Harold Arlen was an American composer of popular music who composed over 500 songs, a number of which have become known worldwide. In addition to composing the songs for the 1939 film The Wizard of Oz, including the classic "Over the Rainbow", Arlen is a regarded contributor to the Great American Songbook. "Over the Rainbow" was voted the 20th century's No. 1 song by the Recording Industry Association of America and the National Endowment for the Arts. Arlen was born in New York, United States, the child of a cantor, his twin brother died the next day. He learned to play the piano as a youth, formed a band as a young man, he achieved some local success as a pianist and singer before moving to New York City in his early twenties, where he worked as an accompanist in vaudeville and changed his name to Harold Arlen. Between 1926 and about 1934, Arlen appeared as a band vocalist on records by The Buffalodians, Red Nichols, Joe Venuti, Leo Reisman, Eddie Duchin singing his own compositions. In 1929, Arlen composed his first well-known song: "Get Happy".
Throughout the early and mid-1930s, Arlen and Koehler wrote shows for the Cotton Club, a popular Harlem night club, as well as for Broadway musicals and Hollywood films. Arlen and Koehler's partnership resulted in a number of hit songs, including the familiar standards "Let's Fall in Love" and "Stormy Weather". Arlen continued to perform as a pianist and vocalist with some success, most notably on records with Leo Reisman's society dance orchestra. Arlen's compositions have always been popular with jazz musicians because of his facility at incorporating a blues feeling into the idiom of the American popular song. In the mid-1930s, Arlen married, spent increasing time in California, writing for movie musicals, it was at this time that he began working with lyricist E. Y. "Yip" Harburg. In 1938, the team was hired by Metro-Goldwyn-Mayer to compose songs for The Wizard of Oz, the most famous of, "Over the Rainbow", for which they won the Academy Award for Best Music, Original Song, they wrote "Down with Love", "Lydia the Tattooed Lady", for Groucho Marx in At the Circus in 1939, "Happiness is a Thing Called Joe", for Ethel Waters in the 1943 movie Cabin in the Sky.
Arlen was a longtime friend and onetime roommate of actor Ray Bolger, who starred in The Wizard of Oz. In the 1940s, he teamed up with lyricist Johnny Mercer, continued to write hit songs like "Blues in the Night", "Out of this World", "That Old Black Magic", "Ac-Cent-Tchu-Ate the Positive", "Any Place I Hang My Hat Is Home", "Come Rain or Come Shine" and "One for My Baby". Arlen composed two defining tunes which bookend Judy Garland's musical persona: as a yearning, innocent girl in "Over the Rainbow" and a world-weary, "chic chanteuse" with "The Man That Got Away", the last written for the 1954 version of the film A Star Is Born. Arlen died of cancer at his Manhattan apartment at the age of eighty-one. 1905 Arlen born in Buffalo, New York 1920 He formed his first professional band, Hyman Arluck's Snappy Trio. 1921 Against his parents' wishes. 1923 With his new band – The Southbound Shufflers, performed on the Crystal Beach lake boat "Canadiana" during the summer of 1923. 1924 Performed at Lake Shore Manor during the summer of 1924.
1924 Wrote his first song, collaborating with friend Hyman Cheiffetz to write "My Gal, My Pal". Copyrighting the song as "My Gal, Won't You Please Come Back to Me?" and listed lyrics by Cheiffetz and music by Harold Arluck. 1925 Makes his way to New York City with The Buffalodians, with Arlen playing piano. 1926 Had first published song, collaborating with Dick George to compose "Minor Gaff" under the name Harold Arluck. 1928 Chaim Arluck renames himself a name that combined his parents' surnames. 1929 Landed a singing and acting role as Cokey Joe in the musical The Great Day. 1929 Composed his first well known song – "Get Happy" – under the name Harold Arlen. 1929 Signed a yearlong song writing contract with the George and Arthur Piantadosi firm. 1930–1934 Wrote music for the Cotton Club. 1933 At a party, along with partner Ted Koehler, wrote the major hit song "Stormy Weather" 1933 Billboard heralded Shakespeare as the most prolific playwright in history, Arlen as the most prolific composer. 1934 Wrote "Ill Wind" with lyrics by Ted Koehler for their last show at the Cotton Club Parade, in 1934, sung by Adelaide Hall 1935 Went back to California after being signed by Samuel Goldwyn to write songs for the film Strike Me Pink.
1937 Composed the score for the Broadway musical Hooray for What!. Married 22-year-old Anya Taranda, a celebrated Powers Agency model and former Earl Carroll and Busby Berkeley showgirl and one of the Original "Breck Girls". 1938 Hired by Metro-Goldwyn-Mayer to compose songs for The Wizard of Oz. 1938 While driving along Sunset Boulevard in Hollywood and stopping in front of Schwab's Drug Store, seeing a rainbow appear over Hollywood, came up with the song "Over the Rainbow". 1941 Wrote "Blues in the Night" 1942 Along with Johnny Mercer, he wrote one of his most famous songs, "That Old Black Magic". 1943 Wrote "My Shining Hour" 1944 While driving with songwriter partner Johnny Mercer came up with the song "Accentuate the Positive". 1945 In a single evening's work in October with Johnny Mercer came up with the song "Come Rain or Come Shine". 1949 Collaborated with Ralph Blane
"Mood Indigo" is a jazz song with music by Duke Ellington and Barney Bigard and lyrics by Irving Mills. Although Irving Mills—Jack Mills's brother and publishing partner—took credit for the lyrics, Mitchell Parish claimed in a 1987 interview that he had written the lyrics; the tune was composed for a radio broadcast in October 1930 and was titled "Dreamy Blues". It was "the first tune I wrote specially for microphone transmission", Ellington recalled. "The next day wads of mail came in raving about the new tune, so Irving Mills put a lyric to it." Renamed "Mood Indigo", it became a jazz standard. The main theme was provided by Bigard, who learned it in New Orleans, Louisiana from his clarinet teacher Lorenzo Tio, who called it a "Mexican Blues". Ellington's arrangement was first recorded by his band for Brunswick on October 17, 1930, it was recorded twice more in 1930. These recordings included Arthur Whetsol, Joe Nanton, Barney Bigard, Duke Ellington, Fred Guy, Wellman Braud, Sonny Greer. Ellington blended muted trumpet, muted trombone, clarinet.
Ellington took the traditional front-line—trumpet and clarinet—and inverted them. At the time of these first three recordings in 1930, the usual voicing of the horns would be clarinet at the top, trumpet in the middle, the trombone at the bottom. In "Mood Indigo" Ellington voices the trombone right at the top of the instrument's register, the clarinet at the lowest; this was unheard of at the time, created a so-called "mike-tone"—an effect generated by the overtones of the clarinet and trombone. The "mike-tone" gives the audio-illusion of the presence of instrument. Ellington used this effect in " Solitude", "Dusk", many other pieces throughout his career; the Ellington band performed and recorded the song continuously throughout its 50 years, both in its original form and as a vehicle for individual soloists. Duke Ellington – 1930 Jimmie Lunceford – 1934 Duke Ellington – Masterpieces by Ellington In 1954, the Norman Petty Trio had a hit with the song, which reached No. 14 on the pop charts. The Four Freshmen– 1954 Thelonious Monk – Thelonious Monk Plays Duke Ellington Nina Simone – Little Girl Blue Linda Lawson - Introducing Linda Lawson Duke Ellington and Coleman Hawkins – Duke Ellington Meets Coleman Hawkins Clark Terry and Bob Brookmeyer with Hank Jones – Gingerbread Men Marcus Roberts – Alone with Three Giants Mulgrew Miller and Niels-Henning Ørsted Pedersen – The Duets "Mood Indigo" is featured in the films All Night Long, The Continental Twist, The Cotton Club, Curtain Call, Divine Secrets of the Ya-Ya Sisterhood, Harlem Nights, Hart's War, Keep On Keepin' On, The Legend of Bagger Vance, Paris Blues, Pitch People, Rough Cut, The Untouchables, Up In the Air, The White Countess and White Men Can't Jump.
It can be heard in the TV movie Relentless: Mind of a Killer and in the miniseries Come In Spinner and Mildred Pierce, as well as in episodes from two HBO series created by David Chase: "Walk Like a Man" from The Sopranos and "El Dorado," the series finale of Boardwalk Empire. List of 1930s jazz standards "Mood Indigo" at Jazz Standards
George Gershwin was an American composer and pianist whose compositions spanned both popular and classical genres. Among his best-known works are the orchestral compositions Rhapsody in Blue and An American in Paris, the songs Swanee and Fascinating Rhythm, the jazz standard I Got Rhythm, the opera Porgy and Bess which spawned the hit Summertime. Gershwin studied piano under Charles Hambitzer and composition with Rubin Goldmark, Henry Cowell, Joseph Brody, he began his career as a song plugger but soon started composing Broadway theater works with his brother Ira Gershwin and Buddy DeSylva. He moved to Paris intending to study with Nadia Boulanger, he returned to New York City and wrote Porgy and Bess with Ira and DuBose Heyward. It was a commercial failure but came to be considered one of the most important American operas of the twentieth century and an American cultural classic. Gershwin moved to Hollywood and composed numerous film scores until his death in 1937 from a malignant brain tumor.
His compositions have been adapted for use in films and television, several became jazz standards recorded and covered in many variations. Gershwin was of Russian Lithuanian Jewish ancestry, his grandfather, Jakov Gershowitz, had served for 25 years as a mechanic for the Imperial Russian Army to earn the right of free travel and residence as a Jew. His teenage son, Moishe Gershowitz, worked as a leather cutter for women's shoes. Moishe Gershowitz met and fell in love with Roza Bruskina, the teenage daughter of a furrier in Vilnius, she and her family moved to New York due to increasing anti-Jewish sentiment in Russia, changing her first name to Rose. Moishe, faced with compulsory military service if he remained in Russia, moved to America as soon as he could afford to. Once in New York, he changed his first name to Morris. Gershowitz lived with a maternal uncle in Brooklyn, he married Rose on July 21, 1895, Gershowitz soon Americanized his name to Gershwine. Their first child, Ira Gershwin, was born on December 6, 1896, after which the family moved into a second-floor apartment on Brooklyn's Snediker Avenue.
On September 26, 1898, George was born as second son to Morris and Rose Bruskin Gershwine in their second-floor apartment on Brooklyn's Snediker Avenue. His birth certificate identifies him as Jacob Gershwine, with the surname pronounced'Gersh-vin' in the Russian and Yiddish immigrant community, he had just one given name, contrary to the American practice of giving children both a first and middle name. He was named after a one time Russian army mechanic, he soon became known as George, changed the spelling of his surname to'Gershwin' about the time he became a professional musician. After Ira and George, another boy Arthur Gershwin, a girl Frances Gershwin were born into the family; the family lived in many different residences, as their father changed dwellings with each new enterprise in which he became involved. They grew up around the Yiddish Theater District. George and Ira frequented the local Yiddish theaters, with George appearing onstage as an extra. George lived a usual childhood existence for children of New York tenements: running around with his boyhood friends, roller skating and misbehaving in the streets.
Until 1908, he cared nothing for music, when as a ten-year-old he was intrigued upon hearing his friend Maxie Rosenzweig's violin recital. The sound, the way his friend played, captured him. At around the same time, George's parents had bought a piano for lessons for his older brother Ira, but to his parents' surprise, Ira's relief, it was George who spent more time playing it. Although his younger sister Frances was the first in the family to make a living through her musical talents, she married young and devoted herself to being a mother and housewife, thus surrendering any serious time to musical endeavors. Having given up her performing career, she settled upon painting as a creative outlet, a hobby George pursued. Arthur Gershwin followed in the paths of George and Ira becoming a composer of songs and short piano works. With a degree of frustration, George tried various piano teachers for some two years before being introduced to Charles Hambitzer by Jack Miller, the pianist in the Beethoven Symphony Orchestra.
Until his death in 1918, Hambitzer remained Gershwin's musical mentor and taught him conventional piano technique, introduced him to music of the European classical tradition, encouraged him to attend orchestral concerts. Following such concerts, young Gershwin would try to play, on the piano at home, the music he had heard from recall, without sheet music; as a matter of course, Gershwin studied with the classical composer Rubin Goldmark and avant-garde composer-theorist Henry Cowell, thus formalizing his classical music training. In 1913, Gershwin left school at the age of 15 and found his first job as a "song plugger", his employer was Jerome H. Remick and Company, a Detroit-based publishing firm with a branch office on New York City's Tin Pan Alley, he earned $15 a week, his first published song was "When You Want'Em, You Can't Get'Em, When You've Got'Em, You Don't Want'Em" in 1916 when Gershwin was only 17 years old. It earned him 50 cents. In 1916, Gershwin started working for Aeolian Company and Standard Music Rolls in New York and arranging.
He produced dozens, if not hundreds, of rolls under his own and assumed names
Matthew Loveland Dennis was an American singer, band leader and writer of music for popular songs. Dennis was born in Seattle, United States, his mother was a violinist and his father a singer, the family was in vaudeville, so he was early exposed to music. In 1933 he joined Horace Heidt's orchestra as a pianist. On, he formed his own band, with Dick Haymes as vocalist, he became vocal coach and accompanist for Martha Tilton, worked with a new vocal group, The Stafford Sisters. Jo Stafford, one of the sisters, joined the Tommy Dorsey band in 1940 and persuaded Dorsey to hire Dennis as arranger and composer. Dennis wrote prolifically, with 14 of his songs recorded by the Dorsey band in one year alone, including "Everything Happens to Me", an early hit for Frank Sinatra. After four years in the United States Air Force in World War II, Dennis returned to music writing and arranging, getting a boost from his old friend Dick Haymes, who hired him to be the music director for his radio program. With lyricist Tom Adair he wrote songs for Haymes' program.
Dennis made six albums. Pianist Dave Brubeck and his quartet recorded an entire album of Dennis's compositions, released as Angel Eyes in 1965. In 2012, Jasmine Records re-released four of Dennis' records as "Welcome Matt"; the collection included "Plays and Sings Matt Dennis", a 1958 live performance by Dennis' piano trio, of twelve tunes that Dennis had co-authored. Dennis died in Riverside, California at the age of 88. "Angel Eyes" "Compared to You" "Everything Happens to Me" "It Wasn't the Stars" "Junior and Julie" "Let's Get Away from It All" "Little Man with a Candy Cigar" "Love Turns Winter to Spring" "Show Me the Way to Get Out of This World" "The Night We Called It a Day" "Violets for Your Furs" "Will You Still Be Mine" Biography of Matt Dennis Matt Dennis and Angel Eyes Matt Dennis at AllMusic Matt Dennis discography at Discogs Matt Dennis on IMDb
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Vernon Duke was an American composer/songwriter, who wrote under his original name, Vladimir Dukelsky. He is best known for "Taking a Chance on Love" with lyrics by Ted Fetter and John Latouche, "I Can't Get Started" with lyrics by Ira Gershwin, "April in Paris" with lyrics by E. Y. Harburg, "What Is There To Say" for the Ziegfeld Follies of 1934 with Harburg, he wrote the words and music for "Autumn in New York" for the revue Thumbs Up! Vernon collaborated with lyricists such as Ira Gershwin, Ogden Nash and Sammy Cahn. Vladimir Aleksandrovich Dukelsky was born in 1903 into a noble family of mixed Georgian-Austrian-Spanish-Russian descent, in Parafianovo, Vilna Governorate, Russian Empire; the 1954 Grove's Dictionary of Music and Musicians referred to "one of his grandparents" as having been "directly descended from the kings of Georgia". His birthplace was a small railroad station in Minsk Governorate. At that time his mother "happened to be traveling by train"; the Dukelskys resided in Kiev, Vladimir's only visit to Saint Petersburg and Moscow occurred in the summer of 1915.
The impressions of that remarkable summer were echoed in Dukelsky's most daring classical composition, the Russian oratorio The End of St. Petersburg; the title is a reference to the film. At the age of 11, Dukelsky was admitted to the Kiev Conservatory where he studied composition with Reinhold Glière and musical theory with Boleslav Yavorsky. In 1919, his family escaped from the turmoil of civil war in Russia and spent a year and a half with other refugees in Constantinople. In 1921, they obtained American visas and sailed steerage class on the SS King Alexander to New York, he underwent his immigrant inspection at Ellis Island. It was in 1922 in New York. Dukelsky's first songs published under his nom de plume were conceived that year, but he continued to write classical music and Russian poetry under his given name until 1955. In 1924, the restless young man left hospitable America for the Old World. In Paris, he received a commission from Serge Diaghilev to compose a ballet. Dukelsky's first theatrical production and Flora, was staged in the 1925 season of Ballets Russes, with choreography by Léonide Massine and scenography by Georges Braque, to great critical acclaim.
In a review of musical novelties of the season, Sergei Prokofiev described it as full of "superior melodies well designed, harmonically beautiful and not too'modernist'." Prokofiev was as impressed with the young talent as Diaghilev was, soon the composers became close friends. They saw each other until the end of the 1930s and corresponded until 1946, when the attacks of Soviet officialdom on Prokofiev made the further exchange of letters too dangerous for Prokofiev. Dukelsky's First Symphony was premiered by Serge Koussevitzky and his orchestra in 1928 in Paris on the same bill as the excerpts from Prokofiev's The Fiery Angel; some of Dukelsky's and Prokofiev's compositions of the 1930s bear evidence of the sustaining musical dialogue. In the late 1920s, Dukelsky shared his time between Paris, where his more classical works were performed, London where he composed numbers for musical comedies under the pen name of Vernon Duke. In 1929, he returned to the United States with an intention of settling in the country permanently.
He composed and published much serious music, but devoted greater efforts to establishing himself on Broadway. Duke's songs "April in Paris", "Autumn in New York", "I Like the Likes of You", "Water Under the Bridge", "I Can't Get Started" were 1930s hits; the support and devotion of Serge Koussevitzky, who published Dukelsky's chamber music and conducted his orchestral scores, helped him develop his more classical works. Dukelsky's concerto for piano and soprano obbligato titled Dédicaces, was premièred by Koussevitzky and the Boston Symphony Orchestra in January 1939 in New York, his oratorio, The End of St. Petersburg, was premiered a year earlier by Schola Cantorum and the New York Philharmonic under Hugh Ross. In 1937, the composer was asked to complete Gershwin's last score, a soundtrack to a Technicolor extravaganza The Goldwyn Follies, for which he contributed two parody ballets, choreographed by George Balanchine, a song "Spring Again". In 1939, Dukelsky took Vernon Duke as his legal name.
Duke's greatest success came a year with the Broadway musical Cabin in the Sky, choreographed by George Balanchine and performed by an all-black cast at the Martin Beck Theater in New York. Between 1942 and 1944, he joined the Coast Guard and, while in service he discovered Sid Caesar, a saxophone player in the Coast Guard Band, wrote a touring show for the Coast Guard called Tars & Spars, he conceived some of his finest music in the classical tradition, including a Cello Concerto and a Violin Concerto. His pensive Third Symphony was dedicated to the memory of Natalie. With years, both Serge and Natalie Koussevitzky, Dukelsky's devoted supporters, had become a sort of surrogate family to him; when Dukelsky's own mother died in 1942, the composer took the conductor's refusal to commission
The Columbia Years 1943–1952: The Complete Recordings
The Columbia Years 1943–1952: The Complete Recordings is a 1993 box set album by the American singer Frank Sinatra. This twelve-disc set contains 285 songs Sinatra recorded during his nine-year career with Columbia Records. Executive Producer: Jerry Shulman. Deutsch. "Close to You" - 3:17 "You'll Never Know" - 3:00 "Sunday, Monday or Always" - 3:15 "If You Please" - 2:51 "People Will Say We're in Love" - 3:19 "Oh What a Beautiful Mornin'" - 2:55 "I Couldn't Sleep a Wink Last Night" - 2:52 "A Lovely Way to Spend an Evening" - 3:13 "The Music Stopped" - 2:59 "If You Are But a Dream - 3:03 "Saturday Night" - 2:43 "There's No You" - - 3:26 "White Christmas" - 3:22 "I Dream of You" - - 3:07 "I Begged Her" - 2:59 "What Makes the Sunset?" - 2:54 "I Fall in Love Too Easily" - 3:13 "Nancy" - 3:19 "The Cradle Song" - 3:06 "Ol' Man River" - 4:00 "Stormy Weather" - 4:13 "The Charm of You" - 2:59 "Embraceable You" - 3:16 "When Your Lover Has Gone" - 2:52 "Kiss Me Again" - 2:45 " She's Funny That Way" - 3:20 "My Melancholy Baby" - 3:08 "Where or When" - 3:13 "All the Things You Are" - 3:00 "Mighty Lak' a Rose" - 3:23 "I Should Care" - 3:00 "Homesick, That's All" - 3:22 "Dream" - 3:02 "A Friend of Yours" - 3:01 "Put Your Dreams Away" - 3:00 "Over the Rainbow" - 3:16 "You'll Never Walk Alone" - 3:25 "If I Loved You" - 3:03 "Lily Belle" - 3:29 "Don't Forget Tonight Tomorrow" - 3:02 "I've Got a Home in That Rock" - 3:10 "Jesus Is a Rock in That Weary Land" - 3:19 "Stars in Your Eyes" - 2:45 "My Shawl" - 3:15 "Someone to Watch Over Me" - 3:19 "You Go to My Head" - 3:00 "These Foolish Things" - 3:08 "I Don't Know Why" - 2:47 "The House I Live In" - 3:20 "Day By Day" - 3:08 "Nancy" - 3:20 "You Are Too Beautiful" - 3:01 "America the Beautiful" - 2:32 "Silent Night, Holy Night" - 3:14 "The Moon Was Yellow" - 2:58 "I Only Have Eyes for You" - 3:13 "The Old School Teacher" "Just An Old Stone House" "Full Moon and Empty Arms" "Oh, What It Seemed to Be" "I Have But One Heart" "I Don't Stand a Ghost of a Chance with You" "Why Shouldn't I?"
"Try a Little Tenderness" "Paradise" "All Through the Day" "One Love" "Two Hearts Are Better Than One" "How Cute Can You Be?" "From This Day Forward" "Where Is My Bess?" "Begin the Beguine" "Something Old, Something New" "They Say It's Wonderful" "That Old Black Magic" "The Girl That I Marry" "I Fall In Love with You Ev'ry Day" "How Deep Is the Ocean" "Home on the Range" "The Song Is You" "Soliloquy" "Somewhere In the Night" "Could'ja?" "Five Minutes More" "The Things We Did Last Summer" "You'll Know When It Happens" "This Is the Night" "The Coffee Song" "Among My Souvenirs" "I Love You" "September Song" "Blue Skies" "Guess I'll Hang My Tears Out to Dry" "Adeste Fideles" "Lost in the Stars" "Jingle Bells" "Falling in Love with Love" "Hush-A-Bye Island" "So They Tell Me" "There's No Business Like Show Business" " A M