for the May 19, 1961 sessions. The collectivity already marks this source as less valuable than the other three sources form, which for generally form an unified, agreeing group. (Most likely, source D consulted source B, and source C consulted one or more of the other sources.)

Among the more specific points that also diminish the value of source A is its listing of three musicians who are nowhere to be found in the other sources (pianist Lou Levy, trumpet players Frank Beach and Manny Klein). Compounding that source's shortcomings is the fact that it lists the dates' pianist(s) as "Lou Levy or Jimmy Rowles."

After studying and comparing the four sources, I have come to suspect that the personnel listed in source A was a projected or tentative one. A scheduled or planned personnel could explain the source's inclusion of Lou Levy, who was Peggy Lee's regular piano accompanist during these years, and who might have not participated in these sessions either because his technique was deemed unsuitable to the brassy dates planned or, more likely, because he was otherwise occupied (perhaps playing for Ella Fitzgerald, as he is known to have done from time to time during these years, when not working for Peggy Lee).

Other specific personnel divergences among the four sources will be discussed more in the notes under each of the Blues Cross Country sessions, including this one. Herein, suffice it to reiterate that I have chosen B as my primary source, and that I will be using these session notes to point out disagreements between B and my other sources.

2. Saxophones: Source Divergences
Sources A and C claim Plas Johnson and Bill Perkins on tenor saxes, Benny Carter and Bill Green on alto saxes. Sources B and D agree on Carter and Perkins only, listing Green on tenor instead of alto and omitting Johnson. Sources B and D also add Buddy Collette on alto sax.

3. Piano: Source Divergences
Source A list "Lou Levy or Jimmy Rowles" as the date's pianist; all other sources identify the pianist as Frank Strazzeri.

4. Percussion: Source Divergences
For this session, Chino Pozo is listed as playing conga and bongo according to source A, bongos (plural) but no conga according to source C. Meanwhile, sources B and D list him not on bongo but on conga and percussion.

5. Trumpets: Source Divergences
As already pointed out, source A lists six trumpet players, while all other sources list four. The additional players in source A are Frank Beach and Manny Klein.


Arrangers And Arrangements

1. Quincy Jones
The Capitol album Blues Cross Country credits all its arrangements to the album's conductor, Quincy Jones. Collective credits such as this one often prove to be inaccurate generalizations. I have thus abstained from crediting Jones, except fro those cases in which Peggy Lee's sheet music library holds arrangements under his name.

2. Dick Hazard
3. "Kansas City"
There is one arrangement of "Kansas City" in Lee's library, and it is credited to Dick Hazard. Because I have not been able to inspect the arrangement or to verify that it is the same one used for the album's version, this credit should be deemed tentative. Hence both Quincy Jones and Dick Hazard remain in contention as possible authors of the "Kansas City" arrangement.


Masters And Dating

1. "Goin' To Chicago Blues" [Master #35743]
In Capitol's session file, Lee's performance of "Goin' To Chicago Blues" appears under this session. In the discographical information provided by the Capitol Jazz CD Blues Cross Country, it is found under the next date. Meanwhile, the Capitol Label Discography by Ruppli et al lists the song title under both sessions, and clarifies that the April 15 entry was a a remake.

It thus seems that Lee and company first attempted "Goin' To Chicago Blues" on April 14, then on the 15th. The master number of the April 14 performance (35743) was re-assigned to the April 15 remake. Since the Capitol documentation at my reach gives no clear indication that this April 14 performance of "Goin' To Chicago Blues" was preserved, I have included master number 35743 only under the April 15 date.


Issues

1. Blues Cross Country [Jukebox EP]
The catalogue number XE-1671 belongs to the jukebox EP version of Blues Cross Country. The EP set consists of the following 33-rpm discs, all of them released only in stereo:

Xe1 671 & Xe2 671 - "Kansas City" & "Basin Street Blues"
Xe3 671 & Xe4 671 - "Los Angeles Blues" & "I Lost My Sugar In Salt Lake City"
Xe5 671 & Xe5 671 - "The Grain Belt Blues" & "New York City Blues"
Xe7 671 & Xe6 671 - "Goin' To Chicago Blues" & "San Francisco Blues"
Xe9 671 & Xe10 671 - "Boston Beans" & "St. Louis Blues"

This jukebox set thus culls 10 of the 12 songs from its LP counterpart, leaving out "Fisherman's Wharf" and "The Train Blues."

An additional side note, pertaining to jukebox EPs in general. Oftentimes, discs such as the ones from the EP under discussion wound up being sold as separate pieces. Online auction sites sometimes misrepresent their true nature, failing to acknowledge that they were originally part of a larger unit.


Date: April 15, 1961
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #10046

Peggy Lee (ldr), Dave Cavanaugh (pdr), Quincy Jones (con), Benny Carter, Bill Green (as), John "Plas" Johnson, Bill Perkins (ts), Jack Nimitz (bar), Robert "Bob" Fowler, Conrad Gozzo, Al Porcino, Jack Sheldon (t), Vernon "Vern" Friley, Lewis "Lew" McCreary, George Roberts, Frank Rosolino (tb), Dennis Budimir, Howard Roberts (g), Max K. Bennett (b), James "Jimmy" Rowles (p), Stan Levey (d), Francisco "Chino" Pozo (cng, per), Peggy Lee (v)

a. 35743-8Master Take (Capitol) Goin' To Chicago Blues - 2:34(Count Basie, Jimmy Rushing) / arr: Quincy Jones
CAPITOL 45Pro 1976 — {Kansas City / Goin' To Chicago Blues} (Selections From The Album Blues Cross Country)   (1962)
CAPITOL Jazz CD7243 8 21204 2 1 — THE BEST OF PEGGY LEE; THE CAPITOL YEARS ("BLUES & JAZZ SESSIONS" SERIES)   (1997)
b. 35746-2Master Take (Capitol) Boston Beans - 2:02(Dave Cavanaugh aka Bill Schluger, Peggy Lee, Milt Raskin) / arr: Quincy Jones
CAPITOL 454576 — {Yes, Indeed / Boston Beans}   (1961)
Nova AP Music Public Domain CD(United Kingdom) Aupcd 4012 — Fever; The Best Of Peggy Lee ("The Ultimate 101 Collection" Series)   (2014)
c. 35747-8Master Take (Capitol) The Grain Belt Blues - 1:50(Dave Cavanaugh aka Bill Schluger, Peggy Lee, Milt Raskin) / arr: Quincy Jones
d. 35748Master Take (Capitol) Basin Street Blues - 3:03(Spencer Williams) / arr: Quincy Jones
CAPITOL©EMI's Music For Pleasure CS/CD(United Kingdom) 7243 8 56805 2 6 [also Mfp 6342] — The Very Best Of Peggy Lee [tracks same as EMI Presents The Magic, diff. artwork]   (1997)
CAPITOL©EMI CD(United Kingdom) 7243 8 57013 2 0 [also Mfp 6371] — EMI Presents The Magic Of Peggy Lee [tracks same as The Very Best Of, diff. artwork]   (1997)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
All titles on: CAPITOL LP(S)T 1671 — Blues Cross Country   (1962)
CAPITOL jukebox EPXe 1671 — Blues Cross Country   (1962)
Armed Forces Radio Service 12" Transcription DiscP 7983- P 7984 — Basic Music Library [LP Blues Cross Country]   (1962)


The Blues Cross Country Album Sessions (Cross-references)

Dates: April 14, 15, 17 and 19, 1961. May 19, 1961.


Songs

1. "The Grain Belt Blues (Orange Blues)"
A couple of sources, including Capitol's session files, give the sub-title "Orange Blues" to this song. However, the sub-title is followed by a question mark, which presumably means that the redactor was in doubt about the sub-title's validity as part of the song's official name.


Masters And Dating

1. "Goin' To Chicago Blues" [Master #35743]
The inclusion of master #35743 in this April 15, 1961 session is based on discographical information provided by the Capitol Jazz CD Blues Cross Country, and reiterated in the Capitol Label Discography. Peggy Lee's session file, on the other hand, dates the master one day earlier (April 14, 1961). As explained in the previous session, I have given more credence to the information provided by the Michael Cuscuna-produced CD.


Arrangements

Copies of this session's scores exist in Peggy Lee's music sheet library. All four library arrangements are indeed credited to Quincy Jones.


Issues And Cross-references

1. Single #4576 [45]
2. "Boston Beans"
See commentary under session dated March 1, 1961.


Personnel, Sources And Cross-references

1. Sources For Personnel
See note under session dated April 14, 1961, where sources A, B, C, and D (to be mentioned below) are identified by name.

2. Trumpets: Source Divergences
3. Percussion: Source Divergences
See equivalent notes under April 14, 1961 session.

4. Trombones: Source Divergences
Source A is the only one that lists Bob Knight on bass trombone. All other sources add George Roberts to the list of trombone players, and give no specification as to whether a bass trombone was played by any of the musicians.

5. Piano: Source Divergences
All sources list Jimmy Rowles on piano, but source A is more tentative ("Lou Levy or Jimmy Rowles").

6. Guitar(s): Source Divergences
Source A is the only one that lists one guitarist (Dennis Budimir). All other sources list both Budimir and Howard Roberts.


Date: April 17, 1961
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #10049

Peggy Lee (ldr), Dave Cavanaugh (pdr), Quincy Jones (con), Benny Carter, Bill Green (as), Buddy Collette, Justin Gordon (ts), Jack Nimitz (bar), Robert "Bob" Fowler, Conrad Gozzo, Al Porcino, Jack Sheldon (t), Vernon "Vern" Friley, Lewis "Lew" McCreary, Frank Rosolino (tb), Bob Knight (bt), Dennis Budimir (g), Max K. Bennett (b), James "Jimmy" Rowles, Frank Strazzeri (p), Stan Levey (d), Francisco "Chino" Pozo (cng, per), Peggy Lee (v)

a. 35757-10Master Take (Capitol) New York City Blues - 3:19(Quincy Jones, Peggy Lee) / arr: Quincy Jones
CAPITOL jukebox EPXe 1671 — Blues Cross Country   (1962)
CAPITOL©EMI CD(Korea) 8806344820326 — The Very Best Of Peggy Lee; The Capitol Years   (2006)
Nova AP Music Public Domain CD(United Kingdom) Aupcd 4012 — Fever; The Best Of Peggy Lee ("The Ultimate 101 Collection" Series)   (2014)
b. 35758-10Master Take (Capitol) Fisherman's Wharf - 3:10(Peggy Lee, Milt Raskin) / arr: Quincy Jones
BMG MUSIC PUBLISHING CD[promo] Pub 016 — PEGGY LEE: SONGWRITER   (2001)
Both titles on: CAPITOL LP(S)T 1671 — Blues Cross Country   (1962)
Armed Forces Radio Service 12" Transcription DiscP 7983- P 7984 — Basic Music Library [LP Blues Cross Country]   (1962)
CAPITOL©EMI's Pathé Marconi CS/LPFrance 155 294 4/1 (also Pm 231) — Blues Cross Country ("Retrospect" Reissue Series)   (1984)


The Blues Cross Country Album Sessions (Cross-references)

Dates: April 14, 15, 17 and 19, 1961. May 19, 1961.


Arrangers And Arrangements

1. Quincy Jones
The credit to Quincy Jones for both of this session's arrangements is based on the existence of copies of such arrangements, under his name, in Peggy Lee's music sheet library.


Masters And Dating

1. "San Francisco Blues" [Master #35759]
In Capitol's session file, Lee's performance of "San Francisco Blues" appears under this session. Ditto for the discographical information provided by the Capitol Jazz CD Blues Cross Country. However, the Capitol Label Discography by Ruppli et al lists the song title under both this session and the next one, further clarifying that the April 19 master was a remake.

We can thus gather that Lee and company first attempted "San Francisco Blues" on April 17, and re-tried it next on the 19th. The master number of the April 17 performance (35759) was re-assigned to the April 19 remake. Since the Capitol documentation gives no indication that both days' performances are preserved, I have included the "San Francisco Blues" master only under the April 19 date.


Personnel, Sources And Cross-references

1. Sources For Personnel
See note under session dated April 14, 1961, where sources A, B, C, and D (to be mentioned below) are identified by name.

2. Trumpets: Source Divergences
Source A is the only one that lists Frank Beach and Manny Klein as participating in this session.

3. Trombones: Source Divergences
All sources but C list Bob Knight as a member of this session, either on bass trombone (A, D) or just in trombone (B). Sources C list instead George Roberts on bass trombone.

4. Tenor Saxes: Source Divergences
Source A is the only one that lists Plas Johnson and Bill Perkins on tenor saxes. The other sources list instead Buddy Collette and Justin Gordon.

5. Piano: Source Divergences
Source A refers to "Lou Levy or Jimmy Rowles" as the pianist. The other sources list both Rowles and Frank Strazzeri. If both pianists truly participated in the session, Rowles presumably did so throughout one of the performances, Strazzeri through the other.

6. Percussion: Source Divergences
See equivalent note under the April 14, 1961 session.


Date: April 19, 1961
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #10055

Peggy Lee (ldr), Dave Cavanaugh (pdr), Quincy Jones (con), Benny Carter, Bill Green (as), Buddy Collette, Justin Gordon, Bill Perkins (ts), Jack Nimitz (bar), Walter "Pete" Candoli, Robert "Bob" Fowler, Conrad Gozzo, Joe Graves, Al Porcino, Jack Sheldon, Ray Triscari (t), Vernon "Vern" Friley, Lewis "Lew" McCreary, Frank Rosolino, Tom Shepard (tb), Bob Knight (bt), Dennis Budimir (g), Max K. Bennett (b), James "Jimmy" Rowles (p), Stan Levey (d), Frank "Chico" Guerrero (cng), Peggy Lee (v)

a. 35777-8Master Take (Capitol) St. Louis Blues - 2:13(W. C. Handy) / arr: Quincy Jones
CAPITOL jukebox EPXe 1671 — Blues Cross Country   (1962)
CAPITOL©Toshiba-EMI CD(Japan) Tocp 7459-7460 — Peggy Lee ("Twin Best Now" Series)   (1992)
Nova AP Music Public Domain CD(United Kingdom) Aupcd 4012 — Fever; The Best Of Peggy Lee ("The Ultimate 101 Collection" Series)   (2014)
CAPITOL©Toshiba-EMI LP(Japan) Cp 8401 — Great Charms Of Nat King Cole & Peggy Lee ("Capitol Golden Artists Album" Series)   
CAPITOL LP(Japan) Cp 9364 — Peggy Lee Deluxe ("Deluxe Double" EMI Series)   
b. 35778-17Master Take (Capitol) The Train Blues - 2:41(Quincy Jones, Peggy Lee)
Nova AP Music Public Domain CD(United Kingdom) Aupcd 4012 — Fever; The Best Of Peggy Lee ("The Ultimate 101 Collection" Series)   (2014)
c. 35759Master Take (Capitol) San Francisco Blues - 2:34(Dave Cavanaugh aka Bill Schluger, Peggy Lee, Milt Raskin) / arr: Benny Carter
CAPITOL jukebox EPXe 1671 — Blues Cross Country   (1962)
All titles on: CAPITOL LP(S)T 1671 — Blues Cross Country   (1962)
Armed Forces Radio Service 12" Transcription DiscP 7983- P 7984 — Basic Music Library [LP Blues Cross Country]   (1962)
CAPITOL©EMI's Pathé Marconi CS/LPFrance 155 294 4/1 (also Pm 231) — Blues Cross Country ("Retrospect" Reissue Series)   (1984)


The Blues Cross Country Album Sessions (Cross-references)

Dates: April 14, 15, 17 and 19, 1961. May 19, 1961.


Arrangers And Arrangements

1. Quincy Jones
The credit to Quincy Jones for this session's arrangement of "St. Louis Blues" is based on the existence of a copy of such a score, under his name, in Peggy Lee's music sheet library. The library also has an arrangement of "The Train Blues," but it is uncredited.

2. Benny Carter
Credit to Benny Carter for the arrangement of "San Francisco Blues" is given in various sources, including Ed Berger's bio-discography of the musician. The only discordant source is The Capitol Label Discography, which assigns the credit to saxophonist Bill Green, but this is believed to be an error. (Both Carter and Green played alto sax in the date; it just seems that the arrangement credit was assigned to the wrong saxophonist in Ruppli's text.)


Issues

1. Blues, USA [acetate]
An acetate of the album Blues Cross Country was once up for auction at eBay. According to the auctioneer, this acetate has a song order different from that of the commercial release, bears the title Blues, USA (not Blues Cross Country), and is dated 5-24-67.

Also, the track listing supplied by the seller shows "Blues Cross Country" as the title of one of the songs, rather than the album's title. But, since there is no mention of "The Grain Belt Blues" in the seller's track listing, I suspect that "The Grain Belt Blues" was wrongly listed as "Blues Cross Country."


Masters And Dating

1. "San Francisco Blues" [Master #35759]
The Capitol Label Discography lists "San Francisco Blues" under both this date and the previous one. For further details, consult notes under session dated April 17, 1961.


Personnel, Sources And Cross-references

1. See note under session dated April 14, 1961, where sources A, B, C, and D (to be mentioned below) are identified by name.

2. Trumpets: Source Divergences
Source A is the only one that lists Frank Beach, Conrad Gozzo, Manny Klein, and Al Porcino in this session. The other sources list three names that do not appear in source A: Joe Graves, Ray Triscari, and Pete Candoli.

3. Trombones: Source Divergences
Source A is the only one that lists Vernon Friley on this date. All other sources add Tommy Shepard. Source B is the only one that does not lists Bob Knight on bass trombone, but just on trombone.

4. Piano: Source Divergences
All sources list Jimmy Rowles, but source A is more tentative, referring to "Lou Levy or Jimmy Rowles."

5. Percussion: Source Divergences
Source A is the only one that lists Chino Pozo on conga and bongo. All other sources list Chico Guerrero, on conga only.


Date: May 19, 1961 (First of two sessions)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #10016

Peggy Lee (ldr), Dave Cavanaugh (pdr), Quincy Jones (con), Benny Carter, Bill Green (as), John "Plas" Johnson, Bill Perkins (ts), Jack Nimitz (bar), Walter "Pete" Candoli, Robert "Bob" Fowler, Al Porcino, Ray Triscari (t), Hoyt Bohannon, Lewis "Lew" McCreary, Richard T. "Dick" Nash (tb), Bob Knight (bt), Dennis Budimir (g), Max K. Bennett (b), James "Jimmy" Rowles (p), Stan Levey (d), Peggy Lee (v)

a. 35954-10Master Take (Capitol) Hey, Look Me Over - 1:55(Cy Coleman, Carolyn Leigh) / arr: Quincy Jones
CAPITOL 454610 — {Hey, Look Me Over / When He Makes Music}   (1961)
Armed Forces Radio Service 12" Transcription DiscP 10285 - P 10286 — Basic Music Library [7 songs from LP Extra Special!]   (1967)
CAPITOL LP(S)T 2732 — Extra Special!   (1967)


The Blues Cross Country Album Sessions (Cross-references)

Dates: April 14, 15, 17 and 19, 1961. Also May 19, 1961. Capitol's session file splits the two songs that Peggy Lee recorded on this May 19 date into two sessions, probably because each master had a different purpose. One master ("Hey, Look Me Over") was meant for release as a single. The other master ("Los Angeles Blues") was the twelfth and last remaining number slated for inclusion in the prospective Blues Cross Country album.

On a different note, it might seem odd that the two resulting masters from the consecutive May 19 sessions do not have back-to-back matrix numbers: "Hey, Look Me Over" was numbered 35954, yet "Los Angeles Blues" was given the number 35957. It might be that the in-between numbers were originally assigned to two additional songs recorded at the session[s], but ultimately rejected and scrapped. If such was the case, the numbers ended up being re-assigned to the session that followed Lee's (Buck Owens', May 24, 1961).


The 1960-1962 Singles Sessions (Cross-references)

Dates: July 26, 1960. September 1, 1960. May 19, 1961. November 14, 1962. These four dates were the only singles sessions that Peggy Lee held between 1960 and 1962. During the same three-year period, she naturally recorded numerous album sessions as well, and Capitol culled additional singles from such sessions. But the four dates in question were the only ones exclusively dedicated to recording songs for release on singles.

For its debut on 45-rpm single, Capitol paired this session's sole master with a master from the previous singles session -- "When He Makes Music," which had been left unissued, or on hold, since its recording on September 1, 1960.

In 1967, both masters were reissued in a Capitol LP. Deceptively posing as an original album, Extra Special! picked up songs that had been released on 45-rpm disc earlier in the decade, and also a few that had been left unissued.


Arrangers And Arrangements

1. Quincy Jones
The credit to Quincy Jones for this session's arrangement is based on the existence of a copy of the arrangement, under his name, in Peggy Lee's music sheet library. In the back cover of the LP Extra Special!, Jones is also credited with this arrangement, too.


Issues, Dating And Personnel

1. Blues Cross Country / If You Go [CD]
2. April 19 Versus May 19, 1961
3. Chino Pozo [bongos]
The above-listed Public Domain CD from the Fresh Sound label gives the date April 19 to this master and to the next one ("Los Angeles Blues"). April 19 is also the date in which a previous Lee session took place. Fresh Sound has probably made a mistake in giving the same date to both the present and the previous session; all official sources state that May 19 is its correct date in the case under discussion.

Furthermore, Fresh Sound lists Chino Pozo as playing bongos at this date. But none of the official sources do, and I for one fail to hear the sounds of bongos in the released master.


Personnel, Sources And Cross-references

1. Sources
See note under session dated April 14, 1961, where sources A, B, C, and D (to be mentioned below) are identified by name.

2. Source A
One of my sources (A) does not identify this session's personnel.

3. Trombones: Source Divergences
Source B and D list Bob Knight as playing trombone; source C specifies that his instrument is a bass trombone. At an online lis-serv, Knight himself stated that he plays bass trombone in this session.

4. Percussion: Source Divergences
Sources B and D do not list any conga or bongo playing for this date. Source C lists Chino Pozo on bongos.


Date: May 19, 1961 (Second of two sessions)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol's Session #10017

Peggy Lee (ldr), Dave Cavanaugh (pdr), Quincy Jones (con), Benny Carter, Bill Green (as), John "Plas" Johnson, Bill Perkins (ts), Jack Nimitz (bar), Walter "Pete" Candoli, Robert "Bob" Fowler, Al Porcino, Ray Triscari (t), Hoyt Bohannon, Lewis "Lew" McCreary, Richard T. "Dick" Nash (tb), Bob Knight (bt), Dennis Budimir (g), Max K. Bennett (b), James "Jimmy" Rowles (p), Stan Levey (d), Peggy Lee (v)

a. 35955-15Master Take (Capitol) Los Angeles Blues - 2:36(Peggy Lee, Quincy Jones)
CAPITOL LP(S)T 1671 — Blues Cross Country   (1962)
CAPITOL jukebox EPXe 1671 — Blues Cross Country   (1962)
Armed Forces Radio Service 12" Transcription DiscP 7983- P 7984 — Basic Music Library [LP Blues Cross Country]   (1962)


The Blues Cross Country Album Sessions (Cross-references)

Dates: April 14, 15, 17 and 19, 1961. May 19, 1961.


Arrangements

1. "Los Angeles Blues"
Peggy Lee's music sheet library contains an arrangement of "Los Angeles Blues." It is uncredited.


Issues, Dating And Personnel

1. Blues Cross Country / If You Go [CD]
2. April 19 Versus May 19, 1961
3. Chino Pozo [bongos]
4. Dave Cavanaugh Versus Page Cavanaugh [producer]
The above-listed Public Domain CD from the Fresh Sound label gives the date April 19 to this master and to the previous one ("Hey, Look Me Over"). April 19 is also the date in which another previous Lee session took place. Fresh Sound has probably made a mistake in giving the same date to the present session; all official sources state that May 19 is its correct date.

Furthermore, Fresh Sound is alone in listing Chino Pozo as playing bongos at this date. None of the official sources list him, and I for one fail to hear the sounds of bongos in the released master.

Yet another error pertains to the name of the man who produced these sessions. Fresh Sound wrongly credits them not to Dave Cavanaugh but to Page Cavanaugh.


Personnel, Sources And Cross-references

1. Cross-reference
The same comments about personnel and sources that were made in the previous session apply to this session, too.


Date: June 22, 1961 (First of two sessions)
Location: Capitol Tower, 1750 North Vine St., Hollywood - first session
Label: CAPITOL
Capitol Session #10152

Peggy Lee (ldr), Dave Cavanaugh (pdr), Benny Carter (as), Dennis Budimir (g), Max K. Bennett (b), Victor Feldman (p, cel), Veryle Mills Brilhart (hrp), Shelly Manne (d), Victor Arno, Harry Bluestone aka Blostein, Herman Clebanoff, Jacques Gasselin, James Getzoff, Ben Gill, Anatol Kaminsky, Louis Kaufman, Daniel "Dan" Lube, Paul Shure, Felix Slatkin, Marshall Sosson (vn), Alvin Dinkin, Cecil Figelski, Virginia Majewski, Paul Robyn (vl), Armond (Armand) Kaproff, Ralph "Ray" Kramer, George Neikrug, Eleanor Slatkin (vc), Peggy Lee (v)

a. 36069Master Take (Capitol) I Wish I Didn't Love You So - 2:48(Frank Loesser) / arr: Quincy Jones
CAPITOL©EMI CD(United Kingdom) 7243 4 97143 2 8 — C'est Magnifique   (1998)
b. 36070Master Take (Capitol) As Time Goes By - 2:53(Herman Hupfeld) / arr: Quincy Jones
CAPITOL EP(Promotional) Pro 1896/1897 — The Newest! From The Sound Capitol Of The World! {Peggy Lee, George Shearing}   (1961)
CAPITOL©EMI's Discos Capitol De Mexico LP(Mexico) Tm 20726 — The Best Of Peggy Lee   (1965)
CAPITOL LP(Japan) Ecp 80797 — Peggy Lee On Silver Screen   (1973)
c. 36071Master Take (Capitol) When I Was A Child - 3:16(Floyd Huddleston, Mark McIntyre) / arr: Quincy Jones
All titles on: CAPITOL LP(S)T 1630 — If You Go   (1961)
Armed Forces Radio Service 12" Transcription DiscP 7981 - P 7982 — Basic Music Library [LP If You Go]   (1962)
CAPITOL reel-to-reel tapeY2t 2236 — If You Go / Sugar 'n' Spice   (1965)


The If You Go Album Sessions (Cross-references)

Dates: June 22, 23, 24 and 27, 1961. In Capitol's session file, Lee's June 22 masters are split into two sessions, numbered 10152 (3 masters) and 10153 (3 additional masters). Some of my other sources incorrectly lump all 6 masters into one single June 22 session. As for differences between the personnel of the two June 23 sessions, none of my sources report any absences, nor any additions, either.


Personnel, Sources And Musical Instruments

1. Reliability
My main sources for the If You Go sessions are:

A. Capitol's session files
B. Michel Ruppli's Capitol Label Discography
C. Michael Cuscuna and Michel Ruppli's Blue Note: A Discography
D. The booklet of the Fresh Sound twofer CD Blues Cross Country / If You Go

All 4 sources are worthwhile, yet none is fully satisfactory.

Source A gives the exact same personnel for each of the If You Go sessions. Furthermore, that source includes at least one musician (Stan Levey) who was a regular member of Peggy Lee's rhythm section around this time but whom the other sources do not list at all. Just as in the Blues Cross Country sessions that preceded these If You Go Go dates, source A would seem to be listing a scheduled, prospective roster of musicians, rather than the personnel who truly ended up at the sessions.

For the specific purpose of this discography, source C has its limitations, too. Due to its main orientation (the Blue Note catalogue), source C only lists three numbers from the If You Go album (i.e., the trio of album numbers that have also appeared in issues released by Blue Note).

Sources B and D are stronger in the overall information that they supply for these sessions, yet each presents its challenges as well. Most notably, source B claims the presence of a trombone section in the June 23 dates, but source D does not list any such section. Conversely, source D lists a strings section consisting of violas and violoncellos on the same June 23 dates, yet source B makes no mention of any such section. My own listening of those dates leads me to the tentative belief that the trombones are indeed heard in numbers such as "Love, Hast Thou Forsaken Me," and that the strings are also heard, more notably in the instrumental parts of "(I Love Your) Gypsy Heart." Nevertheless, the sounds of flutes and French horns (both definitely part of the June 23 dates) could be confusing me, and I could thus be hearing cellos, trombones, and violas where there are none.

I am also taken aback by the fact that, despite coming from a Public Domain issue, most of source D's discographical data appears to be even more accurate and complete than my other sources' information. Unfortunately, I do not know from where source D took the bulk of the discographical details that it presents. Perhaps Fresh Sound had access to some of the Michael Cuscuna texts or the Japanese issues which I have not been able to consult.

In any case, I have chosen B and D as my primary sources -- chiefly B, with some additions garnered from D. Starting immediately below, I will be using these session notes to point out disagreements between B, D, and my other sources.

2. Source A's Collective Personnel
Capitol's session files show the same personnel for all the If You Go dates: Max Bennett, Dennis Budimir, Victor Feldman, Stan Levey, and Chino Pozo, plus unidentified musicians on flutes, French horns, and strings.

3. Drums: Source Divergences
Source A lists Stan Levey as the drummer on all the If You Go sessions. Shelley Manne is listed in my other sources.

4. Conga, Bongos, Percussion: Source Divergences
For June 22, source A lists Chino Pozo on conga and bongo. None of my other sources list him (or either of the instruments) as present on June 22.

5. Piano, Vibes, Celeste
6. "When I Was A Child"
Source A lists Victor Feldman on piano and vibraphone. The other sources list Feldman on piano, but make no mention of a vibraphone at the June 22 sessions. Source B is the only source that lists Feldman on celeste, on "When I Was A Child" only.

7. Harp: Source Divergences
Source D is the only one that lists a harp and credits Verlye Brilhart. A harp is indeed heard throughout "When I Was A Child." I believe that harp is also heard, less prominently, in "I Wish I Didn't Love You So" and in next session's "I'm Gonna Laugh You Right Out Of My Life."

8. Alto Sax: Source Divergences
Sources A and C do not include alto sax among the instruments played at this date. Sources B and D list Benny Carter on that instrument. Indeed, a sax is prominently heard through "As Time Goes By," and can be heard more briefly in "I Wish You I Didn't Love You So" as well as in next session's "I'm Gonna Laugh You Right Out Of My Life" and "Deep Purple." (No If You Go sessions are listed at all, however, in Ed Berger's Benny Carter: A Life In American Music. Earlier Blues Cross Country dates on which Carter also participated are, on the other hand, listed in Berger's discographical text.)

9. Flutes And French Horns: Source Divergences
Source A is the only one that lists flutes and French horns for this date. Source A does not not identify the players of those instruments. Since my main sources (B and D) do not make mention of either instrument, neither has been entered in this session's database.

10. Strings: Source Divergences
Strings are listed (as a collectivity) in all sources, but the only in source that identifies them by name is D.


Arrangers And Arrangements

1. Quincy Jones
Credit to Quincy Jones for this session's arrangements is based on the existence of copies under his name in Peggy Lee's music sheet library.


Masters

1. "When I Was A Child"
Capitol's inventory of masters (one of my supplementary, additional sources) identifies "When I Was A Child" (master #36071) as a remake. None of my other sources do.


Date: June 22, 1961 (Second of two sessions)
Location: Capitol Tower, 1750 North Vine St., Hollywood - second session
Label: CAPITOL
Capitol's Session #10154

Peggy Lee (ldr), Dave Cavanaugh (pdr), Benny Carter (as), Dennis Budimir (g), Max K. Bennett (b), Victor Feldman (p), Shelly Manne (d), Victor Arno, Harry Bluestone aka Blostein, Herman Clebanoff, Jacques Gasselin, James Getzoff, Ben Gill, Anatol Kaminsky, Louis Kaufman, Daniel "Dan" Lube, Paul Shure, Felix Slatkin, Marshall Sosson (vn), Alvin Dinkin, Cecil Figelski, Virginia Majewski, Paul Robyn (vl), Armond (Armand) Kaproff, Ralph "Ray" Kramer, George Neikrug, Eleanor Slatkin (vc), Peggy Lee (v)

a. 36072Master Take (Capitol) I'm Gonna Laugh You Right Out Of My Life - 2:48(Cy Coleman, Joseph McCarthy Jr.) / arr: Quincy Jones
CAPITOL LP(S)T 1630 — If You Go   (1961)
CAPITOL EP(Promotional) Pro 1896/1897 — The Newest! From The Sound Capitol Of The World! {Peggy Lee, George Shearing}   (1961)
Armed Forces Radio Service 12" Transcription DiscP 7981 - P 7982 — Basic Music Library [LP If You Go]   (1962)
b. 36073-4Master Take (Capitol) Deep Purple - 2:55(Peter DeRose, Mitchell Parish) / arr: Quincy Jones
Time-Life Music Licensed CS/LP4 Lgd/Slgd 07 — Peggy Lee ("Legendary Singers" Series)   (1985)
CAPITOL CS/CD7243 8 28533 4 3 — Spotlight On... Peggy Lee ("Great Ladies And Gentlemen Of Song" Series)   (1995)
Green Hill Licensed CS/CDGhc/Ghd 5199/5318 (7243 5 39935 2 8) — Fever; Original Recordings ("Legendary Masters Collection" Series)   (2002)
American Jazz Classics Public Domain CD(Spain) 99052 — Blues Cross Country & If You Go   (2012)
WaxTime Public Domain Collectors' Pressing LP(Spain) 771946 — If You Go   (2014)
Nova AP Music Public Domain CD(United Kingdom) Aupcd 4012 — Fever; The Best Of Peggy Lee ("The Ultimate 101 Collection" Series)   (2014)
c. 36074Master Take (Capitol) My Guitar(Ray Gilbert, Ted Fiorito, Ernest Varner)
unissued


The If You Go Album Sessions (Cross-references)

Dates: June 22, 23, 24 and 27, 1961.


Masters And Cross-references

1. "My Guitar"
For the version of "My Guitar" that was issued in the album Guitars Ala Lee, see session dated July 18, 1966. For yet another version of "My Guitar" (sharing with the present version the fact that both were left unissued), see session dated June 24, 1961.

Songs And Issues

1. "Deep Purple"
2. An Unreleased Album?
In his liner notes for the Peggy Lee album that is part of Time-Life's "Legendary Singers" series, Gene Lees writes that the session from which the song "Deep Purple" originated was made "for an album that was never completed." Since the session that contains "Deep Purple" is this one, and since its two other songs were issued in the LP If You Go, there seems to have been a misunderstanding on Lees' part, or on the part of the source(s) from which he gathered this piece of information.


Personnel, Sources And Cross-references

1. Divergent Sources
All details about sources and personnel given in the note under the preceding session apply to this session, too. The only deviation is explained in point 2, below.

2. Benny Carter
Benny Carter participates in the first two masters from this date. There is no indication that he played in the session's hitherto unissued version of "My Guitar;" furthermore, source B indicates that he is out on that particular master.


Arrangers And Arrangements

1. Quincy Jones
Credit to Quincy Jones for two of this session's arrangements is based on the existence of copies under his name in Peggy Lee's music sheet library.


Date: June 23, 1961 (First of two sessions)
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #10159

Peggy Lee (ldr), Dave Cavanaugh (pdr), Justin Gordon, Jules Kinsler, Ted Nash aka Theodore Nash, Jules "Julie" Schwartz (f), Tommy Pederson aka Pullman Pederson, George Roberts, Frank Rosolino (tb), John Cave, James "Jim" Decker, Vincent DeRosa, Richard "Dick" Perissi (frh), Dennis Budimir (g), Max K. Bennett (b), Victor Feldman (p, vib), Shelly Manne (d), Alvin Dinkin, Cecil Figelski, Virginia Majewski, Paul Robyn (vl), Armond (Armand) Kaproff, George Neikrug, Eleanor Slatkin (vc), Peggy Lee (v)

a. 36091-16Master Take (Capitol) (I Love Your) Gypsy Heart - 2:30(Peggy Lee, Harry Sukman) / arr: Quincy Jones
CAPITOL©EMI CD(United Kingdom) 7243 4 97143 2 8 — C'est Magnifique   (1998)
b. 36092Master Take (Capitol) If You Go - 2:43(Michael Emer, Geoffrey Parsons) / arr: Quincy Jones
CAPITOL LP(Japan) Ecs 65039/65040 — Peggy Lee ("Golden Double 32" Series)   (1976)
CAPITOL©Toshiba-EMI LP(Japan) Cp 8215 — This Is! Peggy Lee ("Jazz Vocal Best" Series)   
Both titles on: CAPITOL LP(S)T 1630 — If You Go   (1961)
Armed Forces Radio Service 12" Transcription DiscP 7981 - P 7982 — Basic Music Library [LP If You Go]   (1962)
CAPITOL reel-to-reel tapeY2t 2236 — If You Go / Sugar 'n' Spice   (1965)


The If You Go Album Sessions (Cross-references)

Dates: June 22, 23, 24 and 27, 1961. In Capitol's session file, Lee's June 23 masters are all listed under one session, numbered 10160. In Michel Ruppli's Capitol Label Discography, they are split into two sessions, the first numbered 10159 (2 masters) and the second 10160 (3 masters). Compiled after consulting in-house documentation to which I do not have access, Ruppli's text should be deemed the most accurate in this case. As for differences between the personnel of the two June 23 sessions, none of my sources report any absences, nor any additions, either.


Arrangers And Arrangements

1. Quincy Jones
Copies of this session's two arrangements exist in Peggy Lee's music sheet library. Both copies are credited to Quincy Jones.


Personnel, Sources And Cross-references

1. Divergent Sources
On the matter of the full personnel who played during the If You Go sessions, my main sources show various disagreements. Some of the specifics are detailed below. For a more general account of these sessions' personnel and sources, see also the note under the first of the two sessions dated April 14, 1961.

2. Drums: Source Divergences
Source A lists Stan Levey as the drummer on all the If You Go sessions. Shelley Manne is instead listed in my other sources.

3. Conga, Bongos, Percussion: Source Divergences
For June 23, source A lists Chino Pozo on conga and bongo. None of my other sources list him (or either of the instruments) as present on June 23.

4. Piano, Vibes
Sources A and B list Victor Feldman on both piano and vibraphone. Sources D lists Feldman on piano only. A vibraphone is audible in the second of these June 23 sessions.

5. Trombones: Source Divergences
Sources A and D do not list trombones. Source B lists them but does not identify the players. Source B lists and identifies them.

6. Flutes And French Horns: Source Divergences
All sources list flutes and French horns for this date, but only sources B and D identify the flute and French horn players. The same names are listed in both sources, the only difference being that source D uses the more generic name "woodwinds" for the instrument.

7. Strings (Violas, Cellos): Source Divergences
Strings are listed (as a collectivity) in sources A and C. Source C specifies that all the strings are violoncellos and violas only (no violins), and is the only source that identifies the players.


Date: June 23, 1961 (Second of two sessions)
Location: Capitol Tower, 1750 North Vine St.
Label: CAPITOL
Capitol's Session #10160

Peggy Lee (ldr), Dave Cavanaugh (pdr), Justin Gordon, Jules Kinsler, Ted Nash aka Theodore Nash, Jules "Julie" Schwartz (f), Tommy Pederson aka Pullman Pederson, George Roberts, Frank Rosolino (tb), John Cave, James "Jim" Decker, Vincent DeRosa, Richard "Dick" Perissi (frh), Dennis Budimir (g), Max K. Bennett (b), Victor Feldman (p, vib), Shelly Manne (d), Alvin Dinkin, Cecil Figelski, Virginia Majewski, Paul Robyn (vl), Armond (Armand) Kaproff, George Neikrug, Eleanor Slatkin (vc), Peggy Lee (v)

a. 36093-_Master Take (Capitol) Here's That Rainy Day - 2:49(Johnny Burke, Jimmy Van Heusen) / arr: Quincy Jones
CAPITOL LP(S)T 1630 — If You Go   (1961)
Armed Forces Radio Service 12" Transcription DiscP 7981 - P 7982 — Basic Music Library [LP If You Go]   (1962)
CAPITOL reel-to-reel tapeY2t 2236 — If You Go / Sugar 'n' Spice   (1965)
b. 36093-_Alternate Take (Capitol) Here's That Rainy Day - 2:49(Johnny Burke, Jimmy Van Heusen) / arr: Quincy Jones
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
c. 36094Master Take (Capitol) Oh, Love, Hast Thou Forsaken Me - 2:37(William Bowers) / arr: Quincy Jones
CAPITOL LP(S)T 1630 — If You Go   (1961)
Armed Forces Radio Service 12" Transcription DiscP 7981 - P 7982 — Basic Music Library [LP If You Go]   (1962)
CAPITOL reel-to-reel tapeY2t 2236 — If You Go / Sugar 'n' Spice   (1965)
d. 36095-9(verse)&14(choruses)Master Take (Capitol) Farewell To Arms - 3:05(Abner Silver, Allie Wrubel)
CAPITOL CD72435 27564 2 1 — RARE GEMS AND HIDDEN TREASURES [aka Capitol's Collectors Series, Vol. 2]   (2000)
American Jazz Classics Public Domain CD(Spain) 99052 — Blues Cross Country & If You Go   (2012)
WaxTime Public Domain Collectors' Pressing LP(Spain) 771946 — If You Go   (2014)


The If You Go Album Sessions (Cross-references)

Dates: June 22, 23, 24 and 27, 1961.


Masters And Alternate Takes

1. "Here's That Rainy Day"
Two takes of "Here's That Rainy Day" have been commercially issued. In a casual listening, the differences between them might not be readily apparent, but repeated listening will reveal different phrasing for some lines -- most notably, during the phrase "where is that worn-out wish that I threw aside." Of the two, the master remains the superior version. My thanks to Steve Dodd for alerting me to the existence of the alternate.

2. "Farewell To Arms"
Two main takes of "Farewell To Arms" are extant in Capitol's vaults. Take #9 contains both the verse and the choruses. Take #14 contains the choruses only. The released master is a composite of those two takes: the choruses are from take #14, the verse from take #9. Although very well sung, take #9's choruses do have a couple of minor imperfections which probably made them objectionable to Lee and producer Cavanaugh -- e.g., an elongated sibilant in the word "so," towards the end of the number. (In take #14, no such elongation is heard.)


Personnel, Sources And Cross-references

1. Divergent Sources
All details about sources and personnel given in the preceding session's note apply to this session, too. The only known minor variable is explained in point 2, below.

2. Piano, Vibes
Sources A and B list Victor Feldman on piano and vibraphone. Source D lists Feldman on piano only. Source C, which deals exclusively with "Here's That Rainy Day" (master #36093), states that Feldman played vibraphone on that performance.


Arrangers And Arrangements

1. Quincy Jones
Copies of two of this session's arrangements were kept by Peggy Lee in her music sheet library. Quincy Jones is credited in all three of them. The library also has an arrangement of "Farewell To Arms," but it bears no author credit.


Date: June 24, 1961
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #10161

Peggy Lee (ldr), Dave Cavanaugh (pdr), Justin Gordon, Ted Nash aka Theodore Nash (f), Dennis Budimir, Al Hendrickson (g), Max K. Bennett (b), Victor Feldman (p, vib), Shelly Manne (d), Francisco "Chino" Pozo, Ray Rivera (cng), Mike Gutierrez, Melvin "Mel" Zelnick (per), Peggy Lee (v)

a. 36085Master Take (Capitol) Say It Isn't So - 2:56(Irving Berlin)
CAPITOL LP(S)T 1630 — If You Go   (1961)
Armed Forces Radio Service 12" Transcription DiscP 7981 - P 7982 — Basic Music Library [LP If You Go]   (1962)
CAPITOL reel-to-reel tapeY2t 2236 — If You Go / Sugar 'n' Spice   (1965)
b. 36086-6Master Take (Capitol) My Guitar - 2:44(Ray Gilbert, Ted Fiorito, Ernest Varner)
unissued
c. 36096-1Master Take (Capitol) Maybe It's Because (I Love You Too Much) - 2:01(Irving Berlin)
CAPITOL LP(S)T 1630 — If You Go   (1961)
Armed Forces Radio Service 12" Transcription DiscP 7981 - P 7982 — Basic Music Library [LP If You Go]   (1962)
CAPITOL reel-to-reel tapeY2t 2236 — If You Go / Sugar 'n' Spice   (1965)


The If You Go Album Sessions (Cross-references)

Dates: June 22, 23, 24 and 27, 1961. In Capitol's session file, Lee's June 24 session includes only two masters. Michel Ruppli's Capitol Label Discography adds two more ("My Guitar," "I Get Along Without You Very Well"), and identifies them as remakes. I have added only one of those remakes, however. Explanations can be found immediately below.


Masters, Dating, Sources And Cross-references

1. "My Guitar" [Masters #36074 And #36086]
As briefly mentioned in the previous paragraph, my sources are in disagreement about the number of masters of "My Guitar" that were recorded during the If You Go sessions. Capitol's session file lists only one, recorded on June 22 and numbered 36074. The Capitol Label Discography lists two 1961 versions of "My Guitar," both of them identified as master #36074: the aforementioned one from June 22, which is labeled rejected, and one under this June 24 date, labeled a remake.

A third and more reliable source serves as a corrective to the claims made by the other two sources mentioned. An inventory of Capitol's masters confirms that the company's vault holds versions of "My Guitar" from both June 22 and 24 but deny that they have the same master number: only the June 22 version bears the number 36074. The version from June 24 is numbered 36086.

I have trusted the inventory as the most accurate of the sources in the case of "My Guitar." (Incidentally, notice that Capitol owns yet another Peggy Lee master of "My Guitar," though it is not part of the If You Go sessions. Recorded on July 18, 1966, that third master was made for the album Guitars Ala Lee.)

2. "I Get Along Without You Very Well" [Master #36084]
Once again, my sources are in disagreement about masters that were recorded during the If You Go sessions. Capitol's session file lists only one recording date for "I Get Along Without You Very Well" (June 27) but Ruppli's Capitol Label Discography lists two, one from June 24 and the other from June 27, 1961. Both performances have the same master number (36084), and the performance that resulted from the later date is identified as a remake.

My other source of relevance, Capitol's inventory of masters, lists only one version of "I Get Along Without You Very Well," just as Capitol's session file does. On the matter of the correct recording date, the inventory is of little help. It lists a couple of mystery dates (June 28, August 14) that are likelier to refer not to the recording but to the mastering, engineering or original storage of the performance.

Relying on the collection of details given above, I have tentatively concluded that Lee and company first attempted "I Get Along Without You Very Well" on session #10157, and re-tried it next during session #10161. The master number of the earlier performance (36084) was re-assigned to the later performance, possibly after the earlier performance was rejected and scrapped.

Since the Capitol documentation gives no indication that the earlier performances was preserved, I have included the "I Get Along Without You Very Well" master only under one the session in contention (June 27, 1961).

3. Numerical Sequence
Notice that there is an unusual break or a "reversal" in the numerical sequence of this and the next session's masters: from 36086, 36087 and 36096, the numbers go not up but down to 36083 and 36084. This relatively unusual numerical break, along with the comments that I just made about "My Guitar" and "I Get Along Without You Very Well," raises suspicions about the accuracy and completeness of the data available for these two sessions at issue. See also related comments under next session.


Personnel, Sources And Cross-references

1. Divergent Sources
On the subject of the full personnel who played during the If You Go sessions, my main sources show various disagreements. Specifics pertaining to this date are detailed below. For a more general account of personnel and sources in the If You Go sessions, see also the note under the first of the two sessions dated April 14, 1961.

2. Drums: Source Divergences
Source A lists Stan Levey as the drummer on all the If You Go sessions. Shelley Manne is instead listed in my other sources.

3. Conga, Bongos, Percussion: Source Divergences
Source A lists Chino Pozo on conga and bongo. Source B lists him only on conga, source D only on bongos. Source C, which deals exclusively with one master ("Maybe It's Because") does not list Pozo.

With the exception of A, all sources list Ray Rivera, playing either a second conga (according to B) or percussion (according to C and D).

Also listed in all sources but A are Mike Gutierrez and Mel Zelnick on percussion.

4. Piano, Vibes
Source A lists Victor Feldman on piano and vibraphone. Source D lists him on piano only, sources B and C on vibraphone only.

5. Guitars: Source Divergences
All sources but A list two guitarists.

6. Flutes And French Horns: Source Divergences
All sources but A list Ted Nash and Justin Gordon on flutes (B, C) or reeds (D).

7. Strings (Violas, Cellos): Source Divergences
Strings are listed (as a collectivity) in source A but not in any of the other sources. No players are identified by A.


Arrangements

1. Sources
Peggy Lee's sheet music library contains arrangements of "Say It Isn't So" and "Maybe It's Because (I Love You Too Much)" but neither one names an author.


Date: June 27, 1961
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #10157

Peggy Lee (ldr), Dave Cavanaugh (pdr), Quincy Jones (con), Justin Gordon, Richard T. "Dick" Nash (f), Dennis Budimir, Al Hendrickson (g), Max K. Bennett (b), Victor Feldman (vib), Shelly Manne (d), Francisco "Chino" Pozo, Ray Rivera (cng), Mike Gutierrez, Melvin "Mel" Zelnick (per), Peggy Lee (v)

a. 36083Master Take (Capitol) Smile - 2:22(Charles Chaplin, Geoffrey Parsons, John Turner) / arr: Quincy Jones
CAPITOL LP(Japan) Ecp 80797 — Peggy Lee On Silver Screen   (1973)
CAPITOL©Toshiba-EMI CD(Japan) Tocp 7459-7460 — Peggy Lee ("Twin Best Now" Series)   (1992)
CAPITOL©EMI CD(United Kingdom) 7243 4 97143 2 8 — C'est Magnifique   (1998)
HMV Licensed CD(United Kingdom) Hmv 7243 5 22253 2 3 — The Peggy Lee Collection ("HMV Easy" Series)   (1999)
CAPITOL©EMI CD(United Kingdom) 7243 5 32580 2 3 — Peggy Lee Sings The Standards   (2001)
Marks & Spencer Licensed CD(United Kingdom) 4747.154 — Peggy Lee ("The Collection" Series)   (2003)
b. 36084Master Take (Capitol) I Get Along Without You Very Well - 2:48(Hoagy Carmichael, Jane Brown Thompson) / arr: Quincy Jones
Pair Licensed CS/CDPcdk/Pcd 2 1194 — Seductive   (1989)
Both titles on: CAPITOL LP(S)T 1630 — If You Go   (1961)
Armed Forces Radio Service 12" Transcription DiscP 7981 - P 7982 — Basic Music Library [LP If You Go]   (1962)
CAPITOL reel-to-reel tapeY2t 2236 — If You Go / Sugar 'n' Spice   (1965)


The If You Go Album Sessions (Cross-references)

Dates: June 22, 23, 24 and 27, 1961.


Masters, Dating And Cross-references

1. "I Get Along Without You Very Well" [Master #36084]
See comments about this master under previous session.

2. Breaks In The Numerical Sequence Of Masters And Sessions
As explained in more detail in the notes under the previous date, the master numbers of this session and the preceding one break from the ascending numerical sequence.

Also broken is the sessions' numerical sequence. All previous If You Go sessions follow the usual ascending order (#10152, #10154, #10160, #10161), but the present session descends to #10157.

The correct explanation for those numerical breaks could simply be that producer Cavanaugh retrieved older master numbers (and an old session number) that had been left unused and were thus still available to him.

Or a typographical error could be at play. For instance, the correct date for this session could be June 22 instead of June 27. Such an error would actually help to explain a few of the various session oddities that have been already mentioned.


Arrangers And Arrangements

1. Quincy Jones
Copies of session's arrangements were kept by Peggy Lee in her music sheet library. Both copies credit Quincy Jones as their author.


Personnel, Sources And Cross-references

1. Divergent Sources
For this June 27 session, I have only two sources: Capitol's session file (A) and Michel Ruppli's Capitol Label Discography (B). Source C does not include any tracks from this session, and source D does not have an entry for June 27. (Instead, source D lists these two performances under June 24.)

Source A gives the same collective personnel for all If You Go sessions, including this one. Source B gives identical personnel for the June 24 and June 27 dates. Since I consider B my main source, the general points made about the personnel of the June 24 date apply to this date, too.


Date: March 28, 1962
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #10544

Peggy Lee (ldr), Dave Cavanaugh (pdr), Benny Carter (con), Justin Gordon (r), Conrad Gozzo, Al Porcino, Clarence "Shorty" Sherock, Ray Triscari (t), Milt Bernhart, George Roberts, Tom Shepard, Kenny Shroyer (tb), Al Hendrickson (g), Max K. Bennett (b), Lou Levy (p), Emil Richards, aka Emil Radocchia (vib, per), Mel Lewis (d), Francisco "Chino" Pozo (per), Peggy Lee (v)

a. 37392-9Master Take (Capitol) Ain't That Love? - 2:01(Ray Charles) / arr: Billy Byers
CAPITOL LP(S)T 1772 — Sugar 'N' Spice   (1962)
CAPITOL little LP (aka jukebox EP)Sxa 1772 — Sugar 'N' Spice ("33 Compact" Series)   (1962)
CAPITOL EP(United Kingdom) Eap 1 1772 — Sugar 'N' Spice   (1962)
b. 37393-4Master Take (Capitol) See See Rider - 2:36(Traditional) / arr: Shorty Rogers
CAPITOL LP(S)T 1772 — Sugar 'N' Spice   (1962)
Armed Forces Radio Service 12" Transcription DiscP 8116- P 8117 ? — Basic Music Library [10 songs from LP Sugar 'n' Spice, 4 from Sinatra's All Alone]   (1962)
CAPITOL reel-to-reel tapeY2t 2236 — If You Go / Sugar 'n' Spice   (1965)
c. 37394-3Master Take (Capitol) Loads Of Love - 2:21(Richard Rodgers)
CAPITOL 454750 — {The Sweetest Sounds / Loads Of Love}   (1962)
d. 37395-15Master Take (Capitol) I Believe In You - 2:47(Frank Loesser) / arr: Benny Carter
CAPITOL LP(S)T 1772 — Sugar 'N' Spice   (1962)
CAPITOL little LP (aka jukebox EP)Sxa 1772 — Sugar 'N' Spice ("33 Compact" Series)   (1962)
CAPITOL 45(United Kingdom) Cl 15289 — {I Believe In You / The Best Is Yet To Come} [single never issued in the USA]   (1963)
All titles on: CAPITOL Jazz CD7243 5 25249 2 1 — SUGAR 'N' SPICE   (2001)


The Sugar 'N' Spice Album Sessions (Cross-references)

Dates: March 28 and 31, 1962. April 2 and 4, 1962.


Arrangers And Arrangements

1. Billy Byers
2. Benny Carter
The Capitol Jazz CD Sugar 'N' Spice collectively lists two men, Billy Byers and Benny Carter, as this session's arrangers. Corroboration that Benny Carter arranged "I Believe In You" comes from Ed Berger's Benny Carter: A Life In American Music, and also from the copy of his arrangement that Peggy Lee kept in her sheet music library.

As for Billy Byers, potential corroboration of his involvement also comes from an arrangement of "Ain't That Love," credited to him, in Lee's library. (I call it "potential corroboration" because I do not know if the library's arrangement truly is the same one used in the album Sugar 'N' Spice, although I presume it to be.)

3. Shorty Rogers
Lee's library has an arrangement of "See See Rider," too. It is credited to neither Byers nor Carter, nevertheless, but to Shorty Rogers.

I am tentatively assuming that the album's arrangement of "See See Rider" is the same one found in the singer's library, even though the CD Sugar 'N' Spice makes no mention of Shorty Rogers' involvement in this particular session. (The CD does credit Rogers, however, with arrangements for another of the album's sessions. See April 2, 1962.)

4. "Loads Of Love"
There is no arrangement of "Loads of Love" in Lee's library. If the CD's collective credits are to be applied to all songs, either Byers or Carter would need to be credited. Then again, "Loads Of Love" could very well be a head arrangement.


Masters And Dating

1. "I Believe In You" [Master #37395]
The Capitol Jazz Discography lists master #37395 under two 1962 sessions (March 28 and 30, 1962) and calls the version from the later session a remake. As in previous instances, I have abstained from entering the same master number twice. (I will alter this practice only if I ever find evidence that both the earlier performance and the remake are extant. So far, no such evidence has been forthcoming in any of these instances.)


Personnel

1. Source
My source for this session's personnel is the discographical data included in the Capitol Jazz CD Sugar 'n' Spice. I believe that the CD's data was transcribed from the session's report at AFM, and is thus highly reliable. As for Peggy Lee's session file, no personnel is listed under this date.


Date: March 29, 1962
Location: Studio B, Capitol Records, Hollywood
Label: CAPITOL
Capitol Session #10546

Peggy Lee (ldr), Dave Cavanaugh (pdr), John Kraus (eng), Benny Carter (con), Benny Carter And His Orchestra (acc), Harry Klee (f, af), Jack Sheldon (t), Unknown (c), Herb Ellis, Al Hendrickson (g), Max K. Bennett (b), Lou Levy (p), Mel Lewis (d), Peggy Lee (v)

a. 37402-4Master Take (Capitol) Please, Don't Rush Me - 2:32(Peggy Lee)
CAPITOL CD72435 27564 2 1 — RARE GEMS AND HIDDEN TREASURES [aka Capitol's Collectors Series, Vol. 2]   (2000)
b. 37403-9Master Take (Capitol) My Silent Love - 2:31(Edward Heyman, Dana Suesse)
CAPITOL LP(S)T 1850 — Mink Jazz ("Capitol's New Dimensions In Jazz" Series)   (1963)
Armed Forces Radio Service 12" Transcription DiscP 8435 - P 8436 — Basic Music Library [LP Mink Jazz]   (1963)
CAPITOL reel-to-reel tapeY2t 2237 — Mink Jazz / I'm A Woman   (1965)
Memoir Licensed CS/LP(United Kingdom) Cmoir/Moir 213 — Mink Jazz   (1989)
Marginal Bootleg CD(Belgium) Pc 65009 — Mink Jazz / Suddenly There's [by Gogi Grant] ("The Pin-Up Collection" Series)   (1998)
World Record Club Licensed reel/LP(United Kingdom) Tt/T 745 — Peggy Lee [Reissue of Mink Jazz]   
c. 37404-4Master Take (Capitol) I'll Get By - 2:15(Fred E. Ahlert, Roy Turk) / arr: Benny Carter
CAPITOL 8-track/LP(S)t 1857 [Reissued as M 1857 & Sm 1857 in 1977] — I'm A Woman   (1963)
Armed Forces Radio Service 12" Transcription DiscP 8293 - P 8294 — Basic Music Library [LP I'm A Woman + 1 song from a single]   (1963)
CAPITOL reel-to-reel tapeY2t 2237 — Mink Jazz / I'm A Woman   (1965)
All titles on: CAPITOL Jazz CD7243 4 95450 2 1 — MINK JAZZ   (1998)
CAPITOL©EMI Korea CD(Korea) Ekj 30D0320 — [Various Artists] Modern Jazz; The Collectors' Edition   (2010)


The Mink Jazz And I'm A Woman Album Sessions (Cross-references)

One song from this session was originally issued in the album Mink Jazz and another in the album I'm A Woman.

Mink Jazz Album Dates: March 29 and 30, 1962. February 2, 5, 6 and 7, 1963.
I'm A Woman Album Dates: November 14, 1962. January 2, 3, 4 and 5, 1963. March 29, 1962.


Personnel And Musical Instruments

1. Jack Sheldon
The Capitol Jazz CD Mink Jazz is the only source that lists trumpet player Jack Sheldon as part of this and the next session. (My other sources do not list him as part of this date, but they do list him in the three later Mink Jazz sessions, all from 1963.) There are various reasons why I have trusted the CD's claim that Sheldon is present. One of them is that I hear a muted yet prominent trumpet in both "Please Don't Rush Me" and "I'll Get By." See also next session's notes.

2. Chino Pozo
In the CD Mink Jazz, percussionist Chino Pozo is included as one of this session's players, but in Capitol's session file he is not listed among the participants.

I believe that the Capitol Jazz CD is the source in error: because Pozo was definitely part of other Mink Jazz sessions, the CD's discographer incorrectly and inadvertently added the percussionist to this date as well. Granted that drums play a prominent role in one of the date's three songs --"Please, Don't Rush Me" -- chances are that drummer Mel Lewis was the only member in charge of percussion during that number and throughout the session.

A third source contains a telling note that further tips the balance against the Capitol Jazz CD. In the back cover of the original album issue (Capitol LP #1850), it is stated that Pozo was out on this date and back on the next day.

3. Harry Klee
4. Instruments (Flute, Alto Flute, Trumpet)
Whereas Capitol's session file identifies the instrument played by Harry Klee as a trumpet, the CD Mink Jazz stipulates that he's playing flute (and alto flute) in this session.


Arrangements And Arrangers

1. Benny Carter
The Capitol CD Mink Jazz gives a collective personnel in which Benny Carter is listed as arranger of all of this session's numbers. In Peggy Lee's sheet music library, there is one arrangement of "I'll Get By," and it is indeed by Carter. But her library has no arrangements of the other songs, which seem to have used head arrangements. I have thus abstained from crediting Carter for any of these arrangements, the only exception being "I'll Get By."


Date: March 30, 1962
Location: Studio B, Capitol Records, Hollywood
Label: CAPITOL
Capitol Session #10559

Peggy Lee (ldr), Dave Cavanaugh (pdr), John Kraus (eng), Benny Carter (con), Benny Carter And His Orchestra (acc), Justin Gordon (f, ts), Jack Sheldon (t), Herb Ellis, Al Hendrickson (g), Max K. Bennett (b), Lou Levy (p), Mel Lewis (d), Francisco "Chino" Pozo (per), Peggy Lee (v)

a. 37424-7Master Take (Capitol) I Didn't Find Love - 2:05(Peggy Lee) / arr: Benny Carter
b. 37425-6Master Take (Capitol) I'm A Fool To Want You - 3:16(Joel. S. Herron, Frank Sinatra, Jack Wolf)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
c. 37426-3Master Take (Capitol) I Never Had A Chance - 2:36(Irving Berlin)
CAPITOL LP(S)T 1850 — Mink Jazz ("Capitol's New Dimensions In Jazz" Series)   (1963)
Armed Forces Radio Service 12" Transcription DiscP 8435 - P 8436 — Basic Music Library [LP Mink Jazz]   (1963)
CAPITOL reel-to-reel tapeY2t 2237 — Mink Jazz / I'm A Woman   (1965)
Memoir Licensed CS/LP(United Kingdom) Cmoir/Moir 213 — Mink Jazz   (1989)
Marginal Bootleg CD(Belgium) Pc 65009 — Mink Jazz / Suddenly There's [by Gogi Grant] ("The Pin-Up Collection" Series)   (1998)
World Record Club Licensed reel/LP(United Kingdom) Tt/T 745 — Peggy Lee [Reissue of Mink Jazz]   
d. 37427-10Master Take (Capitol) Whisper Not - 2:15(Benny Golson, Leonard Feather, Leroy Jackson)
CAPITOL LP(S)T 1850 — Mink Jazz ("Capitol's New Dimensions In Jazz" Series)   (1963)
Armed Forces Radio Service 12" Transcription DiscP 8435 - P 8436 — Basic Music Library [LP Mink Jazz]   (1963)
CAPITOL reel-to-reel tapeY2t 2237 — Mink Jazz / I'm A Woman   (1965)
All titles on: CAPITOL Jazz CD7243 4 95450 2 1 — MINK JAZZ   (1998)
CAPITOL©EMI Korea CD(Korea) Ekj 30D0320 — [Various Artists] Modern Jazz; The Collectors' Edition   (2010)


The Mink Jazz Album Sessions (Cross-references)

Dates: March 29 and 30, 1962. February 2, 5, 6 and 7, 1963.


Arrangements And Arrangers

1. Benny Carter
The Capitol CD Mink Jazz gives a collective personnel in which Benny Carter is named as this session's arranger. Corroboration arguably exists in the case of only one song: Peggy Lee kept in her music sheet library an arrangement of "I Didn't Find Love" which is indeed credited to Carter.

The library also has copies of the arrangements for the session's other three numbers, but no arranger is credited by name in them. Since I have abstained from blindly trusting collective credits throughout this discography, I have given credit to Carter only for the arrangement of "I Didn't Find Love."


Masters And Dating

1. "I Believe In You" [Master #37395]
The Capitol Jazz Discography lists "I Believe In You" under two 1962 sessions (March 28 and 30) and calls the version from the later session a remake. Both versions are given the same master number. As in previous instances where the same pattern is shown, I have refrained from entering the same master twice, particularly because I have found no indication that the original version was preserved. (My general assumption is that, once the remake was recorded and deemed satisfactory, the earlier version was scrapped. In order to confirm or deny this assumption of mine, an aural inspection of the session tapes would of course be necessary.)

2. "I Never Had A Chance"
Mysteriously, the master take of "I Never Had A Chance" is identified as #2 in some Capitol documents, as #3 in others.


Personnel

1. Jack Sheldon
My two main sources for the presence of Jack Sheldon in this session are the book Blue Note: A Discography (by Michael Cuscuna & Michel Ruppli) and the Capitol Jazz CD Mink Jazz, which was also produced by Cuscuna. Sheldon is not listed, on the other hand, in Capitol's session file. See also notes under session dated March 29, 1962.


Date: March 31, 1962
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #10562

Peggy Lee (ldr), Dave Cavanaugh (pdr), Benny Carter (con), Justin Gordon (r), Conrad Gozzo, Al Porcino, Clarence "Shorty" Sherock, Ray Triscari (t), Milt Bernhart, Billy Byers, Kenny Shroyer (tb), Al Hendrickson (g), Max K. Bennett (b), Lou Levy (p), Emil Richards, aka Emil Radocchia (vib, per), Mel Lewis (d), Peggy Lee (v)

a. 37438-4Master Take (Capitol) Tell All The World About You - 2:31(Ray Charles)
CAPITOL 454812 — {Tell All The World About You / Amazing}   (1962)
CAPITOL little LP (aka jukebox EP)Sxa 1772 — Sugar 'N' Spice ("33 Compact" Series)   (1962)
CAPITOL EP(United Kingdom) Eap 1 1772 — Sugar 'N' Spice   (1962)
CAPITOL EP(France) Eap 1 20444 — I'm A Woman   (1963)
b. 37439-5Master Take (Capitol) Big Bad Bill (Is Sweet William Now) - 2:36(Milton Ager, Jack Yellen) / arr: Billy May
CAPITOL little LP (aka jukebox EP)Sxa 1772 — Sugar 'N' Spice ("33 Compact" Series)   (1962)
CAPITOL 454888 — {I'm A Woman / Big Bad Bill (Is Sweet William Now)}   (1962)
c. 37440-5Master Take (Capitol) The Best Is Yet To Come - 3:21(Cy Coleman, Carolyn Leigh) / arr: Quincy Jones
CAPITOL EP(United Kingdom) Eap 1 1772 — Sugar 'N' Spice   (1962)
CAPITOL 45(United Kingdom) Cl 15289 — {I Believe In You / The Best Is Yet To Come} [single never issued in the USA]   (1963)
Pickwick Licensed LPSpc 3192 (same tracks as Everest 294) — I've Got The World On A String    (1968)
All titles on: CAPITOL LP(S)T 1772 — Sugar 'N' Spice   (1962)
Armed Forces Radio Service 12" Transcription DiscP 8116- P 8117 ? — Basic Music Library [10 songs from LP Sugar 'n' Spice, 4 from Sinatra's All Alone]   (1962)
CAPITOL reel-to-reel tapeY2t 2236 — If You Go / Sugar 'n' Spice   (1965)
Pausa Licensed CS/LPPc/Pr 9043 — Sugar 'N' Spice   (1985)
CAPITOL©EMI CD(United Kingdom) 7243 4 96729 2 5 — I Like Men! / Sugar 'N' Spice   (1998)
CAPITOL Jazz CD7243 5 25249 2 1 — SUGAR 'N' SPICE   (2001)


The Sugar 'N' Spice Album Sessions (Cross-references)

Dates: March 28 and 31, 1962. April 2 and 4, 1962.


Arrangements

1. Benny Carter
The Capitol Jazz CD Sugar 'N' Spice credits all of this session's arrangements to Benny Carter, who also conducted the date. As usual, I have distrusted such a collective credit, all the more so since there is no corroboration for it. Ed Berger's discography of Benny Carter lists none of these arrangements. In Peggy Lee's sheet music library, there are arrangements for two of the songs, but men other than Carter receive authorship credit: Billy May for "Big Bad Bill" and Quincy Jones for "The Best Is Yet To Come." (The library holds no arrangement of "Tell All The World About You.") Hence I am assuming that, because Carter was the session's conductor, Capitol automatically and erroneously listed him as the arranger of the songs. I am tentatively trusting the library's credits. (The tentativeness is due to the fact that, because I have not listened to the library's arrangements, I cannot fully guarantee that they are the same ones heard in the album.)


Masters And Dating

1. "I Believe In You" [Master #37395]
The Capitol Jazz Discography lists "I Believe In You" under two 1962 sessions (March 28 and 31) and gives to the two performances the same master number. Meanwhile, Lee's session file lists it only under one of the sessions. For details about my policy when there are two alleged performances with the same master number, see relevant note under previous session.


Personnel

1. Chino Pozo
According to the discographical notes found in the Capitol Jazz CD Sugar 'N' Spice, percussionist Chino Pozo played on an earlier album date (March 28, 1962) but not on this one. On the other hand, the Capitol Label Discography lists Chino Pozo as one of two percussionists on this date.

The probable reason why the makers of the Capitol Label Discography included Pozo in both March 28 and 31 sessions is that -- under a rationale that I have already explained above -- they list master #37395 ("I Believe In You") under both dates. In this discography, I have placed "I Believe In You" only under the earlier date; thus I have not added Pozo to personnel of this session.


Date: April 2, 1962
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #10563

Peggy Lee (ldr), Dave Cavanaugh (pdr), Benny Carter (con), John Cave, Willard Culley, Vincent DeRosa, Sinclair Lott (frh), Clarence Karella (tu), Al Hendrickson (g), Max K. Bennett (b), Lou Levy (p), Mel Lewis (d), Peggy Lee (v)

a. 37441-4Master Take (Capitol) Teach Me Tonight - 2:24(Sammy Cahn, Gene DePaul) / arr: Billy May
CAPITOL LP(S)T 1772 — Sugar 'N' Spice   (1962)
CAPITOL little LP (aka jukebox EP)Sxa 1772 — Sugar 'N' Spice ("33 Compact" Series)   (1962)
Armed Forces Radio Service 12" Transcription DiscP 8116- P 8117 ? — Basic Music Library [10 songs from LP Sugar 'n' Spice, 4 from Sinatra's All Alone]   (1962)
b. 37442-7Master Take (Capitol) When The Sun Comes Out - 2:48(Ted Koehler, Harold Arlen) / arr: Billy May
CAPITOL LP(S)T 1772 — Sugar 'N' Spice   (1962)
Armed Forces Radio Service 12" Transcription DiscP 8116- P 8117 ? — Basic Music Library [10 songs from LP Sugar 'n' Spice, 4 from Sinatra's All Alone]   (1962)
CAPITOL reel-to-reel tapeY2t 2236 — If You Go / Sugar 'n' Spice   (1965)
Pausa Licensed CS/LPPc/Pr 9043 — Sugar 'N' Spice   (1985)
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
CAPITOL©EMI CD(United Kingdom) 7243 4 96729 2 5 — I Like Men! / Sugar 'N' Spice   (1998)
c. 37443-3Master Take (Capitol) I'll Be Around - 2:44(Alec Wilder) / arr: Benny Carter
CAPITOL Jazz CD0777 7 97826 2 8 — MISS PEGGY LEE    (1998)
CAPITOL©EMI CD(United Kingdom) 7243 5 32580 2 3 — Peggy Lee Sings The Standards   (2001)
d. 37444-8Master Take (Capitol) Amazing - 2:35(Norman Gimbel, Emil Stern) / arr: Billy May
CAPITOL 454812 — {Tell All The World About You / Amazing}   (1962)
CAPITOL LP(S)T 2732 — Extra Special!   (1967)
CAPITOL©EMI CD(United Kingdom) 7243 4 93065 2 3 — Extra Special! / Somethin' Groovy!   (1998)
Nova AP Music Public Domain CD(United Kingdom) Aupcd 4012 — Fever; The Best Of Peggy Lee ("The Ultimate 101 Collection" Series)   (2014)
All titles on: CAPITOL Jazz CD7243 5 25249 2 1 — SUGAR 'N' SPICE   (2001)


The Sugar 'N' Spice Album Sessions (Cross-references)

Dates: March 28 and 31, 1962. April 2 and 4, 1962.


Arrangers And Arrangements

1. Billy Byers
2. Benny Carter
3. Billy May
4. Shorty Rogers
The Capitol Jazz CD Sugar 'N' Spice collectively names Billy Byers, Billy May and Shorty Rogers as the arrangers of this session's numbers.

On the other hand, Peggy Lee's sheet music library credits Billy May with each of the arrangements from this session, except for "I'll Be Around," whose author is identified as Benny Carter. In the case of "Amazing," credit to Billy May is also given in the back cover of the LP Extra Special!.

Since the CD's credits are collective and therefore leave unclear which man wrote which arrangement, I am putting more trust in the more specific credits provided by Lee's library -- at least until additional information comes forth.


Date: April 4, 1962
Location: Capitol Tower, 1750 North Vine St., Hollywood
Label: CAPITOL
Capitol Session #10572

Peggy Lee (ldr), Dave Cavanaugh (pdr), Benny Carter (con), Bill Green, Paul Horn (r), Al Porcino, Uan Rasey, Jack Sheldon, Ray Triscari (t), Milt Bernhart, Billy Byers, Tom Shepard, Kenny Shroyer (tb), Herb Ellis (g), Max K. Bennett (b), Lou Levy (p), Mel Lewis, Francisco "Chino" Pozo (d), Peggy Lee (v)

a. 37470-4Master Take (Capitol) I Don't Wanna Leave You Now - 2:22(Richard Hazard, Peggy Lee, Jeanne Taylor)
Armed Forces Radio Service 12" Transcription DiscP 8116- P 8117 ? — Basic Music Library [10 songs from LP Sugar 'n' Spice, 4 from Sinatra's All Alone]   (1962)
CAPITOL EP(France) Eap 1 20444 — I'm A Woman   (1963)
b. 37471-5Master Take (Capitol) I've Got The World On A String - 2:20(Ted Koehler, Harold Arlen) / arr: Billy Byers
CAPITOL little LP (aka jukebox EP)Sxa 1772 — Sugar 'N' Spice ("33 Compact" Series)   (1962)
CAPITOL EP(United Kingdom) Eap 1 1772 — Sugar 'N' Spice   (1962)
Armed Forces Radio Service 12" Transcription DiscP 8116- P 8117 ? — Basic Music Library [10 songs from LP Sugar 'n' Spice, 4 from Sinatra's All Alone]   (1962)
c. 37472-5Master Take (Capitol) Embrasse Moi (Embrace Me Just One More Time) - 3:35(Aime Honore Barelli, Peggy Lee)
Armed Forces Radio Service 12" Transcription DiscP 8116- P 8117 ? — Basic Music Library [10 songs from LP Sugar 'n' Spice, 4 from Sinatra's All Alone]   (1962)
d. 37473-5Master Take (Capitol) The Sweetest Sounds - 1:52(Richard Rodgers) / arr: Billy Byers
CAPITOL 454750 — {The Sweetest Sounds / Loads Of Love}   (1962)
Pickwick Licensed LPSpc 3192 (same tracks as Everest 294) — I've Got The World On A String    (1968)
Pickwick Licensed LPPtp 2028 2 — Once More With Feeling / I've Got The World On A String ("2 Sensational Albums In 1 Hit Package")    (1968)
Pickwick's Everest Licensed LPFs 294 (same tracks as Pickwick 3192) — Peggy Lee ("Archives of Folk & Jazz Music" Series)   (1974)
All titles on: CAPITOL LP(S)T 1772 — Sugar 'N' Spice   (1962)
CAPITOL reel-to-reel tapeY2t 2236 — If You Go / Sugar 'n' Spice   (1965)
Pausa Licensed CS/LPPc/Pr 9043 — Sugar 'N' Spice   (1985)
CAPITOL©EMI CD(United Kingdom) 7243 4 96729 2 5 — I Like Men! / Sugar 'N' Spice   (1998)
CAPITOL Jazz CD7243 5 25249 2 1 — SUGAR 'N' SPICE   (2001)


The Sugar 'N' Spice Album Sessions (Cross-references)

Dates: March 28 and 31, 1962. April 2 and 4, 1962.


Songs And Songwriters

1. "Embrasse Moi"
2. Aimé Barelli
3. Peggy Lee
"Embrasse Moi" has lyrics in English that Peggy Lee wrote to a melody by French composer, trumpet player and bandleader Aimé Barelli. With a French lyric written by Marcel Argenon, the song was recorded in 1960 by Barelli's wife, Lucienne Delyle. (There are some sources which state that the French lyrics were co-written by Gerard Gustin and Michel Cassez, both of whom collaborated often with Barelli. But Argenon is named as the author of the French lyrics in most sources, including ASCAP.)

In the Capitol Jazz CD Sugar 'N' Spice, the songwriters credited for "Embrasse Moi" are Barelli and, mysteriously, someone named Larne. Since Marcel Argenon wrote under the pseudonym "Jacques Larue," Capitol Jazz may have actually made a typo in writing "Larne." More alarmingly, the track lister of the Capitol Jazz CD failed to credit Peggy Lee herself.

The original Sugar 'N' Spice issue (Capitol LP #1772) credits Aimé Barelli and Peggy Lee -- not Marcel Argenon or the aforementioned 'Larne.'


Arrangers And Arrangements

1. Billy May
2. Billy Byers
3. Benny Carter
The Capitol Jazz CD Sugar 'N' Spice identifies both Billy Byers and Benny Carter as this session's arrangers but doesn't detail which numbers were arranged by either man. Hence I have given more credence to other sources, in which specifics are supplied.

Billy Byers is credited with an arrangement of "The Sweetest Sounds" extant at Peggy Lee's sheet music library.

The singer's library also has two arrangements of "I've Got The World On A String," and one of them is indeed by Byers. Billy May authored the other one. Since I have not consulted the library's actual scores, I can only assume, tentatively, that the Byers arrangement is the one used in this session. The May arrangement may be the one that Lee sang in the 1950s, on radio, with May backing her.

The library also contains arrangements of "I Don't Wanna Leave You Now" and "Embrasse Moi" but neither identifies an author, unfortunately.

As for Benny Carter -- the other arranger credited by the Capitol Jazz CD -- I have found no sources that can vouch for his involvement. However, lack of sources should not be taken as an absolute dismissal of possible authorship. Chances are that an undetermined quantity of Carter's arrangements remains unidentified and therefore, yet to be properly credited. Lee's versions of "I Don't Wanna Leave You Now" and "Embrasse Moi" could be among those.


Issues

1. The Album Sugar 'N' Spice In The Music Charts [LP]
Peggy Lee's 11th album chart entry made its debut during the week of November 17, 1962. It peaked at #40 and spent 21 weeks in Billboard's album chart.


Date: November 14, 1962 (2:00 p.m. to 5:00 p.m.)
Location: Capitol Records Studio, 151 West 46th Street, New York
Label: CAPITOL
Capitol Session #8542 (NY) & #10842 (LA?)

Peggy Lee (ldr), Dave Cavanaugh, Jerry Leiber, Mike Stoller (pdr), Benny Carter (con), Gene Quill (as), John Pisano (g), Max K. Bennett (b), Mike Melvoin (p), Stan Levey (per), Peggy Lee (v)

a. 24433-10Master Take (Capitol) I'm A Woman - 2:07(Jerry Leiber, Mike Stoller) / arr: Benny Carter, Dave Cavanaugh, Mike Stoller
CAPITOL 454888 — {I'm A Woman / Big Bad Bill (Is Sweet William Now)}   (1962)
Armed Forces Radio Service 12" Transcription DiscP 8149 - P 8150 — Basic Music Library [1 Peggy Lee, 2 Teresa Brewer, 2 Dean Martin, 1 Kitty Kallen vocals]   (1962)
CAPITOL 8-track/LP(S)t 1857 [Reissued as M 1857 & Sm 1857 in 1977] — I'm A Woman   (1963)
b. 24434-5Master Take (Capitol) Close Your Eyes - 2:34(Bernice Petkere)
unissued


The 1960-1962 Singles Sessions (Cross-references)

Dates: July 26, 1960. September 1, 1960. May 19, 1961. November 14, 1962. These four dates were the only singles sessions that Peggy Lee held between 1960 and 1962.

During the same three-year period, Lee naturally recorded numerous album sessions as well. Capitol culled additional singles from such sessions. Independently of its success as stand-alone pieces, album singles were deemed valuable as support or promotion for the albums from which the songs came. In a few rare instances, the flip sides of album singles were songs that had been recorded during the album sessions but ultimately left out from the albums. "Loads Of Love," from a March 28, 1962 Sugar 'n' Spice session, is an example. Kept out of the album, it appeared on a single whose main side is that album's track "The Sweetest Sounds."

The present session inhabits a twilight world, since it qualifies as both a singles and an album session. The session appears to have been set up in order to produce a rendition of "I'm A Woman" for release as a single. (Since the number had been meeting with enthusiastic audience response at Lee's concerts, Capitol probably smelled a hit in the making.) The single was released quickly, about a month after this date. As the single's flip side, a number from the recently released album Sugar 'n' Spice was issued despite the availability of a second number from this date. (The reasons can only be speculated. The choice of "Big Bad Bill" could have stemmed from Capitol's and/or Lee's desire to provide further promotion for Sugar 'n' Spice. The number could have also been deemed thematically simpatico as a pairing with I'm A Woman." Or there could have been objections to "Close Your Eyes." Since Lee re-recorded it just two months afterwards, for inclusion in another album, she or Cavanaugh might have not been satisfied with the rendition produced at this date.)

In any case, none of the above-given details suggest that the initial plans for this "Im A Woman" date involved the creation of an album. However, an album anchored by the song must have been set up as soon as the single began receiving a fair amount of airplay and critical applause.


The I'm A Woman Album Sessions (Cross-references)

Dates: November 14, 1962. January 2, 3, 4 and 5, 1963. March 29, 1962.


The Recording Session

The song "I'm A Woman" was brought to producer Dave Cavanaugh by the songwriters themselves, who were hoping that Lee would record it. In the songwriters' autobiography, Mike Stoller writes: "No response. Months passed. By chance I picked up The New Yorker and noticed an item about Peggy Lee at Basin Street East. Benny Carter was her conductor and, according to the reviewer, the highlight of her show was I'm A Woman."

"I went to see her," continues Stoller. "It was freezing cold and the streets were covered with ice. I barely managed to make my way to the club where, halfway through the show, she sang the song ... After the show, I waited outside the dressing room ... Wonderful job, she said sweetly. Lovely song. And that was it. Next morning I called Cavanaugh. A little flustered, he explained that Peggy did indeed like the song and would soon record it, using only a rhythm section, as she had done it in her live show. How about a little more instrumentation?, I urged. How about a trumpet or a sax? Cavanaugh said, Okay, that won't cost too much. We were invited to the session at Capitol's New York studios. We wound up contributing quite a bit. I wrote a horn chart, voicing the alto sax above the trumpet, something I took from Ray Charles' bag of arranging tricks."

At the session, lyricist Jerry Leiber wanted to tell Lee how to sing the lyric. Among other details, he did not want the vocal to be sung on the beat. Judging from his approach and involvement with other artists' versions of the song, Leiber probably envisioned "I'm A Woman" as a tune to be interpreted in the rough and raspy "roaring blues mama" tradition. Lee was probably more inclined to record the song in the already successful manner in which she had been singing it at Basin Street East -- that is to say, on the beat and in more of a "mellow" (if still "taunting") blues tradition. When Leiber tried to make her sing it his way, she told him in no uncertain terms to mind his own business. "I immediately saw that you could only push this gal so far," writes Leiber. "Her interpretation was too correct ... I didn't get it." Stoller counter-argues: "I got it. The public got it. I'm A Woman was an across the board hit and put Peggy back in business. It even nabbed a Grammy nomination."

Discreetly at the service of the song, the last two statements are off the mark, and must stem from a lack of perspective of the singer's career. "I'm A Woman" was Lee's seventh Grammy nomination in a row (1958-1962). As for the figure of speech "back in business," it flies in the face of the artist's career success during that same period. When the single "I'm A Woman" was released, the album Basin Street East Proudly Presents Miss Peggy Lee had spent about 14 weeks in Billboard's Hot 100 chart, and still had about eight more weeks left. The 1961 engagement that led to the recording of that album had been a significant success both critically and financially. But, even without such one single success, Lee was widely known to be a very well remunerated concert artist at the time, with steady and numerous long-term night club engagements per year. There was also the fact that Lee had a long-term record contract with a major label -- a contract that was annually generating about two albums and various singles.

"We never once received a call from Cavanaugh to congratulate us," Leiber & Stoller continue, in their memoirs. "Years later, jazz [pianist] Mike Melvoin told me that on his first day as Peggy's pianist, he was handed a stack of demos and told to pick out anything good. The only thing he liked was I'm A Woman."

For the next chapter of the Lee, Leiber & Stoller saga, see session dated January 24 (& 29), 1969 in this page.


Songs

1. "I'm A Woman" In The Music Charts And At The Grammys
"I'm A Woman" spent nine weeks in Billboard's Hot 100. After entering the chart during the week of January 5, 1963, it peaked at #54. In Cash Box magazine, it peaked at #71 and spent 6 weeks in the chart. For Lee's next chart entry, see session dated June 26, 1964. The song has gone on to become perennially associated with Lee.

On May 15, 1963, it was time for the Grammy's fifth awards ceremony. Almost as a matter of course, it was also time for Ella Fitzgerald's and Peggy Lee's fifth straight year of nominations. In the category of Best Solo Vocal Performance, Female, Lee was nominated for the song "I'm A Woman," Fitzgerald for the album Ella Swings Brightly With Nelson Riddle. This time the field was crowded, with a total of seven nominees. Diahann Carroll, Lena Horne, Ketty Lester, Sandy Stewart and Pat Thomas were the other singers in the category. Fitzgerald held her crown.


Sessions And Masters (Cross-references)

1. Session's Number
Some official documents identify this session as number 8542, whereas other documents, including Capitol's Peggy Lee sessions file, give it the number 10842. The number 8542 definitely belongs to the New York recording session. As for the higher number, I am assuming that it refers to some undetermined extra work undergone by these New York masters when they were brought to LA.

2. "Close Your Eyes"
Peggy Lee recorded "Close Your Eyes" twice, once during this session and once on February 7, 1963. Only the 1963 master has been issued.

Though the same basic approach is common to the two masters, there are significant differences. Most notably, a relatively long trumpet solo plays halfway through this session's version. The endings of the two masters differ from one another, too. Only in this 1962 master does Lee close with the line "rest your head in my shoulder," which she utters right after singing the words "close your eyes" twice.


Personnel And Issues

1. Leiber & Stoller
2. Dave Cavanaugh
Capitol's session file credits only Dave Cavanaugh as producer of this session. Nonetheless, the songwriters of "I'm A Woman" have stated that they had a substantial if mostly uncredited involvement in the production of "I'm A Woman." According to Jerry Leiber, "[w]e were not credited with being producers, but we were invited in the studio with Dave Cavanaugh, and he abdicated his role as an active, hands-on producer to us." According to Mike Stoller, producer Cavanaugh had "planned to record the song with just a rhythm section, as it was being done [by Lee, in concert] at Basin Street East, but I implored him to add a trumpet and an alto sax as I had a specific idea for an arrangement."

3. Max Bennett
4. Stan Levey
The Capitol Label Discography is my source for the inclusion of these two musicians. As for other sources, Capitol's session file does not list the musicians who played at this session, and I have no access, unfortunately, to the AFM session reports.

5. Mike Melvoin
6. John Pisano
7. Gene Quill
My source for the inclusion of these three musicians is co-producer Mike Stoller, who has also corroborated the presence of Max Bennett and Stan Levey. My thanks to Peter Stoller for his kind sharing of his father's comments on this specific matter.

8. Personnel Listed In The Best Of Peggy Lee, The Capitol Years (Blues & Jazz Sessions)
Capitol CD #724382120421 lists the following personnel for its "I'm A Woman" track: Benny Carter And His Orchestra, including Manny Klein, trumpet; Stan Levey, drums; Mike Melvoin, piano; Max Bennett, bass; John Pisano or Al Hendrickson, guitar. I believe that those names are merely educated guesses. Since the Capitol file does not give a personnel for this November 14, 1962 date , the CD's annotator might have assumed that the participating musicians were the same ones who played in the other I'm A Woman album sessions (January 2-5, 1963). Problematic for that assumption are the facts that (a) those other album sessions took place about a month and a half after this one, and (b) the location differed, too (NY for this date, LA for the later ones). Both the timing and the location increase the likelihood that there were changes of personnel between sessions.

That said, there is not much discrepancy between the personnel reported by Mike Stoller and the group of musicians identified (or proposed) in the CD The Best Of Peggy Lee, The Capitol Years (Blues & Jazz Sessions). Only the suggested trumpet player varies: Gene Quill or Manny Klein. Quill is known to have been primarily a New York session player, while Klein was settled in California. Obviously, Mike Stoller's first-witness testimony is the most reliable of the two sources at hand.


Arrangements

1. "I'm A Woman"
2. Benny Carter
3. Mike Stoller
4. Dave Cavanaugh
4. Shorty Rogers
5. René Richards
Ed Berger's discography of Benny Carter credits the composer and saxophonist with arranging "I'm A Woman." Carter also receives credit in a copy of the arrangement that Peggy Lee kept in her sheet music library.

During the session, Mike Stoller's minimalist horn chart was added to Carter's original arrangement for rhythm section.

Dave Cavanaugh was responsible for orchestrating Benny Carter's arrangement for rhythm section.

Lee's library has two additional arrangements of "I'm A Woman," one by Shorty Rogers, the other by René Richards.


GENERAL NOTES

Peggy Lee's Artistic Career, 1957-1959; 1960-1962

The three years covered by this discographical page (1960-1962) find Peggy Lee at a peak of popular and critical acclaim. [It should be clarified from the outset that this was by no means the only high point of Lee's professional career. As I see it, there had been three previous peaks. The last of them had comprised the years 1952-1955, when Lee had scored 4 'home runs': "Lover," Black Coffee, the music score for Lady And The Tramp, and the Oscar nomination for her acting in Pete Kelly's Blues. And after this early 1960s period, there would be a late 1960s peak: still lying ahead was the attention and success that her version of "Is That All There Is?" would generate.

As a career peak, the time span under discussion could arguably be expanded to include the years 1957 to 1959, in which Lee came back to Capitol Records and proceeded to generate a continuous string of chart hits. During the earlier half (1957 - 1959), as she kept making both the album and the singles charts, Lee proved to be a popular commodity for the record company. Most notably, she created a hot single ("Fever") that to this date remains a strong seller in Capitol's back catalogue. Then, during the period's later half (1960-1962), when the Billboard's Hot 100 had became nearly off-limits for most 1930s or 1940s singers other than Sinatra, Lee still managed to crack that chart. Recorded in late 1962, "I'm A Woman" charted at the start of 1963 and, like "Fever," became strongly associated with the vocalist.

Lee's greatest popular triumphs of the 1960-1962 period are not her singles, however, but her albums. On April 11, 1960, Latin Ala Lee! entered Billboard's album chart, where it stayed for over a year (59 weeks, to be exact) and nearly cracked the top 10. The album proved a trendsetter, too. Its successful run and the catchiness of its renditions prompted similarly latinized projects from many other singers. Later on (September 1961 - January 1962) another album, Basin Street East Proudly Presents Miss Peggy Lee, spent over 20 weeks in the lower quarter of the chart.

Evidence of widespread approval and enthusiasm for Peggy Lee's work is at its most obvious in 1961, when material recorded during the previous year earned her no less than 3 Grammy nominations. (There's actually a 4th nomination, Best Album Cover, which, though obviously not for her, was still for one of her releases.)

Peer approval is also evident from the reception enjoyed by Lee's self-penned compositions from this period. Two in particular. Both "I Love Being Here With You" and "I'm Gonna Go Fishin' " became hip numbers amidst the 'in' crowd, and went on to generate dozens and dozens of versions by other acts. "Fishin' " was immediately favored, especially by singers who worked in jazz-oriented settings. "I Love Being Here With You" has been more slowly embraced, but is nowadays the more popular number of the two, especially among vocalists who use it as an opener for their concert and nightclub acts.

Besides the success of her recorded work, at this time Lee achieved a peak as a performing act. After a long hiatus from appearing in the New York nightclub scene, her return to the Copacabana in 1959 earned very appreciative reviews. The reviews only grew in enthusiasm when, in 1960, she moved on to the smaller but more music-oriented club called Basin Street East. Raves from both critics and regular concertgoers solidified her standing as one of the highest paid female nightclub singers of the 1950s and 1960s.

There's more. Thanks to her string of hits, to her success as a nightclub performer, and to her excellent interpretative skills, Lee also became an in-demand television act during these years. She not only guested in many variety shows but also appeared in her own specials, which were filmed in Los Angeles, Manhattan, and London during 1961 and 1962.

The 1957-1962 period thus established Peggy Lee as both a skilled craftsmaker and a hip hitmaker. Besides her continued success as a songwriter and a vocalist, her nightclub work became one more area for which she earned acclaim. In the music industry, Lee came to be perceived as a trendsetter by some and as a solid success by most everybody. Both literally and figuratively, Peggy Lee became known as "an act to watch" during these years.

Popularity: Peggy In The Polls

In 1959, Peggy Lee had ranked #8 in Downbeat's female singers poll. In 1960, Lee climbed to #6 in that poll.

She did even better in Metronome's 1960 All Star, Female poll. Her name had not appeared in the previous four or five years of that poll. Rankings and total vote numbers were as follows:

1. Ella Fitzgerald (820 votes)
2. Anita O'Day (500 votes)
3. Nina Simone (489 votes)
4. Sarah Vaughan (444 votes)
5. Peggy Lee (378 votes)
5. Annie Ross (378 votes)
6. Chris Connor (313 votes)
7. Dinah Washington (269 votes)
8. June Christy (211 votes)
9. Dakota Staton (151 votes)
10. Julie London (103 votes)

Peggy Leee also placed at #4 in the magazine's Disc Jockey poll for favorite female singer, published on May 26, 1960. (Of the 66 djs polled, over half picked Ella Fitzgerald, a choice which resulted in awfully small numbers for the rest of the top five. Anita O'Day received 3 votes, Peggy Lee 4, Chris Connor and Sarah Vaughan 6.)

The next year (1961), Peggy Lee placed #4 in both Downbeat's and Playboy's polls.

The rankings from the Playboy Jazz Poll, Female Vocalist are noteworthy because of the larger number of respondents. Results were as follows:

1. Ella Fitzgerald (10,363 votes)
2. June Christy (1,637 votes)
3. Julie London (1,593 votes)
4. Peggy Lee (1,506 votes)
5. Nina Simone (1,276 votes)
6. Dakota Staton (1,168 votes)
7. Sarah Vaughan (1,099 votes)
8 Chris Connor (1,066 votes)
9. Keely Smith (1,012 votes)
10. Anita O'Day (869 votes)

For the year 1962, Peggy Lee's ascent in the Downbeat poll continued:

1. Ella Fitzgerald
2. Nancy Wilson
3. Peggy Lee
4. Carmen McRae
5. Sarah Vaughan
6. Anita O'Day
7. Chris Connor
8. Nina Simone
9. Gloria Lynne
10. June Christy

Statistics: Total Number Of Peggy Lee Masters

This discographical page shows a total of 135 masters and 4 alternate takes, recorded for Capitol Records between 1960 and 1962. Also listed (but not included in the 135-master count) are a handful of live titles that the Capitol vaults are believed to hold, unmastered and unissued, as part of the Basin Street East concert tapes. More detailed explanations about all such unissued live performances, masters and alternates will be given below.

Only issued alternate takes are listed throughout this discographical page. Additional takes of many of Peggy Lee's masters are actually known to exist in the vaults, but no systematic listening of them has ever been made.

Of the four alternate takes listed in the present page, "Christmas Carousel" and "Jingle Bells" are reported as issued on an 8-track holiday compilation which I have not been able to track down. Therefore, the alleged release of those two takes is still in need of corroboration. A third alternate ("Here's That Rainy Day") is available in the CD set Miss Peggy Lee, where it substitutes the original master. Finally, there is the alternate of "I'm Gonna Go Fishin' ", which sound particularly similar to the master take, yet is definitely a different take. The master made its only commercial appearance (as far as I have been able to ascertain) on a Capitol 45-rpm single from 1960. The alternate was included in the 1967 album Extra Special!, and has become the most widely disseminated take, thanks to its continuous appearance in subsequent compilations .

I have given the title Toys For Tots, Three-Singer Edit to a mix created by Capitol's engineers in 1996, without Lee's direct participation. This item combines Lee's own version of the promotional spot with versions sung by two other Capitol singers. As for the inclusion or exclusion of this material in the aforementioned135-master, the original Toys For Tots master was of course included, but this Toys For Tots, Three-Singer Edit was excluded.

This page also lists numerous live performances from concerts held at New York's Basin Street East nightclub. Only the live performances that have been commercially issued were factored into the above-mentioned 135-master count. Non-issued live Basin Street East performances were listed (since they are believed to be extant in the Capitol vaults) but not made part of the count. Lest I unnecessarily excite fans wanting to hear fresh material from Lee, I should specify that all the non-issued live Basin Street East performances are titles that were released in versions from other concert Basin Street East dates, or otherwise in studio recreations. (For instance, an unissued February 8, 1961 Basin Street East concert version of "But Beautiful" is believed to exist in the vaults. Capitol issued instead a studio recreation of "But Beautiful", recorded on March 1, 1961.)

Extant information about the Basin Street masters is complex and confusing. (A sizable amount of speculation has gone into my attempt at organizing, dating and correctly identifying whether each existent Basin Street East number is a live performance or a studio take. If additional information comes forth, readers should expect corrections and modifications to the currently shown data.)

The Basin Street East sessions include various medleys. For discographical purposes, their handling has been somewhat problematic. Generally, company files identify each medley as a single unit. (That is to say, all songs within any given medley are mastered together, and hence counted as one master. In the present discography, I have made special allowances by listing and separately counting each number within a medley. (Among the advantage of separating each number from a medley: my automatically generated discographical database handles the separation better. For instance, each song will be correctly accompanied by its songwriter's names if the separation is carried out. Entering all the songs from hr medley as one unit would require to also list all the songwriters together, without identifying which one is credited with what song.)

The total number of unissued masters in this page is ten: "Close Your Eyes," "My Guitar," and 8 numbers from the Basin Street East sessions. Besides being unissued, these 10 masters share in common the fact that Peggy Lee re-recorded all of them in subsequent (or in related) sessions. In the case of "Close Your Eyes" and "My Guitar," both unissued masters feature arrangements that differ from versions that were recorded later.


Sessions Reported: 36

Performances Reported: 151

Unique Songs Reported: 120

Unique Issues Reported: 221