Peggy Lee's Bio-Discography:
The Capitol Transcriptions
by Iván Santiago-Mercado

Page generated on Apr 1, 2017





Preliminary Notes

Contents: Peggy Lee's Radio Sessions For Capitol. The purpose of Capitol's Transcription Library Service was to produce records exclusively for radio airplay (rather than for commercial sale). Transcription records were distributed over a network of radio stations which subscribed, for a fee, to this "library" service. The enterprise operated from 1945 to 1953. Peggy Lee's recording activity for the service was circumscribed to a 3-year span (1946-1949), during which she turned out a total of 72 masters, spread over 11 transcription sessions. In addition, Lee recorded some miscellanea that radio stations were free to play before and after her transcription numbers (e.g., spoken introductions, a few promotional spots, a personal theme set to music). For other specifics about Capitol's Transcription Service, and for general details about the commercial release of Lee's transcription output, see this page's final note. My thanks to Adrian Daff for his very generous provision of the ads pictured throughout this page.

Organization: Chronology, issues, recommendations. The 11 aforementioned Capitol transcription sessions are chronologically discussed below. Under each Peggy Lee transcription performance, a list of commercial issues has been chronologically arranged as well, by year of release.  I aimed at listing every single issue (i.e., LP, CD, etc.) 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.) Not surprisingly, some of Lee's Capitol transcription performances have been released so many times that the lists under them are quite long. In the present page, such lengthy lists have been subjected to a "hide-or-reveal" option: if a performance has been released more than three times, its full list of issues will be displayed only after you click on a blue arrowhead that has been strategically placed next to the third issue. Finally, all but one of Lee's 72 Capitol transcription performances were optimally issued in the Mosaic set THE COMPLETE PEGGY LEE & JUNE CHRISTY CAPITOL TRANSCRIPTION SESSIONS, whose title I have put in uppercase and boldface to signal that it is the recommended issue for this material. On the matter of worthwhile issues, you may also want to explore this pictorial page, particularly its second section.





Date: ca. May 1946
Location: Radio Recorders, 7000 Santa Monica Blvd., Hollywood, Los Angeles
Label: CAPITOL`

Lee Gillette (pdr), Dave Barbour (g), Peggy Lee (v), Other Individuals Unknown (unk)

a. T-____-_Master Take (Capitol) I'm In The Mood For Music - 1:10(Dave Barbour, Peggy Lee)
b. T-____-_Master Take (Capitol) I'm In The Mood For Music - 1:25(Dave Barbour, Peggy Lee)
Both titles on: CAPITOL 16" Transcription DiscX-16 — Themes-8, Program Aids   (1946)



A Radio Show Called Songs By Peggy Lee

Radio stations that subscribed to Capitol's Transcription Service had the option of ordering two types of discs: (1) those containing shows pre-assembled by Capitol, and (2) those containing just songs which the station itself could assemble into a show. When the second option was chosen, the subscribing station received monthly installments of discs such as the ones that will be listed throughout this page, as well as the special discs that are to be discussed immediately below.

If, on the other hand, a subscribing station favored the first option instead, then Songs By Peggy Lee was among the shows that the station could order from Capitol. (For actual evidence of the existence of such type of programming, see the ads displayed near the bottom of this page. Among such ads, one lists Songs By Peggy Lee among various 15-minute shows being offered. Longer programming, lasting 30 or 60 minutes, are also listed. Because all such Capitol-assembled shows are mentioned only in a couple of these ads, there is a possibility that they were discontinued or fully cancelled after a short while, leaving procedure #2 as the only viable option for subscribers.)

Issues And Masters

1. Capitol X-16 [Transcription Disc]
Capitol transcription disc X-16 is entirely dedicated to song themes. It features the following tracks, which are duplicated on (i.e., found on both sides of) the disc:
a) Adios (opening and closing theme for Enric Madriguera shows)
b) F.S.T. (opening theme for Nat King Cole's shows)
c) F.S.T. (closing theme for Nat King Cole's shows)
d) I'm In The Mood For Music (opening theme for Peggy Lee's show)
e) I'm In The Mood For Music (closing theme for Peggy Lee's show)

2. "I'm In The Mood For Music"
"I'm In The Mood For Music" was meant to serve as the opening and closing theme of the assembled Peggy Lee shows. References to this obscure song can also be found in some movie guides, where it is identified as one of the three numbers performed by Peggy Lee with husband Dave Barbour in the similarly obscure, lost-in-time 1947 short Midnight Serenade. In that short, it might have also been showcased as the couple's theme.

Unfortunately, I have come across no information about this theme, not have I ever been able to hear it. (I have not watched the aforementioned short, either.) Hence my classification of the theme as a vocal (rather than an instrumental) is merely an educated guess on my part -- though one with a high chance of being correct.

Due to my non-familiarity with disc X-16 and its contents, there are other matters that are unclear to me as well. I cannot confidently ascertain whether it includes two different performances of "I'm In The Mood For Love," or whether one single performance of the song was used as both the opening and the closing theme. Until further information comes along, I have decided to follow the data at hand: two separate listings of the same song title are known to be shown in the label of the transcription disc:


Dating

The tentative dating that I have assigned to I'm In The Mood For Love relies on a comment made by Nat King Cole discographer Klaus Teubig. In his estimation, Cole's song theme F.S.T. (also found in disc X-16) was "probably recorded on Cole's first transcription session for Capitol." Teubig reasons that Cole's theme needed to be recorded before the first transcription batch could be sent to radio stations. Otherwise, stations would have not been able to assemble a full Cole-centered show, since there were no intro nor closing featuring the artist. (Also i support of the same notion, I would point that the same dilemma would apply to the Capitol-assembled discs which contained full Cole shows: would have missed a distinctive, emblematic theme.) If the the line of reasoning used for the Cole material is re-used to examine Lee's material, it would follows that I'm In The Mood For Love must have been waxed with the earliest transcription masters that she recorded (i.e., on May 7, 1946) or around that time.




Capitol Miscellanea: Non-Singing Transcription Discs Featuring Peggy Lee

1. Capitol's X Series
As already mentioned, radio stations which subscribed to Capitol's Transcription Library Service had the option of assembling a full Peggy Lee show by themselves. To do so, they needed not only transcription discs containing her songs but also discs with supplementary material. Such supplementary discs were part of the service's so-called X series.

2. Capitol X-16: Themes [Transcription Disc]
The above-discussed transcription disc X-16 is an example. After receiving it, subscribers made use of this disc by playing its relevant tracks before and after performances by Nat King Cole, Peggy Lee, and Enric Madriguera. (The performances themselves were from Capitol's transcription disc library, of course.)

3. Capitol X-32: Voice Tracks [Transcription Disc]
Also from Capitol's aforementioned X transcription series, disc X-32 is dedicated to patter and public announcements. Radio stations had the option to play this material along with Peggy Lee's transcription performances. (Material of this type probably helped to create the illusion that she was actually present at the station, and singing the numbers at the time of the broadcast.) On one side, the disc contains the following tracks:

a) Voice Intro No. 1. Introductory patter by Lee, starting with the word "tonight." Length: 10 seconds.
b) Voice Intro No. 2. Introductory patter by Lee, starting with the word "today." Length: 9 seconds.
c) Voice Intro No. 3. Lee patter, to the effect that the song about to be played is a listener's request. Length: 14 seconds.
d) Voice Intro No. 4. Lee patter, suitable for playing before any of her songs. Length: 10 seconds.
e) Voice Intro No. 5. Lee patter, also suitable for playing before any of her songs. Length: 13 seconds.
f) Voice Intro No. 6. Lee refers to her accompaniment, Four of a Kind. Length: 9 seconds. (This is the only voice intro that mentions Four Of A Kind. Some of the other intros mention that the accompaniment is by Frank DeVol's Orchestra.)
g) Voice Intro No. 7. Lee talks as if she were responding to an announcer's introduction. Length: 14 seconds.
h) American Red Cross Spot No. 1. Lee promotes the Red Cross cause. Length: 27 seconds.

The other side of disc X-32 duplicates the exact same eight tracks. The disc's entire contents remain commercially unissued, but patrons of the Library of Congress can listen to the library's copy. Since no singing is featured, this discography's database does not include the contents of disc X-32 anywhere, except in this special note.

4. Capitol Dem-R 1-4: A Sampler [Transcription Disc]
Also at the Library of Congress is a set of 2 discs which the library describes as "demo recordings of sample selections by Capitol talent, distributed for checking purposes, not for broadcast." Presumably, these are promotional samplers which gave radio stations the opportunity to listen and pick which artist(s)' discs they wanted to lease. The 13 artists featured in these 2 discs are identified as The King Sisters, Jan Garber And His Orchestra, Peggy Lee with the Four of a Kind, Enric Madriguera and His Orchestra, Gene Krupa Jazz Trio, Hal Derwin, Gene Krupa And His Orchestra, The George Kast Ensemble, Tex Ritter, Julius Toldi And His Salon Orchestra, David Allan, Paul Weston And His Orchestra, Del Porter And His Sweet Potato Tooters. The discs' matrix numbers are Dem-1-r and Dem-2-r in one disc, Dem-3-r and Dem-4-r in the other disc. The prefix "Dem" probably stands for "demonstration," the "r" for "record."

5. Frequency Test Records [Transcription Disc]
Yet another Capitol transcription disc in which Peggy Lee participates is one simply titled "Frequency Record." It bears the legend specially recorded by the Capitol Library Engineering Dept., The 26th Annual NAB Convention, Los Angeles, California. Voice: Peggy Lee. No identification number appears to be in it. Online descriptions of this item call it a diagnostic test record in which Peggy Lee announces the (Hertz) frequencies. On the physical label of the disc itself, it is stated that the frequencies start at 10,000 cycles. Incidentally, this disc could well be the rationale for Lee's claim, made in her later years, that her listening capability had been tested in an experiment.) I should also point out that I have not listened to this disc.




Date: May 7, 1946
Location: Radio Recorders, 7000 Santa Monica Blvd., Hollywood, Los Angeles
Label: CAPITOL`
Capitol Session #T-192

Peggy Lee (ldr), Lee Gillette (pdr), John Palladino (eng), Buddy Cole's Four Of A Kind (acc), Dave Barbour (g), Phil Stephens (b), Edwin "Buddy" Cole (p, cel, org), Tommy Romersa (d), Peggy Lee (v)

a. T-1098-2Master Take (Capitol) I Can't Believe That You're In Love With Me - 1:43(Clarence Gaskill, Jimmy McHugh) / arr: Henry J. "Heinie" Beau
Starline Collectors' Label cassetteSlc 61189 — Them There Eyes   (1990)
Proper Collectors' Label CD(United Kingdom) 45 P 1277 1280 — The Peggy Lee Story   (2002)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
b. T-1101-1Master Take (Capitol) Lonesome Road - 4:03(Gene Austin, Nathaniel Shilkrat) / arr: Henry J. "Heinie" Beau
Starline Collectors' Label cassetteSlc 61189 — Them There Eyes   (1990)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
Proper Collectors' Label CD(United Kingdom) 45 P 1277 1280 — The Peggy Lee Story   (2002)
c. T-1101-2Master Take (Capitol) Them There Eyes - 2:25(Maceo Pinkard, Doris Tauber, William Tracey) / arr: Henry J. "Heinie" Beau
Starline Collectors' Label cassetteSlc 61189 — Them There Eyes   (1990)
Tim International Public Domain CD(Germany) 222455 — While We're Young ("Quadromania" Series)   (2005)
d. T-1103-2Master Take (Capitol) You Brought A New Kind Of Love To Me - 2:53(Sammy Fain, Irving Kahal, Pierre Norman) / arr: Henry J. "Heinie" Beau
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
Disky Licensed CD(Netherlands) 904123 — Mañana (Is Soon Enough For Me)   (2005)
All titles on: CAPITOL 16" Transcription DiscB-189 — Peggy Lee   (1946)
Mosaic Licensed CDMd5 184 — THE COMPLETE PEGGY LEE & JUNE CHRISTY CAPITOL TRANSCRIPTION SESSIONS   (1998)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)


Personnel

1. Lee Gillette
One of my sources refers to Lee Gillette as the producer of Peggy Lee's entire Capitol transcription output. Because collective credits can be deceiving, I have abstained from fully trusting this blanket statement.

2. Accompaniment
All Peggy Lee transcription discs from the year 1946 credit the accompanying ensemble as "Buddy Cole's Four Of A Kind, featuring guitar by Dave Barbour."


Arrangements

1. Sources
The booklet of Mosaic set #184 states that "Heinie Beau is credited as arranger for this session." Beau is also credited in the Capitol Label Discography by Michel Ruppli, Bill Daniels and Ed Novitsky, with assistance from Michel Cuscuna.


Date: May 14, 1946
Location: Radio Recorders, 7000 Santa Monica Blvd., Hollywood, Los Angeles
Label: CAPITOL`
Capitol Session #T-195

Peggy Lee (ldr), John Palladino (eng), Buddy Cole's Four Of A Kind (acc), Dave Barbour (g), Phil Stephens (b), Edwin "Buddy" Cole (p, cel, org), Tommy Romersa (d), Peggy Lee (v)

a. T-1115-2Master Take (Capitol) The Glory Of Love - 2:16(Billy Hill) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-190 — Peggy Lee   (1946)
Starline Collectors' Label cassetteSlc 61189 — Them There Eyes   (1990)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)
Disky Licensed CD(Netherlands) 905191 — Peggy Lee ("Golden Greats" Series)   (2002)
Music Club Licensed CD(United Kingdom) Mccd 619 — Black Coffee; The Best Of Peggy Lee    (2007)
b. T-1116-1Master Take (Capitol) Melancholy Lullaby - 3:04(Benny Carter, Eddie Heywood) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-190 — Peggy Lee   (1946)
Starline Collectors' Label cassetteSlc 61189 — Them There Eyes   (1990)
Gallerie/Music Collection Public Domain CD(United Kingdom) Gale 442 — A Portrait Of Peggy Lee   (1999)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)
Disky Licensed CD(Netherlands) 905191 — Peggy Lee ("Golden Greats" Series)   (2002)
c. T-1117-1Master Take (Capitol) Taking A Chance On Love - 2:15(Vernon Duke, Ted Fetter, John Latouche) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-190 — Peggy Lee   (1946)
Starline Collectors' Label cassetteSlc 61189 — Them There Eyes   (1990)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)
d. T-1118-1Master Take (Capitol) A Cottage For Sale - 3:24(Larry Conley, Willard Robison) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-190 — Peggy Lee   (1946)
Starline Collectors' Label cassetteSlc 61189 — Them There Eyes   (1990)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)
Disky Licensed CD(Netherlands) 905191 — Peggy Lee ("Golden Greats" Series)   (2002)
Proper Collectors' Label CD(United Kingdom) 45 P 1277 1280 — The Peggy Lee Story   (2002)
e. T-1120-2Master Take (Capitol) Fools Rush In - 3:06(Rube Bloom, Johnny Mercer) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-191 — Peggy Lee   (1946)
Starline Collectors' Label cassetteSlc 61189 — Them There Eyes   (1990)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
f. T-1121-2Master Take (Capitol) Sometimes I'm Happy - 2:21(Irving Caesar, Clifford Grey, Vincent Youmans) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-191 — Peggy Lee   (1946)
Starline Collectors' Label cassetteSlc 61189 — Them There Eyes   (1990)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
g. T-1121-3Master Take (Capitol) The Way You Look Tonight - 4:34(Dorothy Fields, Jerome Kern) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-191 — Peggy Lee   (1946)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
Red & Blue Public Domain CD(Netherlands) Red 2007 — Peggy Lee ("The Red Collection" Series)   (2007)
h. T-1122-1Master Take (Capitol) Love Is Just Around The Corner - 2:01(Lewis E. Gensler, Leo Robin) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-191 — Peggy Lee   (1946)
Hindsight Collectors' Label CS/LP/CDHsc/Hsr/Cdhsr 220 [CD rel. in 1994] — THE UNCOLLECTED PEGGY LEE, 1948    (1985)
Castle Communications Licensed CS/CD(United Kingdom) Mat Mc/Cd 316 — Let There Be Love; The Best Of Peggy Lee   (1994)
i. T-1123-1Master Take (Capitol) Porgy - 3:24(Dorothy Fields, Jimmy McHugh) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-192 — Peggy Lee   (1946)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)
Proper Collectors' Label CD(United Kingdom) 45 P 1277 1280 — The Peggy Lee Story   (2002)
BD Music Licensed CD(France) Bdjz 127 Bd 100 (Also 978 2 84907 127 4) — Peggy Lee (Éditions BD Music, BD Jazz Series, Volume 125)   (2011)
j. T-1124-1Master Take (Capitol) Blue Skies - 2:04(Irving Berlin) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-192 — Peggy Lee   (1946)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
BD Music Licensed CD(France) Bdjz 127 Bd 100 (Also 978 2 84907 127 4) — Peggy Lee (Éditions BD Music, BD Jazz Series, Volume 125)   (2011)
k. T-1125-1Master Take (Capitol) I've Had My Moments - 3:48(Walter Donaldson, Gus Kahn) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-192 — Peggy Lee   (1946)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)
l. T-1126-1Master Take (Capitol) Blue Moon - 2:28(Lorenz Hart, Richard Rodgers) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-192 — Peggy Lee   (1946)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
m. T-1126-2Master Take (Capitol) Don't Be So Mean To Baby - 3:56(Dave Barbour, Peggy Lee) / arr: Henry J. "Heinie" Beau
All titles on: Mosaic Licensed CDMd5 184 — THE COMPLETE PEGGY LEE & JUNE CHRISTY CAPITOL TRANSCRIPTION SESSIONS   (1998)




At The Recording Session

1. "Don't Be So Mean To Baby"
In his essay for Mosaic's set #184, Will Friedwald shares a bit of spoken dialogue that was kept in one of the master discs -- yet, unfortunately, excluded from release in the Mosaic set. Described by Friedwald as "some fascinating instructions by Lee as she and Barbour arrange [a] newly-composed original on the spot," the spoken bit pertains to the recording of "Don't Be So Mean To Baby." Once Buddy Cole has played the song's first notes on piano, Lee is heard to exclaim, "Do you hear what that note sounds like?" Cole plays a few additional chords, and Lee then continues: "Let's just make it with guitar, then. You don't know, that note sounds awful! David, you're going to ruin the song that way, if you don't mind my saying so ... Gee." In the final take, Cole starts out on piano, introducing the melody and then accompanying Lee during the first chorus; afterwards, Barbour restates the melody in single notes.


Masters

1. "Don't Be So Mean To Baby"
This version of the Peggy Lee - Dave Barbour composition "Don't Be So Mean To Baby" was not included in any of Capitol's transcription discs. As a result, it did not see the light of day until Mosaic Records mastered and issued it, in 1998.


Arrangements

1. Heinie Beau
2. Head Arrangements?
My source for the arranging credit to Heinie Beau is the Capitol Label Discography by Ruppli et al. No other source at my reach identifies the arranger.

In previous editions of this discographical page, I proceeded under the assumption that Lee's transcriptions featured head arrangements, put together during the dates by the musicians and the singer. If we are to trust Ruppli's discography, such was not the case -- at least, not always. (And since its primary source is Capitol's log archive, Ruppli's work is highly trustworthy.)

It must be noted, however, that Ruppli's text does not give arranging credits for each individual song. For instance, this session lists Heinie Beau and his arranging role as part of a collective personnel. In other words, there is no arranger credit under "The Glory Of Love," or under "Melancholy Lullaby" or under any of the other performances. Hence all of the above-shown individual credits to Beau must be deemed tentative: I simply do not know if he should be credited for all 13 songs, or for a lesser quantity -- suck lesser quantity falling anywhere between twelve and just one.

Also worth keeping in mind is the chat that took place during the making of "Don't Be So Mean To Baby," and which was quoted above. If I am understanding its substance, Lee was requesting a change in the arrangement of this particular song. She addressed the request to Barbour, and the change was made. It must thus be concluded that Barbour and Lee deserve some (small?) degree of credit for the finalized arrangement of at least this particular song. (Of course, new questions arise: Was the reason why Barbour and Lee made the change simply that they themselves were the composers of "Don't Be So Mean To Baby," and thus felt entitled to do so? ... Or would they have been as likely to modify any of the other performances? ... What was the implication behind the comment that Barbour was going to "ruin the song"? ... Was it a reference to his role as session leader -- and thus dictator of the musical steps to be made -- or should it be taken as an indication that he might have dictated the direction of the arrangement?)

Heinie Beau is actually listed as the arranger of a very large number of Capitol recordings (both commercial and radio masters) by Lee. Perhaps his role in this and other sessions should be better understood as that of someone who did a simple preliminary sketch, to be modified and developed at the session by Barbour, Lee, and the accompanying musicians.


Date: May 28, 1946
Location: Radio Recorders, 7000 Santa Monica Blvd., Hollywood, Los Angeles
Label: CAPITOL`
Capitol Session #T-206

Peggy Lee (ldr), John Palladino (eng), Buddy Cole's Four Of A Kind (acc), Dave Barbour (g), Phil Stephens (b), Edwin "Buddy" Cole (p, cel, org), Tommy Romersa (d), Peggy Lee (v)

a. T-1184-2Master Take (Capitol) Can't Help Lovin' Dat Man - 3:21(Oscar Hammerstein II, Jerome Kern) / arr: Henry J. "Heinie" Beau
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
b. T-1185-2Master Take (Capitol) Mean To Me - 2:04(Fred E. Ahlert, Roy Turk) / arr: Henry J. "Heinie" Beau
c. T-1186-2Master Take (Capitol) I'm Confessin' (That I Love You) - 3:19(Don Dougherty, Al J. Neiburg, Ellis Reynolds) / arr: Henry J. "Heinie" Beau
Gallerie/Music Collection Public Domain CD(United Kingdom) Gale 442 — A Portrait Of Peggy Lee   (1999)
Rajon ?Public Domain CD(Australia) Red 021 — The Great Peggy Lee ("The Great" Series)   (2000)
Wea Licensed CD(Australia) 8573877082 — Golden Earrings ("Flashback" Series)   (2001)
d. T-1187-2Master Take (Capitol) Summertime - 3:28(George Gershwin, Ira Gershwin, Dubose Heyward) / arr: Henry J. "Heinie" Beau
Gallerie/Music Collection Public Domain CD(United Kingdom) Gale 442 — A Portrait Of Peggy Lee   (1999)
Rajon ?Public Domain CD(Australia) Red 021 — The Great Peggy Lee ("The Great" Series)   (2000)
Rajon ?Public Domain CD(Australia) Rmgr 0423 — Mañana; The Best Of Peggy Lee   (2001)
All titles on: CAPITOL 16" Transcription DiscB-193 — Peggy Lee   (1946)
Mosaic Licensed CDMd5 184 — THE COMPLETE PEGGY LEE & JUNE CHRISTY CAPITOL TRANSCRIPTION SESSIONS   (1998)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)




Arrangements

1. Source
My source for the arranging credit to Heinie Beau is the Capitol Label Discography by Ruppli et al. No other source at my reach identifies the arranger. See also related comments about head arrangements in note above, under session dated May 14, 1946.


Date: June 10, 1946
Location: Radio Recorders, 7000 Santa Monica Blvd., Hollywood, Los Angeles
Label: CAPITOL`
Capitol Session #T-247

Peggy Lee (ldr), John Palladino (eng), Frank DeVol (con), Frank Devol and His Orchestra (acc), Skeets Herfurt aka Arthur Herfurt, Jerome Kasper, Jules Kinsler, Ron Perry, Ted Romersa (r), Abe Benike, Uan Rasey, Irv Shulkin (t), George Faye, Si Zentner (tb), Dave Barbour (g), Phil Stephens (b), Edwin "Buddy" Cole (p), June Weiland (hrp), Tommy Romersa (d), Victor Arno, Joseph Livoti, Joseph Quadri, Henry Sugar (vn), Jacob Kaz, Paul Lowenkron (vl), Fred Goerner, Joseph Saxon, Julius Tannenbaum (vc), Peggy Lee (v)

a. T-1354-1Master Take (Capitol) Wherever There's Me There's You - 2:11(Sunny Skylar) / arr: Frank DeVol
b. T-1355-1Master Take (Capitol) All The Cats Join In - 2:11(Eddie Sauter, Alec Wilder, Ray Gilbert) / arr: Frank DeVol
CAPITOL CD72435 27564 2 1 — RARE GEMS AND HIDDEN TREASURES [aka Capitol's Collectors Series, Vol. 2]   (2000)
c. T-1356-2Master Take (Capitol) A Nightingale Can Sing The Blues - 3:09(Dick Charles, Lawrence W. Markes, Jr.) / arr: Frank DeVol
Disky Licensed CD(Netherlands) 905191 — Peggy Lee ("Golden Greats" Series)   (2002)
Dayl Public Domain CD(Korea) 3661585351962 — DeLuxe Peggy Lee; The Ultimative Edition For Collectors   (2010)
Megaphon (Mpo Entertainment) Public Domain CD(France) Mpo 96216 — Peggy Lee ("Les Plus Grandes Voix Du Jazz: Classic American Music" Boxed Set)   
d. T-1357-2Master Take (Capitol) Come Rain Or Come Shine - 3:14(Harold Arlen, Johnny Mercer) / arr: Frank DeVol
All titles on: CAPITOL 16" Transcription DiscA-11 — Peggy Lee   (1946)
Mosaic Licensed CDMd5 184 — THE COMPLETE PEGGY LEE & JUNE CHRISTY CAPITOL TRANSCRIPTION SESSIONS   (1998)
CAPITOL 16" Transcription DiscB-531 — Peggy Lee   




Personnel

1. Frank DeVol
In his 1998 notes for the Mosaic set The Complete Peggy Lee & June Christy Capitol Transcription Sessions, Will Friedwald estimates this session to be among Frank DeVol's earliest at Capitol Records. The more recently published Capitol Label Discography reveals that DeVol had previously recorded about eight commercial sessions for Capitol, starting with a couple of late 1945 dates in which he backed Hal Derwin. Before he accompanied Lee, DeVol had also recorded over 15 transcription sessions with other artists, including one with The King Sisters. Peggy Lee was, however, the first female solo singer to be backed by DeVol at Capitol Records.


Masters

1. "A Nightingale Can Sing The Blues"
Peggy Lee's Capitol session files show that she and Frank DeVol recorded this song again just a month later, on July 15, 1946. Nevertheless, I suspect that the two versions are actually one and the same: I do not detect any significant differences between them. If my suspicion is correct, July 15 would have been the day on which the transcription performance was transferred to Capitol's phono reels, as part of the process leading to its release on a 78-rpm single.

the record company is known to have followed a similar procedure with "Intermission Riff," recorded by Stan Kenton for the Capitol transcription service (master #524-2) on December 20, 1945, and included in transcription disc #B-96. On January 14, 1946 session, Kenton's transcription performance was transferred to master #892, and then released on Capitol 78-rpm single #298. According to Michael Sparke and Pete Venudor in Stan Kenton: The Studio Sessions, union rules were behind Capitol's assignation of a new master number to the original transcription performance: in this manner, the musicians had the right to be compensated not only for the transcription master but also for the commercial "sub-master."


Issues

1. The A Transcription Series
2. Capitol's A-11/A-12 [Transcription Disc]
Capitol's transcription discs bear two numbers, one per side. Generally the same artist is heard on both sides of the disc. However, in the specific case of Capitol's A series, sometimes there is a different artist on each side. Case in point: Peggy Lee and Frank DeVol are featured on one side of Capitol transcription disc A-11. The disc's other side is A-12, which spotlights Jan Garber And His Orchestra. (For another Lee disc in the A series, see session dated July 29, 1946. For additional details about this and other Capitol transcription series, see this page's final note.)


Arrangements

1. Sources
My sources for the arranging credit to Frank DeVol are the booklet of Mosaic set #184 and the Capitol Label Discography by Ruppli et al.


Date: June 11, 1946
Location: Radio Recorders, 7000 Santa Monica Blvd., Hollywood, Los Angeles
Label: CAPITOL`
Capitol Session #T-248

Peggy Lee (ldr), John Palladino (eng), Buddy Cole's Four Of A Kind (acc), Dave Barbour (g), Phil Stephens (b), Edwin "Buddy" Cole (p, cel, org), Tommy Romersa (d), Peggy Lee (v)

a. T-1358-1Master Take (Capitol) I Can't Give You Anything But Love - 2:05(Dorothy Fields, Jimmy McHugh, possibly Andy Razaf, possibly Thomas 'Fats' Waller) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-195 — Peggy Lee   (1946)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
b. T-1359-1Master Take (Capitol) Georgia On My Mind - 2:53(Hoagy Carmichael, Stuart Gorrell) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-194 — Peggy Lee   (1946)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
c. T-1360-1Master Take (Capitol) Rockin' Chair - 2:05(Hoagy Carmichael) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-194 — Peggy Lee   (1946)
Gallerie/Music Collection Public Domain CD(United Kingdom) Gale 442 — A Portrait Of Peggy Lee   (1999)
Rajon ?Public Domain CD(Australia) Red 021 — The Great Peggy Lee ("The Great" Series)   (2000)
d. T-1360-2Master Take (Capitol) Swing Low, Sweet Chariot - 2:09(Traditional) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-194 — Peggy Lee   (1946)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
Red & Blue Public Domain CD(Netherlands) Red 2007 — Peggy Lee ("The Red Collection" Series)   (2007)
e. T-1361-1Master Take (Capitol) Just Like A Gypsy - 2:18(Norah Bayes, Seymour Simons) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-195 — Peggy Lee   (1946)
f. T-1363-2Master Take (Capitol) Somebody Loves Me - 2:04(Buddy G. DeSylva, George Gershwin, Ballard MacDonald) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-195 — Peggy Lee   (1946)
CAPITOL Jazz CD7243 5 23567 2 0 — Trav'lin' Light   (1999)
Rajon ?Public Domain CD(Australia) Red 021 — The Great Peggy Lee ("The Great" Series)   (2000)
All titles on: Mosaic Licensed CDMd5 184 — THE COMPLETE PEGGY LEE & JUNE CHRISTY CAPITOL TRANSCRIPTION SESSIONS   (1998)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)




Arrangements

1. Source (Heinie Beau)
The source for the arranging credit to Heinie Beau is the Capitol Label Discography by Ruppli et al. No other source at my reach identifies the arranger. Notice that Ruppli's text is giving a collective credit; it is assumed that all the arrangements should be credited to Beau, but there is no explicit statement about it. See also related comment about head arrangements in note above, under session dated May 14, 1946.

2. "Swing Low, Sweet Chariot"
Peggy Lee's sheet music library contains two arrangements of this song. One, known to have been written for a Decca master, is by Neal Hefti and Peggy Lee. The other one is by Billy May, but it is not known on which Peggy Lee performance (if any) it was used. In addition to this transcription version, Lee also recorded the song twice, for commercial release on Capitol singles. One of those versions (January 29, 1947) is credited to Lee and her husband; the other (October 17, 1946) is not credited, but its arrangement is very similar to the later, 1947 one.


Date: July 16, 1946
Location: Radio Recorders, 7000 Santa Monica Blvd., Hollywood, Los Angeles
Label: CAPITOL`
Capitol Session # T-281

Peggy Lee (ldr), John Palladino (eng), Buddy Cole's Four Of A Kind (acc), Dave Barbour (g), Phil Stephens (b), Edwin "Buddy" Cole (p, cel, org), Tommy Romersa (d), Peggy Lee (v)

a. T-1643-1Master Take (Capitol) Lullaby Of Broadway - 2:44(Al Dubin, Harry Warren) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-196 — Peggy Lee   (1946)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
b. T-1644-2Master Take (Capitol) Solitude - 2:32(Ed DeLange, Duke Ellington, Irving Mills) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-195 — Peggy Lee   (1946)
Proper Collectors' Label CD(United Kingdom) 45 P 1277 1280 — The Peggy Lee Story   (2002)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
BD Music Licensed CD(France) Bdjz 127 Bd 100 (Also 978 2 84907 127 4) — Peggy Lee (Éditions BD Music, BD Jazz Series, Volume 125)   (2011)
c. T-1644-2Master Take (Capitol) I Get A Kick Out Of You - 2:32(Cole Porter) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-195 — Peggy Lee   (1946)
Armed Forces Radio Service 16" Transcription DiscP 1315 - P 1316 — Basic Music Library [6 Peggy Lee vocals]   (1949)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
MCPS Public Domain CD(United Kingdom) 063 8734? — [Various Artists] Jazz Divas   (2007)
d. T-1646-2Master Take (Capitol) Lover, Come Back To Me - 3:41(Oscar Hammerstein II, Sigmund Romberg) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-196 — Peggy Lee   (1946)
Weton-Wesgram Public Domain CDVow 209 — Peggy Lee ("Voices Of The World" Series)   (2005)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
e. T-1647-1Master Take (Capitol) I Don't Know Enough About You - 3:04(Dave Barbour, Peggy Lee) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-194 — Peggy Lee   (1946)
f. T-1648-2Master Take (Capitol) Oh! Look At Me Now - 1:52(Joe Bushkin, John De Vries) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-194 — Peggy Lee   (1946)
g. T-1649-1Master Take (Capitol) I Got It Bad And That Ain't Good - 3:41(Duke Ellington, Paul Francis Webster) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-196 — Peggy Lee   (1946)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
h. T-1650-4Master Take (Capitol) Someday, Sweetheart - 1:57(Benjamin Spikes, John Spikes) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-196 — Peggy Lee   (1946)
Disky Licensed CD(Netherlands) 905191 — Peggy Lee ("Golden Greats" Series)   (2002)
Disky Licensed CD(Netherlands) Do 901973 — Peggy Lee ("Simply The Best" Series)   (2005)
All titles on: Mosaic Licensed CDMd5 184 — THE COMPLETE PEGGY LEE & JUNE CHRISTY CAPITOL TRANSCRIPTION SESSIONS   (1998)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)


Arrangements

1. Heinie Beau
For comments about the tentativeness of this page's credits to Beau, see note above, under session dated May 14, 1946.


Date: July 29, 1946
Location: Radio Recorders, 7000 Santa Monica Blvd., Hollywood, Los Angeles
Label: CAPITOL`
Capitol Session # T-294

Peggy Lee (ldr), John Palladino (eng), Frank DeVol (con), Frank Devol and His Orchestra (acc), Skeets Herfurt aka Arthur Herfurt, Jules Kinsler, Paul McLarand, Joseph Palange (r), Leonard Mach, Uan Rasey (t), Paul Weigand (tb), Richard "Dick" Perissi (frh), Dave Barbour (g), Fred Whiting (b), Edwin "Buddy" Cole (p), June Weiland (hrp), John Cyr (d), Victor Arno, Walter Edelstein, Joseph Livoti, Joseph Quadri, Ted Rosen, Henry Sugar (vn), Paul Lowenkron, Elizabeth Sugar (vl), Julius Tannenbaum (vc), Peggy Lee (v)

a. T-1715-2Master Take (Capitol) The Best Man - 2:21(Roy Alfred, Fred Wise) / arr: Frank DeVol
CAPITOL 16" Transcription DiscB-532 — Peggy Lee   
b. T-1716-1Master Take (Capitol) If You Were The Only Boy - 2:12(Nat D. Ayer, Clifford Grey) / arr: Frank DeVol
c. T-1717-1Master Take (Capitol) Love Doesn't Grow On Trees - 2:25(Roy Alfred, Wes Farrell) / arr: Frank DeVol
CAPITOL 16" Transcription DiscB-532 — Peggy Lee   
d. T-1718-1Master Take (Capitol) I Guess I'll Get The Papers And Go Home - 2:09(Hal Kanner, Hughie Prince, Dick Rogers) / arr: Frank DeVol
Proper Collectors' Label CD(United Kingdom) 45 P 1277 1280 — The Peggy Lee Story   (2002)
CAPITOL 16" Transcription DiscB-532 — Peggy Lee   
e. T-1719-1Master Take (Capitol) My Sugar Is So Refined - 2:09(Sylvia Dee, Sidney Lippman) / arr: Frank DeVol
Proper Collectors' Label CD(United Kingdom) 45 P 1277 1280 — The Peggy Lee Story   (2002)
CAPITOL 16" Transcription DiscB-532 — Peggy Lee   
All titles on: CAPITOL 16" Transcription DiscA-16 — Peggy Lee   (1946)
Mosaic Licensed CDMd5 184 — THE COMPLETE PEGGY LEE & JUNE CHRISTY CAPITOL TRANSCRIPTION SESSIONS   (1998)


Personnel

1. Frank DeVol
This is one of two transcription sessions in which Peggy Lee was accompanied not by combos featuring Dave Barbour, but by Frank DeVol And His Orchestra. (For the other session, see June 10, 1946 date above.) DeVol also joined Lee on the following Capitol studio dates: July 15, 1946, August 14 and October 13, 1947.


Songs And Songwriters

1. "Love Doesn't Grow On Trees"
Various sets of lyrics with the title "Love Doesn't Grow On Trees" exist. No less than three of them date back to the decades of the 1930s and 1940s. One set is credited to ASCAP songwriters Ralph Freed and Burton Lane, the other to BMI songwriters Roy Alfred and Wes Farrell. (The third set is discussed in the next paragraph.) According to Mosaic's box #Md5 184, Lee sings the version by Alfred and Farrell. Since neither ASCAP nor BMI list Peggy Lee's transcription version, the Mosaic set is my only source for the identification of the songwriters.

Further complicating matters is a third pair of songwriters, Dupre and Palmer, who various sources credit with mid-1940s versions of "Love Doesn't Grow On Trees" that were performed by Gene Krupa and by Art Lund. After giving the a listen, it is clear that Krupa's vocalist Irene Day indeed sings lyrics different from those recorded by Lee. The lyrics sung by Art Lund are, on the other hand, the same ones sung by Lee. I am tentatively assuming that a mistake was made in the case of Lund's recording: it was wrongly credited to Dupre and Palmer, rather than to Alfred and Farrell.


Issues

1. Capitol Transcription Disc A-15/A-16
The flip side of transcription disc A-16 features Skitch Henderson And His Orchestra, not Peggy Lee. For more details about discs bearing the A prefix in their catalogue numbers, see Issues notes under session dated June 10, 1946, and also this page's final note.


Arrangements

1. Sources
My sources for the arranging credit to Frank DeVol are the booklet of Mosaic set #184 and the Capitol Label Discography by Ruppli et al.


Date: December 18, 1947
Location: Radio Recorders, 7000 Santa Monica Blvd., Hollywood, Los Angeles
Label: CAPITOL`
Capitol Session #T-541

Peggy Lee (ldr), John Palladino (eng), Buddy Cole's Four Of A Kind (acc), Dave Barbour (g), Phil Stephens (b), Edwin "Buddy" Cole (p, cel, org), Tommy Romersa (d), Peggy Lee (v)

a. T-50-352-1Master Take (Capitol) If I Could Be With You One Hour Tonight - 1:56(Henry Creamer, James P. Johnson) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-369 — Peggy Lee   (1948)
Gallerie/Music Collection Public Domain CD(United Kingdom) Gale 442 — A Portrait Of Peggy Lee   (1999)
Rajon ?Public Domain CD(Australia) Red 021 — The Great Peggy Lee ("The Great" Series)   (2000)
b. T-50-353-1Master Take (Capitol) Dancing With Tears In My Eyes - 2:27(Joe Burke, Al Dubin) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-369 — Peggy Lee   (1948)
c. T-50-354-1Master Take (Capitol) Please, Don't Talk About Me When I'm Gone - 2:31(Sidney Clare, Sam Stept) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-369 — Peggy Lee   (1948)
d. T-50-355-2Master Take (Capitol) The Birth Of The Blues - 1:52(Lew Brown, Buddy G. DeSylva, Ray Henderson) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-369 — Peggy Lee   (1948)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
e. T-50-356-3Master Take (Capitol) Careless - 2:03(Dick Jurgens, Eddy Howard, Lew Quadling) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-369 — Peggy Lee   (1948)
Armed Forces Radio & Television Service 16" Transcription DiscProgram No. 147 — Bud's Bandwagon [Lisa Kirk, Frank Sinatra, Bea Wain, Others]   (1953)
f. T-50-357-2Master Take (Capitol) I Wanna Go Where You Go (Then I'll Be Happy) - 2:13(Lew Brown, Sidney Clare, Cliff Friend) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-370 — Peggy Lee   (1948)
g. T-50-358-1Master Take (Capitol) I Only Have Eyes For You - 3:05(Al Dubin, Harry Warren) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-370 — Peggy Lee   (1948)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
h. T-50-359-2Master Take (Capitol) Back In Your Own Back Yard - 2:18(Dave Dreyer, Al Jolson, Billy Rose) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-370 — Peggy Lee   (1948)
i. T-50-360-3Master Take (Capitol) How Long Has This Been Going On? - 3:43(George Gershwin, Ira Gershwin) / arr: Henry J. "Heinie" Beau
CAPITOL 16" Transcription DiscB-370 — Peggy Lee   (1948)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
All titles on: Mosaic Licensed CDMd5 184 — THE COMPLETE PEGGY LEE & JUNE CHRISTY CAPITOL TRANSCRIPTION SESSIONS   (1998)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)


Songs

1. "I Wanna Go Where You Go (Then I'll Be Happy)"
Mosaic set #184 gives the alternative title "Then I'll Be Happy" to this song. I have preferred to use instead the title found at ASCAP, and in sources contemporaneous with the song.


Arrangements

1. Heinie Beau
This page's arranging credits to Beau should be considered tentative. See related comments in note above, under session dated May 14, 1946.


Date: April 4, 1949
Location: Radio Recorders, 7000 Santa Monica Blvd., Hollywood, Los Angeles
Label: CAPITOL`
Capitol Session #T-703

Peggy Lee (ldr), John Palladino (eng), The Dave Barbour Four (acc), Dave Barbour, George Van Eps (g), Phil Stephens (b), Hal Schaefer (p, cel), Nick Fatool (d), Peggy Lee (v)

a. T-51-527-2Master Take (Capitol) I Let A Song Go Out Of My Heart - 2:53(Duke Ellington, Irving Mills, Henry Nemo, John Redmond)
CAPITOL 16" Transcription DiscB-427 — Peggy Lee   (1949)
CAPITOL Jazz CD7243 5 23567 2 0 — Trav'lin' Light   (1999)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
b. T-51-528-1Master Take (Capitol) As Long As I'm Dreaming - 2:07(Johnny Burke, Jimmy Van Heusen)
CAPITOL 16" Transcription DiscB-428 — Peggy Lee   (1949)
CAPITOL Jazz CD7243 5 23567 2 0 — Trav'lin' Light   (1999)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
c. T-51-529-1Master Take (Capitol) Swinging On A Star - 2:44(Johnny Burke, Jimmy Van Heusen)
CAPITOL 16" Transcription DiscB-427 — Peggy Lee   (1949)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
Disky Licensed CD(Netherlands) 905191 — Peggy Lee ("Golden Greats" Series)   (2002)
Disky Licensed CD(Netherlands) Do 901973 — Peggy Lee ("Simply The Best" Series)   (2005)
Disky Licensed CD(Netherlands) 904123 — Mañana (Is Soon Enough For Me)   (2005)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
d. T-51-530-2Master Take (Capitol) Aren't You Glad You're You - 2:07(Johnny Burke, Jimmy Van Heusen)
CAPITOL 16" Transcription DiscB-428 — Peggy Lee   (1949)
CAPITOL Jazz CD7243 5 23567 2 0 — Trav'lin' Light   (1999)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
e. T-51-531-3Master Take (Capitol) Trav'lin' Light - 2:58(Johnny Mercer, Jimmy Mundy, Trummy Young)
CAPITOL 16" Transcription DiscB-427 — Peggy Lee   (1949)
CAPITOL Jazz CD7243 5 23567 2 0 — Trav'lin' Light   (1999)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
f. T-51-532-2Master Take (Capitol) Save Your Sorrow For Tomorrow - 1:49(Buddy G. DeSylva, Al Sherman)
CAPITOL 16" Transcription DiscB-428 — Peggy Lee   (1949)
CAPITOL Jazz CD7243 5 23567 2 0 — Trav'lin' Light   (1999)
Tim International's Past Perfect Public Domain CD(Germany) 205797203 — Black Coffee ("Silver Line" Series)   (2001)
g. T-51-533-2Master Take (Capitol) Oh! You Crazy Moon - 2:14(Johnny Burke, Jimmy Van Heusen)
CAPITOL 16" Transcription DiscB-428 — Peggy Lee   (1949)
CAPITOL Jazz CD7243 5 23567 2 0 — Trav'lin' Light   (1999)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
h. T-51-534-1Master Take (Capitol) 'S Wonderful - 2:30(George Gershwin, Ira Gershwin)
CAPITOL 16" Transcription DiscB-428 — Peggy Lee   (1949)
Proper Collectors' Label CD(United Kingdom) 45 P 1277 1280 — The Peggy Lee Story   (2002)
Golden Stars Public Domain CD(Portugal/Netherlands) 5438 — American Songbook   (2006)
i. T-51-535-4Master Take (Capitol) Imagination - 2:33(Johnny Burke, Jimmy Van Heusen)
CAPITOL 16" Transcription DiscB-427 — Peggy Lee   (1949)
CAPITOL Jazz CD7243 5 23567 2 0 — Trav'lin' Light   (1999)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
j. T-51-536-2Master Take (Capitol) This Can't Be Love - 2:17(Lorenz Hart, Richard Rodgers)
CAPITOL 16" Transcription DiscB-430 — Peggy Lee   (1949)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
Disky Licensed CD(Netherlands) 905191 — Peggy Lee ("Golden Greats" Series)   (2002)
All titles on: Mosaic Licensed CDMd5 184 — THE COMPLETE PEGGY LEE & JUNE CHRISTY CAPITOL TRANSCRIPTION SESSIONS   (1998)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)


Arrangements (And Rehearsals)

1. Peggy Lee and Hal Schaefer
In his essay for the booklet of Mosaic set #184, annotator Will Friedwald shares various comments from an interview with pianist Hal Schaefer. Schaefer told Friedwald that "much of the repertoire in the two 1949 transcriptions are songs that Lee did in person with the quartet." The arrangements, however, were less rigorous than on the road, where "sometimes we'd play more and longer solos."

Schaefer further told Friedwald that "Peggy used to call me to go up to her house to rehearse her and go over things and give her some of my ideas. Dave Barbour did not do that - I did it. He thought it would be like trying to teach your wife to drive a car, you know. There are some things you don't do. After she got a tune and liked it, we found what keys and tempo she'd like to do it in, and worked out a rough arrangement, then David would come in and make his contribution." Schaefer, who worked with Lee from late 1947 to 1949, participated only in the last two sessions found in this page, both dated 1949.


Date: April 8, 1949
Location: Radio Recorders, 7000 Santa Monica Blvd., Hollywood, Los Angeles
Label: CAPITOL`
Capitol Session #T-705

Peggy Lee (ldr), John Palladino (eng), The Dave Barbour Four (acc), Dave Barbour, George Van Eps (g), Phil Stephens (b), Hal Schaefer (p, cel), Nick Fatool (d), Peggy Lee (v)

a. T-51-537-2Master Take (Capitol) You're Driving Me Crazy - 2:18(Walter Donaldson)
CAPITOL 16" Transcription DiscB-429 — Peggy Lee   (1949)
CAPITOL Jazz CD7243 5 23567 2 0 — Trav'lin' Light   (1999)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
b. T-51-538-2Master Take (Capitol) Goody Goody - 2:22(Matt Malneck, Johnny Mercer)
CAPITOL 16" Transcription DiscB-430 — Peggy Lee   (1949)
CAPITOL Jazz CD7243 5 23567 2 0 — Trav'lin' Light   (1999)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
c. T-51-539-3Master Take (Capitol) I Ain't Got Nobody - 2:13(Roger Graham, Spencer Williams)
CAPITOL 16" Transcription DiscB-430 — Peggy Lee   (1949)
CAPITOL Jazz CD7243 5 23567 2 0 — Trav'lin' Light   (1999)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
d. T-51-540-3Master Take (Capitol) Molly Malone - 3:31(Traditional)
CAPITOL 16" Transcription DiscB-429 — Peggy Lee   (1949)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)
e. T-51-541-2Master Take (Capitol) This Little Piggy - 2:33(Harold Lewis, Sam Coslow, Leslie Barton)
CAPITOL 16" Transcription DiscB-429 — Peggy Lee   (1949)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
Disconforme Public Domain CD(Spain) Jfcd 22822 — The Complete Capitol Small Group Transcriptions   (2001)
f. T-51-542-1Master Take (Capitol) But Beautiful - 2:33(Johnny Burke, Jimmy Van Heusen)
CAPITOL 16" Transcription DiscB-429 — Peggy Lee   (1949)
CAPITOL Jazz CD7243 5 23567 2 0 — Trav'lin' Light   (1999)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
g. T-51-543-2Master Take (Capitol) Fine And Dandy - 2:11(Paul James, Kay Swift)
CAPITOL 16" Transcription DiscB-430 — Peggy Lee   (1949)
CAPITOL Jazz CD7243 5 23567 2 0 — Trav'lin' Light   (1999)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
h. T-51-544-1Master Take (Capitol) 'Tain't So, Honey, 'Tain't So - 2:24(Willard Robison)
CAPITOL Jazz CD7243 5 23567 2 0 — Trav'lin' Light   (1999)
Tim International Public Domain CD(Germany) 205422 304 — That Old Feeling / You Go To My Head   (2001)
Tim International Public Domain CD(Germany) 220838 [220839-220843] — A Nightingale Can Sing The Blues ("Document" Series)   (2004)
i. T-51-546-1Master Take (Capitol) When A Woman Loves A Man - 2:11(Bernie D. Hanighen, Gordon Jenkins, Johnny Mercer)
CAPITOL 16" Transcription DiscB-430 — Peggy Lee   (1949)
CAPITOL Jazz CD7243 5 23567 2 0 — Trav'lin' Light   (1999)
Jasmine Collectors' Label CD(United Kingdom) Jascd 355 — A Musical Marriage; Peggy Lee & Dave Barbour    (1999)
All titles on: Mosaic Licensed CDMd5 184 — THE COMPLETE PEGGY LEE & JUNE CHRISTY CAPITOL TRANSCRIPTION SESSIONS   (1998)


Masters

1. " 'Tain't So, Honey, 'Tain't So"
This version of the Willard Robison composition " 'Tain't So, Honey, 'Tain't So" was not included in any of Capitol's transcription discs. As a result, it did not see the light of day until Mosaic Records mastered and issued it, in 1998.



GENERAL NOTES

Capitol's Venture Into The Radio Transcription Business (And Peggy Lee's Output For This Service)

Transcription companies had as their primary activity the making of music exclusively for radio airplay, which subscribing stations received in the form of discs (mostly 16 inches in diameter, and unavailable to music-buying listeners). The discs were not sold to radio stations, but leased for a fee, as part of a business transaction that involved the rotation of those discs among participating stations, followed by their disposal after a stipulated airplay date. Some transcription companies functioned fully as independents, whereas others had permanent or temporary ties to commercial record companies (e.g., Thesaurus to RCA, World to Decca).

During its earliest years of operation, Capitol Records had ties to the MacGregor transcription company, or vice versa. In his essay for the booklet of The Complete Peggy Lee & June Christy Capitol Transcription Sessions, Will Friedwald explains that "[i]nitially, Capitol both rented studio space from MacGregor and permitted its artists to do their transcriptions for their company." But, by 1945, Capitol had become "well-heeled enough to afford to start its own transcription service, gradually snapping up the contracts of their own artists as soon as they expired with MacGregor ..."

Capitol's earliest transcription sessions took place on April 14 and 23, 1945. They were country dates, credited in the logs to guitarist Wesley Tuttle. Also doing Capitol transcriptions during the initial year were the following artists (herein listed chronologically, starting with the act who followed Wesley Tuttle): Shug Fisher (April 25), Tex Ritter, Buddy Cole (June 8), Frank DeVol (also June 8), Four Of A Kind (June 19; presumed to have featured Dave Barbour on guitar), Hal Derwin, Paul Weston And His Orchestra, The King Sisters, Stan Kenton (November 27), and June Christy with The Kentones, which also featured Dave Barbour on guitar (December 13).

Joining Capitol's transcriptions service in 1946 were Alvino Rey (January 9), Merle Travis, Jack Guthrie, The Dinning Sisters, Gene Krupa And His Orchestra, The King Cole Trio (March 20), Duke Ellington And His Orchestra (March 28), Uncle Henry's Kentucky Mountaineers, Karl & Harty, Skitch Henderson, Pee Wee Hunt, The Dinning Sisters, Peggy Lee (May 14), Billy Butterfield, Lou Busch, Wally Fowler, Louis Castellucci, Victor Arno, Johnny Mercer (ca. October 15), and Clark Dennis. About a dozen more acts did work for the service in subsequent years; curiously, about half of them were vocal groups (The Mellomen Quartet, The Jordanaires, etc.)

Formal announcements of the service's creation were made in early 1946. For instance, the March issue of Capitol News states that "Capitol Records has formed the Capitol Transcription Service, a division of Capitol Records, with program service for radio stations throughout the nation," and proceeds to identify the top names in charge of the operation. Disc jockey Don Otis had been appointed as program director, Lee Gillette as head of programming production, and Walter Davidson as head of national sales and general manager of the division. The magazine's writeup was essentially an advance notice, because the service would not become officially available to potential subscribers until July 1, 1946. By that time, Capitol expected to count with over 1,500 transcription recordings on its library, and 500 more were scheduled to be recorded and incorporated the library before the beginning of the following year.

The fact that the service's earliest dates (by the aforementioned Wesley Tuttle, in 1946) belonged to the country field might have had something to do with Lee Gillette's background in that genre. He remained closely involved with the service until mid-1948. In August of 1948, he was given a new title: director of folk and western repertoire. Gillette's friend Ken Nelson (like him, a former disc jockey and music director at Chicago's WJJD station) was then hired to essentially take over his duties in Capitol's transcription department. Remaining in that position for the remainder of the department's existence, Nelson himself would transition to Capitol's country music division, where his skills as director of the division and leading producer became well known.

"By the post-war period, the transcription services had also settled on the idea that these discs would become a permanent musical library in the stations that subscribed to them," adds Will Friedwald In his essay from the booklet of The Complete Peggy Lee & June Christy Capitol Transcription Sessions. "Rather than trying to compete with live broadcasts of the latest hit songs of the day," he continues, "the transcribers began to concentrate on what was, at that time, beginning to emerge as the standard songbook." Indeed, Peggy Lee's repertoire (not only for Capitol but also for MacGregor and World transcriptions) is heavily oriented toward standards.

But, as suggested by the presence of various country acts in the above-listed Capitol artist roster, standards were not the only order of the day. Capitol's Transcription Service actually divided its discs into various genres or series, each distinguished by a prefix letter.

The letter A was used for discs in the Popular Section, which produced a total of nearly 120 discs. Instrumentals comprise about 85% of the discs in this series, the exceptions being a few vocal batches by Hal Derwin, Peggy Lee, The King Cole Trio, The King Sisters and The Starlighters. Popular Section discs featured different artists on each side until about #A-74; thereafter either the same artists or different ones could be found, in a seemingly arbitrary fashion.

All other transcription discs by Peggy Lee belong to the B series, known as the Standard Section, in which the same artist was featured on both sides of the disc (aside from three or four exceptions). As suggested by the series' name, most of its repertoire consisted of standards. The last disc in this prolific series was #B-572. (Many of the last B discs, with numbers above 500, seem to be reissues of earlier discs, some of there originally in the A series.)

As already explained earlier in this page, Lee can also be found in the X series (Themes/Voice Tracks Section), which was dedicated to signature tunes, special patter and spoken announcements.

Lee is not featured in any of the other Capitol transcription series, which were: C (Concert Section), D (Latin American Section), E (International Section), G (Western/Hillbilly Section), J (Brass Band Section), K (Religious Section), N (Novelty Section), and W (Salon Section).

Capitol's Transcription Service appears to have stopped its recording operations in 1953. According to the aforementioned Ken Nelson, head of the service, "Capitol killed its transcription business by giving away free records to radio stations. When I was in radio we bought out records from the other companies. It was unheard of to get free records." (In their book Stan Kenton: The Studio Sessions, Michael Sparke and Peter Venudor write that the service would "close down altogether" soon after Kenton's last transcription session, on April 1, 1947, but the Capitol Label Discography shows otherwise. Perhaps the temporary cessation of recording activity, caused by the 1948 recording ban, led to confusion.)

The last dates listed in the logs are a couple of country sessions featuring Spade Cooley, on August the 10th. From its inception in 1945 to its closure in 1953, only a handful of female acts recorded for the label; namely: The King Sisters, The Dinning Sisters, Norma Larsen (for the Concert Section series), Yvonne King (for one 1947 session credited credited to the Four Of A Kind, not to her), June Christy (with The Kentones) and, of course Peggy Lee (with the Four Of a Kind and with Frank DeVol And His Orchestra).

In further commentary, Ken Nelson contends that Capitol's promotional strategies killed the entire radio transcription business. As quoted by Michael Jarrett in his book Producing Country: The Inside Story of the Great Recordings: "Oh, and Capitol put transcriptions out of business. They started to give away promotion records, started to send them to record stations. Lee [Gillette] had recorded a song on transcription called 'Twelfth Street Rag' with Pee Wee Hunt. The demand for it as a record was tremendous. There weren't any records [only transcriptions were available]. So they [Capitol] decided to put out a record and given them away [to radio stations for promotional purposes]. Before that, the radio stations had to buy their records. I know because I was buying them. All the other [transcription] companies said, Hey what's going on here? So record labels started to give out promotion records. The radio stations said, What the hell? We're getting these records for free, Why should we pay for transcriptions? Every transcription company went out of business. Capitol Transcriptions shut down, and I took over the country department." As an actual inside witness to the events under discussion, Nelson's claims have undeniable validity, and are quite intriguing. Yet, when placed within the overall history of the radio transcription business, Nelson's commentary might also be justifiably suspected of being overstated.



The Peggy Lee Shows

When it came to playing the discs that Capitol's transcription service sent on a weekly basis, subscribing radio stations could rely on suggestions to be found in a monthly Capitol newsletter, sent along with each fresh batch of discs.

Subscribers were free to pick among various other options as well. One Capitol-endorsed option involved the station's own creation of a show centered on a particular artist or a particular topic/mood.  The station could assemble a 15-minute show by combining the performances in one Capitol transcription disc with so-called aids, such as the ones that were itemized earlier in this page (i.e., the spoken tracks and music themes from Capitol's series of X discs).   Thus a given radio station could put together its own Peggy Lee Show, for instance, by using her many discs from the B series as primary material, and the X discs as supplements. 

In addition to being able to put together a show "hosted" by a single artist, stations could resort to the alternative of treating an artist's numbers as guest performances, to be heard in a show billed to another artist.  The Lee performances most likely to have received this treatment are the ones on the A series, for which she was backed by Frank DeVol and His Orchestra.  Performances from that series probably lent themselves to the "guest" approach because they featured different artists on each side. (Of Lee's two sole discs in the A series, one features Jan Garber And His Orchestra on the other side, the other  Skitch Henderson And His Orchestra.)  Besides, this A series appears to have favored orchestras and other instrumentally-oriented ensembles.  Hence, through their incorporation in a bandleader's show, A performances by a singer such as Peggy Lee could be easily turned into guest spots, or even canary spots.  Some stations must have doubtlessly inserted her vocals in programs that were credited to DeVol, Henderson, or Garber.  In fact, one of the two above-seen ads offers evidence for this approach to Lee's transcriptions. 

Incidentally, both of these ads offer indications that audiences were favoring Peggy Lee's body of work for Capitol's transcription service.  The first ad gives her visual as well as textual prominence: her name is listed first and a photo of her face is place above all others.  Then there is the second ad, which touts the success that a so-called Jan Garber Show - Featuring Peggy Lee had had at a subscribing station (WBIR).  We are told that WBIR's staff had "built the show using Capitol's programming aids" and that, after three months of airplay, the daily program had successfully grabbed sponsors for each day of its week.  

One additional manner of programming transcriptions would have involved the simple creation of a show dedicated to the playing of transcription selections by multiple artists rather than just one. This strategy is probably behind a radio program called Your Show Of Stars, first broadcast by Los Angeles' KFI on Sunday evenings in the summer of 1946. The program was said to feature numbers from Frank DeVol's Orchestra, Peggy Lee, Hal Derwin, and The King Sisters. Since all of them were artists who had recorded Capitol transcriptions, and since the program's host was also the program director of the transcription service (Don Otis), chances are that the performances heard during Your Show Of Stars were actually Capitol transcription recordings.



Commercial Issues Of Peggy Lee's Capitol Transcriptions

Transcriptions were originally intended for radio airplay only, not for sale to the public. Nevertheless, exceptions to this "not-for-sale" norm could easily be made by an enterprise such as Capitol, since it owned both the transcription service and the retail label. In the late 1940s, Capitol indeed released a few of its transcription performances not only on 16" radio disc but also on commercial 78-rpm disc. One of Peggy Lee's 72 Capitol transcriptions, "A Nightingale Can Sing The Blues," may be an example of this practice.

Leaving aside the special case of "A Nightingale Can Sing The Blues," the first commercial appearance of Peggy Lee's Capitol transcriptions had to wait about half a century. In 1990, the mail-order label Starline issued nine of them in a cassette titled Them There Eyes. Capitol is not presumed to have had any involvement in the release of this cassette.

Eight years later, Lee's remaining 63 transcriptions made their commercial debut thanks to Mosaic Records, a jazz-oriented label celebrated for its massive boxes of rare and pristinely mastered material. Mosaic made an arrangement with EMI Capitol to retrieve, clean, master and issue the complete Capitol transcriptions of both Peggy Lee and June Christy. The resulting boxed set was Mosaic's first all-vocals release.

Merely two or three years after the appearance of the Mosaic set, the label Jazz Factory (of the Disconforme family of labels) took advantage of lax copyright rules in Europe, shamelessly appropriating and reissuing nearly the entire contents of Mosaic's boxed set. No permission and no payment was deemed necessary. Obviously wary of legal repercussions, Jazz Factory only abstained from including numbers that Mosaic had listed as "previously unissued" (i.e., never issued in any format -- not even on radio transcription disc). Mercifully, the band tracks with Frank DeVol and his orchestra were also left out.

For completists, Mosaic's The Complete Peggy Lee & June Christy Capitol Transcription Sessions remains the definitive issue of the work that Lee did for Capitol's radio service.

For listeners in search of a sampler, the Capitol Jazz CD Trav'lin' Light is a fine option. It contains 15 of the 72 selections. An alternative CD issue was released by the public domain label Jasmine: A Musical Marriage offers 22 of the 72 selections.


Statistics: Total Number Of Masters; Performances Not On CD

This discographical page lists 72 transcription masters, distributed over twelve transcription discs, and 2 additional masters found in a thirteenth, special transcription disc. (Therefore, this page covers a total of 74 masters.) Although Capitol transcription discs were created exclusively for radio airplay, nearly all the masters found in them have been commercially released -- most notably, on CD. The only exceptions are the two performances in the thirteenth disc., both consisting of a composition titled "I'm In The Mood For Love," co-written by the singer with her husband Dave Barbour. (The two performances might actually be one and the same, but they are treated as two in the transcription disc in which they appear. I remain uncertain as to the specifics because I have not listened to that disc.) "I'm In The Mood For Love" was actually Lee's theme: some radio stations must have played it as an opening and closing of a Lee-only show, with some of her other 72 masters played in-between.





Sessions Reported: 11

Performances Reported: 74

Unique Songs Reported: 73

Unique Issues Reported: 89