In the Mood

~ Veröffentlichung von Various Artists (alle Versionen dieser Veröffentlichung ansehen, eine vorhanden)

Titelliste

1▼CD: In A Swinging Mood
Nr.TitelKünstlerBewertungLänge
1In the Mood
instrumental recording of:
In the Mood (am 1939-08-01)
Texter:
Andy Razaf
Komponist(in):
Wingy Manone
publisher:
Shapiro Bernstein and Co. Limited und Shapiro, Bernstein & Co., Inc.
sub-publisher:
シンコーミュージック・エンタテイメント A事業部 (Shinko Music Entertainment, A Division)
basiert auf:
Tar Paper Stomp
enthalten in:
The Real Book (compilation of jazz standards, volume I)
The Glenn Miller Orchestra3.753:38
2Let There Be Love
recording of:
Let There Be Love
Texter:
Ian Grant (lyricist)
Komponist(in):
Lionel Rand
publisher:
Shapiro Bernstein & Co. Ltd., Shapiro, Bernstein & Co., Inc., Warner Chappell Music Ltd. (no slash; used 1988–1996) und Warner Chappell Music Publishing (Warner/Chappell Music, Inc.)
Silje Nergaard3:18
3Puttin’ on the Ritz
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
Bassgitarre:
Ray Brown (jazz bassist)
Gitarre:
Barney Kessel
Klavier:
Oscar Peterson (Canadian jazz pianist and composer)
Schlagzeug:
Alvin Stoller
Tenorsaxophon:
Flip Phillips
Trompete:
Charlie Shavers
vocals:
Fred Astaire (in 1952-12)
recording of:
Puttin’ On the Ritz (in 1952-12)
Texter und Komponist(in):
Irving Berlin (in 1929)
publisher:
Berlin Irving Music Corp und Universal Music Publishing Ltd. (UK subsidiary of Universal Music Publishing Group)
Teil von:
Idiot’s Delight (film)
Fred Astaire2:52
4I’ve Got My Love to Keep Me Warm
Techniker(in):
Val Valentin (am 1958-03-18)
Produzent(in):
Norman Granz
Sologesang:
Ella Fitzgerald (American jazz singer) (am 1958-03-18)
vocals:
Ella Fitzgerald (American jazz singer) (am 1958-03-18)
conductor:
Paul Weston (am 1958-03-18)
Interpret(in):
Paul Weston and His Orchestra (am 1958-03-18)
arranger:
Paul Weston (in 1958)
aufgenommen bei:
Radio Recorders Studios (Santa Monica Blvd. location since 1949) in West Hollywood, California (Kalifornien), Vereinigte Staaten (am 1958-03-18)
cover recording of:
I’ve Got My Love to Keep Me Warm (am 1958-03-18)
Texter und Komponist(in):
Irving Berlin (in 1937)
publisher:
Irving Berlin Music Company, Irving Berlin Music Corp., Warner Chappell Music Ltd. (no slash; used 1988–1996) und Williamson Music Company
sub-publisher:
シンコーミュージック・エンタテイメント (Shinko Music Entertainment Co., Ltd.) und ユニバーサル・ミュージック・パブリッシング Synch事業部 (Universal Music Publishing, Synch Division)
Ella Fitzgerald2:58
5Fly Me to the Moon
cover recording of:
Fly Me to the Moon
Texter und Komponist(in):
Bart Howard (in 1954)
uraufgeführt von:
Kaye Ballard (in 1954)
publisher:
Almanac Music-Inc., Hampshire House Publishing Corp., Kensington Music Ltd., Palm Valley Music LLC und TRO Essex Music Ltd.
sub-publisher:
ティー・アール・オー・エセックス・ジャパン A事業部 (TRO Essex Japan, A-Division)
James Moody4:43
6Love Me or Leave Me
Bassgitarre und Perkussion:
Lisle Atkinson (am 1965-10-01)
flute und Gitarre:
Rudy Stevenson (am 1965-10-01)
Klavier:
Nina Simone (am 1965-10-01)
Mundharmonika:
Al Schackman (am 1965-10-01)
Schlagzeug:
Bobby Hamilton (percussionist, keyboards, vocals) (am 1965-10-01)
cover recording of:
Love Me or Leave Me (am 1965-10-01)
Texter:
Gus Kahn
Komponist(in):
Walter Donaldson
publisher:
EMI Music (do not use as release label! this is a music publisher), EMI Music Publishing Ltd. (PRS‐affiliated), Keith Prowse Music Publishing Co. Ltd., Keith Prowse Music Publishing Ltd., WB Music Corp. (1929–2019), Donaldson Publishing Co. (in 1928, in 1955) und Gilbert Keyes Music Company (in 1928, in 1955)
Nina Simone44:06
7Cheek to Cheek
recording engineer:
Alan Emig
Produzent(in):
Norman Granz
alto saxophone:
Herb Geller (am 1956-06-12) und Bud Shank (am 1956-06-12)
baritone saxophone:
Chuck Gentry (am 1956-06-12)
Bass:
Joe Mondragon (am 1956-06-12)
Bratsche / Viola:
Virginia Majewski (violist) (am 1956-06-12)
Cello:
Edgar Lustgarden (am 1956-06-12)
Geige / Violine:
Lew Raderman (am 1956-06-12)
Gitarre:
Barney Kessel (am 1956-06-12)
Klavier:
Paul Smith (Paul Thatcher Smith, jazz pianist, composer, arranger and bandleader) (am 1956-06-12)
Posaune:
Milt Bernhart (am 1956-06-12), Francis Howard (trombone) (am 1956-06-12), George Roberts (american bass trombone) (am 1956-06-12), Frank Rosolino (am 1956-06-12) und Lloyd Ulyate (am 1956-06-12)
Schlagzeug:
Alvin Stoller (am 1956-06-12)
Tenorsaxophon:
Bob Cooper (US jazz saxophonist) (am 1956-06-12) und Ted Nash (40s-80s US swing reedman, uncle of the other) (am 1956-06-12)
Trompete:
Pete Candoli (am 1956-06-12), Harry “Sweets” Edison (am 1956-06-12), Maynard Ferguson (am 1956-06-12) und Conrad Gozzo (am 1956-06-12)
vocals:
Bing Crosby (am 1956-06-12)
Orchester:
Buddy Bregman & Orchestra (am 1956-06-12)
conductor:
Buddy Bregman (am 1956-06-12)
arranger:
Buddy Bregman
aufgenommen bei:
Capitol Studios (Hollywood, CA, founded 1956) in Hollywood, Los Angeles, California (Kalifornien), Vereinigte Staaten (am 1956-06-12)
cover recording of:
Cheek to Cheek (from “Top Hat”) (am 1956-06-12)
Texter und Komponist(in):
Irving Berlin (in 1935)
publisher:
Irving Berlin (England) Music Ltd., Irving Berlin Music Company, Irving Berlin Music Corp., シンコーミュージック・エンタテイメント (Shinko Music Entertainment Co., Ltd.) und ユニバーサル・ミュージック・パブリッシング Synch事業部 (Universal Music Publishing, Synch Division)
Teil von:
Academy Award for Best Original Song (Nummer: 1935 nominee)
Teil von:
Top Hat (1935 film)
Bing Crosby4:02
8Let’s Face the Music and Dance
Produzent(in):
Norman Granz und Anita O’Day
Gitarre:
Barney Kessel (am 1956-12-18)
Klavier:
Paul Smith (Paul Thatcher Smith, jazz pianist, composer, arranger and bandleader) (am 1956-12-18)
Kontrabass [bass]:
Joe Mondragon (am 1956-12-18)
Schlagzeug:
Alvin Stoller (am 1956-12-18)
Trompete:
Harry Edison (am 1956-12-18)
Vibraphon:
Larry Bunker (am 1956-12-18)
vocals:
Anita O’Day (am 1956-12-18)
recording of:
Let’s Face the Music and Dance (from “Follow the Fleet”)
Texter und Komponist(in):
Irving Berlin (in 1936)
publisher:
Irving Berlin Music Company, Irving Berlin Music Corp. und Williamson Music Company
Teil von:
Follow the Fleet (1936 film)
Anita O’Day3:17
9Almost Like Being in Love
recorded in:
New York, New York, Vereinigte Staaten (am 1952-11-28)
recording of:
Almost Like Being in Love (from “Brigadoon”) (am 1952-11-28)
Texter:
Alan Jay Lerner
Komponist(in):
Frederick Loewe
publisher:
EMI Music (do not use as release label! this is a music publisher), EMI U Catalog Inc. (publisher; do NOT use as release label), EMI United Partnership Ltd., Sam Fox Publishing Co. (London) Ltd., Sam Fox Publishing Company (publisher; do NOT use as release label), WC Music Corp., フジパシフィックミュージック SBK事業部 (Fujipacific Music SBK Department) und ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label)
Teil von:
Brigadoon (complete musical)
Lester Young3:33
10I Get a Kick Out of You
Techniker(in):
Val Valentin (in 1957)
Produzent(in):
Norman Granz (in 1957)
Gitarre:
Herb Ellis (jazz guitarist) (in 1957)
Klavier:
Oscar Peterson (Canadian jazz pianist and composer) (in 1957)
Kontrabass:
Ray Brown (jazz bassist) (in 1957)
Schlagzeug:
Louie Bellson (in 1957)
Trompete:
Louis Armstrong (in 1957)
vocals:
Louis Armstrong (in 1957)
cover recording of:
I Get a Kick Out of You (in 1957)
Texter und Komponist(in):
Cole Porter (composer) (in 1934)
publisher:
Chappell Music (UK), Chappell Music Ltd., Harms, Inc., Warner Bros., Inc. (not for release label use!), Warner Chappell und Chappell (in 1974)
Teil von:
Anything Goes
Louis Armstrong4:19
11But Not for Me
vocals:
Dinah Washington (in 1956)
Orchester:
Quincy Jones and His Orchestra
recording of:
But Not for Me
Texter:
Ira Gershwin (in 1930)
Komponist(in):
George Gershwin (composer) (in 1930)
publisher:
WB Music Corp. (1929–2019) (bis 2019-05-28), New World Music Co. (in 1930) und WC Music Corp. (vom 2019-05-28 bis heute)
sub-publisher:
ヤマハミュージックエンタテインメントホールディングス (Yamaha Music Entertainment Holdings, Inc., holding company – do not use as release label) und ワーナー・チャペル音楽出版 Synch事業部 (Warner/Chappell Music Japan K.K., Synch Division)
enthalten in:
An American in Paris (2015 Broadway musical)
Teil von:
Crazy for You (1992 musical)
Teil von:
Girl Crazy (1930 Musical)
Teil von:
When the Boys Meet the Girls (1965 film)
Dinah Washington2:27
12They Can’t Take That Away From Me
Produzent(in):
Norman Granz (am 1957-01-09)
E-Gitarre und Gitarre:
Barney Kessel (am 1957-01-09)
Klavier:
Jimmy Rowles (am 1957-01-09)
Kontrabass:
Red Mitchell (jazz double-bassist, composer and lyricist) (am 1957-01-09) und Joe Mondragon (am 1957-01-09)
Schlagzeug:
Larry Bunker (am 1957-01-09)
Tenorsaxophon:
Ben Webster (am 1957-01-09)
Trompete:
Harry “Sweets” Edison (am 1957-01-09)
vocals:
Billie Holiday (in 1957-01, am 1957-01-09)
aufgenommen bei:
Capitol Studios (Hollywood, CA, founded 1956) in Hollywood, Los Angeles, California (Kalifornien), Vereinigte Staaten (am 1957-01-09)
recording of:
They Can’t Take That Away From Me (from “Shall We Dance”) (am 1957-01-09)
Texter:
Ira Gershwin (in 1937)
Komponist(in):
George Gershwin (composer) (in 1937)
publisher:
Chappell & Co., Inc. (USA), Chappell Music (UK), Chappell Music Ltd., Ira Gershwin Music, Warner/Chappell Music Holland BV, Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., 1968‐09‐19–1999‐11‐09), WB Music Corp. (1929–2019) (bis 2019-05-28) und Gershwin Publishing Corp (in 1937)
Teil von:
The 10th Academy Award for Best Original Song (Nummer: 2) und Academy Award for Best Original Song (Nummer: 1937 nominee)
enthalten in:
An American in Paris (2015 Broadway musical)
Teil von:
Crazy for You (1992 musical)
Teil von:
Shall We Dance (1937 film soundtrack)
Billie Holiday3.654:12
13The Days of Wine and Roses
recording engineer:
Bob Simpson (US jazz engineer/producer)
Techniker(in):
Val Valentin
Produzent(in):
Jim Davis (jazz producer)
Klavier:
Oscar Peterson (Canadian jazz pianist and composer) (am 1964-10-20)
Kontrabass:
Ray Brown (jazz bassist) (am 1964-10-20)
Schlagzeug:
Ed Thigpen (am 1964-10-20)
aufgenommen bei:
RCA Studios (New York, later noted as RCA Recording Studios) in New York, New York, Vereinigte Staaten (von 1964-10-19 bis 1964-10-20)
instrumental cover recording of:
Days of Wine and Roses (am 1964-10-20)
Texter:
Johnny Mercer
Komponist(in):
Henry Mancini (US composer, conductor & arranger)
publisher:
Johnny Mercer Music Publishing, Inc., M. Witmark & Sons, Warner Bros. (holding: file NO releases), Warner Bros. Music (publisher; do NOT use as release label), Warner Bros., Inc. (not for release label use!), Warner Chappell Music Ltd. (no slash; used 1988–1996) und WB Music Corp. (1929–2019)
Teil von:
The 35th Academy Award for Best Original Song (Nummer: 1), Grammy Award: Song of the Year nominees (Nummer: 1964 winner) und Academy Award for Best Original Song (Nummer: 1962 winner)
The Oscar Peterson Trio2:42
14Too Darn Hot
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (von 1960-01-21 bis 1960-02-11)
Techniker(in):
Val Valentin
Produzent(in):
Russell Garcia
baritone saxophone:
Bill Hood (Jazz multi-instrumentalist) (von 1960-01-21 bis 1960-02-11)
Bass:
Joe Mondragon (von 1960-01-21 bis 1960-02-11)
Posaune:
Frank Rosolino (von 1960-01-21 bis 1960-02-11)
Tenorsaxophon:
Bill Perkins (jazz saxophonist) (von 1960-01-21 bis 1960-02-11)
Trompete:
Al Porcino (von 1960-01-21 bis 1960-02-11) und Stu Williamson (von 1960-01-21 bis 1960-02-11)
Tuba:
Red Callender (von 1960-01-21 bis 1960-02-11)
Waldhorn:
Vincent DeRosa (von 1960-01-21 bis 1960-02-11)
vocals:
Mel Tormé (“The Velvet Fog”) (von 1960-01-21 bis 1960-02-11)
arranger:
Marty Paich
cover recording of:
Too Darn Hot (from Kiss Me, Kate) (von 1960-01-21 bis 1960-02-11)
Texter und Komponist(in):
Cole Porter (composer) (in 1948)
publisher:
Chappell & Co. und T.B. Harms Co.
Teil von:
Kiss Me, Kate (musical)
Mel Torme2:47
15’s Wonderful
Produzent(in):
Norman Granz
alto saxophone:
Bill Graham (US jazz saxophonist) (am 1956-05-01)
Bass:
Eddie Jones (US jazz double bassist) (am 1956-05-01)
Gitarre:
Freddie Green (am 1956-05-01)
Holzblasinstrumente:
Frank Wess (am 1956-05-01)
Klavier:
Count Basie (pianist) (am 1956-05-01)
Posaune:
Henry Coker (jazz trombonist) (am 1956-05-01), Bill Hughes (jazz trombonist) (am 1956-05-01) und Benny Powell (jazz trombonist) (am 1956-05-01)
Rohrblattinstrumente:
Charlie Fowlkes (baritone saxophonist) (am 1956-05-01), Frank Foster (saxophonist) (am 1956-05-01) und Marshall Royal (am 1956-05-01)
Schlagzeug:
Sonny Payne (am 1956-05-01)
Trompete:
Wendell Culley (jazz trumpeter) (am 1956-05-01), Reunald Jones (am 1956-05-01), Thad Jones (American jazz trumpeter) (am 1956-05-01) und Joe Newman (US jazz trumpeter) (am 1956-05-01)
vocals:
Joe Williams (US jazz vocalist) (am 1956-05-01)
Orchester:
Count Basie and His Orchestra (am 1956-05-01)
conductor:
Buddy Bregman (am 1956-05-01)
arranger:
Buddy Bregman
aufgenommen bei:
Capitol Studios (1949–1956) in Hollywood, Los Angeles, California (Kalifornien), Vereinigte Staaten (am 1956-05-01)
recording of:
’S Wonderful (am 1956-05-01)
Texter:
Ira Gershwin (in 1927)
Komponist(in):
George Gershwin (composer) (in 1927)
publisher:
Chappell & Co., Chappell & Co., Inc. (USA), Chappell Music Ltd., Ira Gershwin Music, New World Music Company Ltd., Warner/Chappell North America Limited (formerly incorporated as Marmalade Music Ltd., 1968‐09‐19–1999‐11‐09) und WB Music Corp. (1929–2019)
enthalten in:
An American in Paris (2015 Broadway musical)
Teil von:
Funny Face (1927 musical)
Teil von:
My One and Only (1983 Broadway musical)
Joe Williams2:38
16Come Rain or Come Shine
recording of:
Come Rain or Come Shine
Texter:
Johnny Mercer (in 1946)
Komponist(in):
Harold Arlen (in 1946)
publisher:
Chappell & Co., Chappell & Co., Inc. (USA), S.A. Music Co. und Warner/Chappell Music Scandinavia AB
Anita O’Day2:15
17Night and Day
recorded in:
Los Angeles, California (Kalifornien), Vereinigte Staaten (in 1952-12)
Produzent(in):
Norman Granz
Bassgitarre:
Ray Brown (jazz bassist)
Gitarre:
Barney Kessel (in 1952-12)
Klavier:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
Kontrabass:
Ray Brown (jazz bassist) (in 1952-12)
Schlagzeug:
Alvin Stoller (in 1952-12)
Tenorsaxophon:
Flip Phillips (in 1952-12)
Trompete:
Charlie Shavers (in 1952-12)
vocals:
Fred Astaire (in 1952-12)
recording of:
Night and Day (Cole Porter; from “The Gay Divorce”) (in 1952-12)
Texter und Komponist(in):
Cole Porter (composer) (in 1932)
publisher:
Chappell & Co., Inc. (USA), Chappell Music Ltd., Warner Bros. (holding: file NO releases), Warner Bros. Music (publisher; do NOT use as release label), Warner Bros., Inc. (not for release label use!), Warner Bros., Inc. (Warner Bros. Music Division), Warner/Chappell (Warner/Chappell Music, Inc.), WB Music Corp. (1929–2019) (bis 2019-05-28) und Harms, Inc. (am 1932-11-18)
Teil von:
Gay Divorce
Fred Astaire4:59
18I’ve Got You Under My Skin
Produzent(in):
Creed Taylor
Gitarre:
Jim Hall (US jazz guitarist, composer & arranger) (am 1966-05-10)
Klavier:
Bill Evans (pianist) (am 1966-05-10)
aufgenommen bei:
Van Gelder Studio (Englewood Cliffs, July 20, 1959 –) in Englewood Cliffs, New Jersey, Vereinigte Staaten (am 1966-05-10)
recording of:
I’ve Got You Under My Skin (am 1966-05-10)
Texter und Komponist(in):
Cole Porter (composer) (in 1936)
publisher:
Chappell & Co., Chappell & Co., Inc. (USA), Chappell Music (UK), Victoria Music Ltd. und Warner Chappell Music Ltd. (no slash; used 1988–1996)
Teil von:
The 9th Academy Award for Best Original Song (Nummer: 2) und Academy Award for Best Original Song (Nummer: 1936 nominee)
Teil von:
Born to Dance
instrumental cover recording of:
I’ve Got You Under My Skin (am 1966-05-10)
Texter und Komponist(in):
Cole Porter (composer) (in 1936)
publisher:
Chappell & Co., Chappell & Co., Inc. (USA), Chappell Music (UK), Victoria Music Ltd. und Warner Chappell Music Ltd. (no slash; used 1988–1996)
Teil von:
The 9th Academy Award for Best Original Song (Nummer: 2) und Academy Award for Best Original Song (Nummer: 1936 nominee)
Teil von:
Born to Dance
Bill Evans with Jim Hall43:23
19Corner Pocket
instrumental recording of:
Corner Pocket (von 1955-07-26 bis 1955-07-27)
Texter:
Donald Wolf (songwriter / composer)
Komponist(in):
Freddie Green
publisher:
Longitude Music
Count Basie5:16
20Between the Devil and the Deep Blue Sea
Techniker(in):
Val Valentin
Produzent(in):
Norman Granz
Sologesang:
Ella Fitzgerald (American jazz singer) (am 1961-01-16)
conductor:
Billy May (am 1961-01-16)
Interpret(in):
Billy May & His Orchestra (am 1961-01-16)
arranger:
Billy May
aufgenommen bei:
Radio Recorders Studios (Santa Monica Blvd. location since 1949) in West Hollywood, California (Kalifornien), Vereinigte Staaten (am 1961-01-16)
cover recording of:
Between the Devil and the Deep Blue Sea (am 1961-01-16)
Texter:
Ted Koehler
Komponist(in):
Harold Arlen
publisher:
Mills Music, S.A. Music Co. und Ted Koehler Music Co.
Ella Fitzgerald2:22
2▶CD: In A Sentimental Mood