Oscar Peterson Plays Duke Ellington

~ Release by Oscar Peterson (see all versions of this release, 2 available)

Annotation

Copyright: © 1952 Verve Label Group, a Division of UMG Recordings, Inc.
℗ 2017 Verve Label Group, a Division of UMG Recordings, Inc.

Annotation last modified on 2026-09-08 02:12 UTC.

Tracklist

1▼Digital Media
#TitleRatingLength
1John Hardy's Wife
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
recorded at:
Radio Recorders (Santa Monica Blvd. location since 1949) in West Hollywood, California, United States (in 1952-12)
recording of:
John Hardy's Wife (in 1952-12)
composer:
Mercer Ellington
3:21
2Sophisticated Lady
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
recorded at:
Radio Recorders (Santa Monica Blvd. location since 1949) in West Hollywood, California, United States (in 1952-12)
recording of:
Sophisticated Lady (in 1952-12)
lyricist:
Mitchell Parish and Irving Mills (in 1932)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1932)
publisher:
Duke Ellington Music (ended), Mills Music, Inc. (ended), EMI Mills Music Inc. (ASCAP-affiliated), Famous Music Corporation (renamed since 2007‐05 as Sony/ATV Harmony/Melody) (until 2007-05) and Sony/ATV Harmony (from 2007-05 to present)
included in:
The Real Book (compilation of jazz standards, volume I)
part of:
Sophisticated Ladies (1981 musical)
2:58
3Things Ain't What They Used To Be
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
recorded at:
Radio Recorders (Santa Monica Blvd. location since 1949) in West Hollywood, California, United States (in 1952-12)
recording of:
Things Ain’t What They Used to Be (in 1952-12)
lyricist:
Ted Persons
composer:
Mercer Ellington (in 1942)
publisher:
Tempo Music, Inc. (Duke Ellington’s music publishing company)
3:12
4Just A-Sittin' And A-Rockin'
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
recorded at:
Radio Recorders (Santa Monica Blvd. location since 1949) in West Hollywood, California, United States (in 1952-12)
recording of:
Just A‐Sittin’ and A‐Rockin’ (in 1952-12)
lyricist:
Lee Gaines (in 1941)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1941) and Billy Strayhorn (in 1941)
3:41
5In A Mellow Tone
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
recorded at:
Radio Recorders (Santa Monica Blvd. location since 1949) in West Hollywood, California, United States (in 1952-12)
recording of:
In a Mellow Tone (in 1952-12)
lyricist:
Milt Gabler (in 1939)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1939)
publisher:
EMI Robbins and Robbins Music (publishing company owned by EMI Music Publishing Ltd.)
3:06
6I Got It Bad (And That Ain't Good)
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
recorded at:
Radio Recorders (Santa Monica Blvd. location since 1949) in West Hollywood, California, United States (in 1952-12)
recording of:
I Got It Bad (and That Ain’t Good) (in 1952-12)
lyricist:
Paul Francis Webster (in 1941)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1941)
publisher:
EMI Robbins Catalog Inc. (ASCAP), Robbins Music Corp., Sony/ATV Harmony and Webster Music Co.
included in:
The Real Book (compilation of jazz standards, volume I)
3:11
7Prelude To A Kiss
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
recorded at:
Radio Recorders (Santa Monica Blvd. location since 1949) in West Hollywood, California, United States (in 1952-12)
recording of:
Prelude to a Kiss (in 1952-12)
lyricist:
Irving Gordon (US songwriter) (in 1938) and Irving Mills (in 1938)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1938)
publisher:
J. R. Lafleur & Son Ltd. and Lafleur Music Ltd.
3:16
8Cotton Tail
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
recorded at:
Radio Recorders (Santa Monica Blvd. location since 1949) in West Hollywood, California, United States (in 1952-12)
recording of:
Cotton Tail (in 1952-12)
lyricist and composer:
Duke Ellington (US composer, pianist & jazz bandleader)
3:49
9Don't Get Around Much Anymore
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
recorded at:
Radio Recorders (Santa Monica Blvd. location since 1949) in West Hollywood, California, United States (in 1952-12)
recording of:
Don’t Get Around Much Anymore (in 1952-12)
lyricist:
Bob Russell (US songwriter/lyricist Sidney Keith “Bob” Russell) (in 1942)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1940)
publisher:
EMI Music (do not use as release label! this is a music publisher), EMI Robbins Catalog Inc. (ASCAP), Harrison Music Corp. and Sony/ATV Harmony
sub-publisher:
フジパシフィックミュージック SBK事業部 (Fujipacific Music SBK Department) and 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)
translated version of:
Æ går´ke ut så mye nu
version of:
Never No Lament
3:57
10Take The "A" Train
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
recorded at:
Radio Recorders (Santa Monica Blvd. location since 1949) in West Hollywood, California, United States (in 1952-12)
recording of:
Take the “A” Train (version with lyrics by Sherrill) (in 1952-12)
lyricist:
Joya Sherrill (in 1944)
composer:
Billy Strayhorn (in 1939)
publisher:
Music Sales Corporation (American copyright holder in both popular and classical music)
version of:
Take the “A” Train (original instrumental version)
3:15
11Rockin' In Rhythm
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
recorded at:
Radio Recorders (Santa Monica Blvd. location since 1949) in West Hollywood, California, United States (in 1952-12)
recording of:
Rockin’ in Rhythm (in 1952-12)
composer:
Harry Carney, Duke Ellington (US composer, pianist & jazz bandleader) and Irving Mills
is based on:
Kinda Dukish
2:53
12Do Nothin' Till You Hear From Me
producer:
Norman Granz
double bass [bass]:
Ray Brown (jazz bassist) (in 1952-12)
guitar:
Barney Kessel (in 1952-12)
piano:
Oscar Peterson (Canadian jazz pianist and composer) (in 1952-12)
recorded at:
Radio Recorders (Santa Monica Blvd. location since 1949) in West Hollywood, California, United States (in 1952-12)
recording of:
Do Nothin’ Till You Hear From Me (in 1952-12)
lyricist:
Bob Russell (US songwriter/lyricist Sidney Keith “Bob” Russell) (in 1943)
composer:
Duke Ellington (US composer, pianist & jazz bandleader) (in 1943)
publisher:
Music Sales Corporation (American copyright holder in both popular and classical music) and Sony/ATV Harmony
version of:
Concerto for Cootie
2:48