01. Is That All There Is
02. Ready To Begin Again (Manya's Song)
03. Some Cats Know
04. I've Got Those Feelin' Too Good Today Blues
05. A Little White Ship
06. Tango
07. Professor Hauptmann's Performing Dogs
08. Case Of M.J.
09. I Remember                  play
10. Say It                      play
11. Longings For A Simpler Time

Peggy Lee (born Norma Deloris Egstrom) was an American Jazz and pop singer, songwriter and actress whose career spanned more than 50 years and she has been named as an influence by such prominent artists as Paul McCartney, Bette Midler and Madonna. She released more than 50 albums but is best known for singing "I've Got You Under My Skin", "Why Don't You Do Right?" and "Fever" for which she wrote several lyrics. She also starred in several films including the 1952 remake of The Jazz Singer and Pete Kelly's Blues (1955) for which she received an Oscar nomination, and Disney's Lady and the Tramp for which she voiced several characters (including Lady and Peg) and wrote and sang the song "He's a Tramp" (she also wrote all the lyrics for the songs "Johnny Guitar", "Things Are Swinging", "The Siamese Cat Song" and "Don't Smoke in Bed" among many). In her life Lee was nominated for 12 Grammys, winning for Best Contemporary Vocal Performance (69) and received the Grammy Lifetime Achievement Award. Lee was a strong and courageous woman, who believed that artists should be fairly compensated for their work. Unafraid to fight for her beliefs she successfully sued both Disney (for unpaid royalties from the video tapes of Lady and the Tramp) and MCA/Decca (for unpaid songwriting royalties). She died in 2002 of complications from diabetes, she was 81.

Mirrors is a 1975 (see 1975 in music) album by Peggy Lee, being an A&M Records album of neo-cabaret "art songs" sung by that same Peggy Lee, written and produced by rock & roll pioneers Jerry Leiber and Mike Stoller, mostly arranged & conducted by Johnny Mandel. Japanese digitally remastered reissue of 1976 album, that's unavailable domestically, features original artwork. Written & produced by Leiber & Stoller, & sung in the soft, breathy style of Peggy Lee, the listener is taken on a journey through songs that often evoke a sense of melancholy. Universal Int. 2003.

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1. I Don't Know Enough About You
2. I'm In Love Again
3. Why Don't You Do Right
4. Remind Me
5. Moments Like This
6. Our Love Is Here To Stay
7. Don't Ever Leave Me
8. Manana
9. The Folk Who Live On The Hill
10. S'wonderful
11. Amazing
12. Do I Love You?
13. You're My Thrill
14. Always True In My Fashion
15. Then Was Then

Jay Berliner - guitar
Peggy Lee - vocals
Gerry Niewood - flute, tenor & baritone saxophones
Jay Leonhart
Mike Renzi - piano
Peter Grant - drums
Steve LaSpina – bass

At this late point in Peggy Lee's career, she was heard best in small doses, singing an emotional ballad for three minutes (such as on "The Folks Who Live on the Hill"). This full-length CD, Moments Like This, finds Lee revisiting her former heights (such as her remakes of "Why Don't You Do Right" and "Mañana (Is Soon Enough for Me)"), but without the voice to pull it off. Pianist Mike Renzi provided the sympathetic arrangements for the rhythm section, and saxophonist Gerry Niewood helps out, but the main focus is on the aging singer (then 72), and despite her sincerity, the voice was no longer there. ---Scott Yanow, Rovi

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1 - It's A Good Day
2 - Linger In My Arms A Little Longer
3 - It's All Over Now
4 - Waiting For The Train To Come In
5 - I Don't Know Enough About You
6 - Everything's Movin' Too Fast
7 - Chi-Baba, Chi-Baba (My Bambino Go To Sleep)
8 - Sugar (That Sugar Baby O'Mine)				play
9 - I'll Dance On Our Wedding
10 - Golden Earrings
11 - Talkin' To Myself About You
12 - Caramba! It's The Samba
13 - All Dressed Up With A Broken Heart
14 - Don't Smoke In Bed
15 - Baby, Don't Be Mad At Me
16 - Them There Eyes
17 - Why Don't You Do Right						play

Any compilation that properly anthologizes the chart history of Miss Peggy Lee is forced to sprint through 24 years, including a pair of decades that were the most culturally tumultuous of the 20th century. Such is the peril of attempting to summarize Lee's career by way of her hits, though for introductory purposes this disc is an excellent one (and her strong musical personality serves well to unify the material anyway). Beginning with "Waiting for the Train to Come In," her 1946 solo chart debut with Benny Goodman, The Best of Miss Peggy Lee picks up nearly all of her big hits, all of which number among her best performances. Lee excelled at sounding sunny ("It's a Good Day") or sultry ("I Don't Know Enough About You") or sizzling ("Fever," "Big Spender"), she often wrote her own material, and always illustrated that both novelties and standards were putty in the hands of the best song sculptor ever heard in the world of vocal jazz. Though it's a shame the compilers couldn't find room for early hits such as "'Deed I Do" and "Don't Smoke in Bed" or well-chosen later material like "Let's Love" (the song Paul McCartney wrote for her), The Best of Miss Peggy Lee provides an efficient summary of the most commanding performing personality in vocal jazz. ---John Bush, allmusic.com

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Side 1:
01) It's A Wonderful World
02) Things Are Swingin'
03) Alright, Okay, You Win
04) Riding High
05) It's Been A Long Long Time
06) Lullaby In Rhythm

Side 2:
01) Alone Together
02) I'm Beginning To See The Light
03) It's A Good Good Night
04) You're Getting To Be A Habit With Me
05) You're Mine You
06) Life is For Living

Midway through a small lull in her live performance career, Peggy Lee recorded the stereo LP Things Are Swingin' in Hollywood during May 1958, at the same sessions that produced the biggest hit of her career, "Fever." (Though not on the original LP, it was added to the 2004 reissue as a bonus track.) Still, Things Are Swingin' isn't a high point in Lee's career, especially when considered among her many successes of the late '50s (like the following year's Beauty and the Beat!). Though her instincts and powers of bewitchment were faultless as ever, she betrayed a few weaknesses in her normally excellent voice (perhaps a result of her semi-retirement at the time), and the ten-piece studio orchestra -- including session heavyweights Don Fagerquist, Barney Kessel, Bob Enevoldsen, Howard Roberts, Pete Candoli, and Shelly Manne -- isn't given much to work with by conductor Jack Marshall. Scattered moments of brilliance abound, however, including Lee's own title song (a staple of her later live show, written with Marshall), the sleepily sensual "You're Getting to Be a Habit With Me," and "Alright, Okay, You Win," a bluesy lead that became a hit in 1958 alongside "Fever." ---John Bush, Rovi

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01. Why Don't You Do Right [03:16]
02. Let's Doit, Let's Fall in Love [02:18]
03. Shady Little Bird [02:48]
04. How Deep Is The Ocean [03:08]
05. I Got It Bad and That Ain't Good [03:17]
06. Everything I Love [03:07]
07. My Old Flame [03:13]
08. That's The Way It Goes [03:12]
09. All I Need Is You [03:26]
10. Not a Care In The World [03:26]
11. Full Moon [02:14]
12. How Long Has This Been Going On [03:21]
13. That Did it, Marie [02:33]
14. Elmer's Tune [02:53]
15. I Threw a Kiss In The Ocean [03:03]
16. On The Sunny Side Of The Street [03:21]
17. Somebody Else Is Taking My Place [03:16]
18. We'll Meet Again [03:16]

Born Norma Dolores Egstrom in Jamestown, North Dakota, sultry song stylist Peggy Lee was the product of a troubled, abusive childhood, who used singing as an escape. She found work on a radio station as a teenager in Fargo and quickly changed her name to Peggy Lee. An early move to Hollywood at age 17 proved disappointing, returning north to her radio job within a short time. A Chicago nightclub appearance led to her replacing vocalist Helen Forrest with the Benny Goodman Orchestra in 1941, where she soon earned star status for such songs as "Blues in the Night", "The Way You Look Tonight", and, her signature song, "Why Don't You Do Right?". She struck out on her own two years later and earned more hit records with "It's a Good Day" and "Manana", which she wrote.

An elegant, intimate performer with a minimalist style, her recording and supper club fame eventually led to movie offers, notably opposite Danny Thomas in a remake of The Jazz Singer (1952). Her peak, however, came with her vibrant, Oscar-nominated performance as a singer who battles the bottle in Pete Kelly's Blues (1955). She also provided singing and speaking voices along with lyrics for Disney's Zakochany kundel (1955) in the same year. But music was her first love and she continued on the road, crossing over occasionally from the easy jazz to pop field with such monster hits as "Fever" in 1958 and the Grammy-winning "Is That All There Is?" in 1969. In 1983, she went to Broadway in an autobiographical production called "Peg". It was one of the few projects in her life that was not a success. Her later years were dogged by ill health and lawsuits, winning $2.3 million in 1991 against Disney to recoup royalties from videocassette sales of "Lady and the Tramp" and, just a week before her death, earning a preliminary approval of $4.75 million in a class lawsuit (she was the lead plaintiff of a group of Decca recording artists) for royalties against Universal Music Group. Semi-confined to a wheelchair since the 80s due to circulation problems and accidental falls, she valiantly continued performing until suffering a stroke in 1998. She died of a heart attack three years later. "Miss Peggy Lee", as she was always introduced, was a class act all the way and, in talent, is often deemed a smooth, self-contained combination of Ella Fitzgerald and Billie Holiday. --- imdb.com

Peggy Lee urodziła się jako Norma Estron 26 maja 1926 roku. Miała trudne dzieciństwo, ale starała się zapomnieć o problemach i wsłuchiwała się w swingowe rytmy Counta Basie'ego, dzięki czemu uczyła się śpiewać. Zaowocowało to pierwszym występem w radiu już w wieku 14 lat. Zaraz po przyjęciu pseudonimu Peggy Lee, artystka wyjechała najpierw do Fargo, następnie do Minneapolis i St. Louis i tam śpiewała z lokalnymi zespołami. Dwa razy zdarzyło jej się pojechać do Hollywood, by tam szukać sukcesu, jednak obie wycieczki nie dały zamierzonego rezultatu.

Przełom w karierze Peggy Lee nastąpił w 1941 roku, kiedy grupa, w której występowała zaczęła dawać koncerty w chicagowskich klubach. Tam artystkę usłyszał Benny Goodman i świadomy tego, że jego ówczesna wokalistka zamierzała opuścić zespół, natychmiast zatrudnił Peggy na jej miejsce. Nagrania rozpoczęły się już kilka dni później, a Lee zadebiutowała w "Elmer's Tune". Jeszcze w tym samym roku artystka nagrała kilka przebojów, m.in. "I Got It Bad (And That Ain't Good)" i "Winter Weather". W 1943 roku ukazał się pierwszy wielki przebój Peggy zatytułowany "Why Don't You Do Right". Niedługo po tym Lee opuściła zespół Goodmana i wyszła za Dave'a Barboura, który był tam gitarzystą. Domowe życie nie służyło jednak artystce, która już po roku powróciła na muzyczną drogę. Najpierw wystąpiła wraz z innymi gwiazdami jazzu na nagranym wspólnymi siłami albumie, po czym, w 1945 roku podpisała solowy kontrakt z wytwórnią Capitol. To właśnie dzięki niej Lee zdobyła szturmem listy przebojów swoim pierwszym solowym utworem "Waitin' for The Train to Come In". Kilkanaście kolejnych piosenek także osiągnęło sukces, m.in. "It's a Good Day", "Mañana (Is Soon Enough for Me)" czy "I Don't Know Enough About You". Po przeniesieniu się do wytwórni Decca w 1952 roku, Lee wydała kolejny hit - "Lover", po czym ukazał się pełnowymiarowy album "Songs From Pete Kelly's Blues" nagrywany z Ellą Fitzgerald.

Po pięciu latach współpracy z Decca, Lee postanowiła podpisać kontrakt z wytwórnią Capitol. Tam nagrywała utwory w przeróżnych stylach - od bluesa przez muzykę latynoską i kabaretową aż po pop. Lee nie wahała się również dobierać sobie muzyków - utwór "The Man I Love" nagrywała z orkiestrą prowadzoną przez Franka Sinatrę, George Shearing Quintet akompaniowali jej na żywo w "Beauty and The Beat", z kolei Quincy Jones został aranżerem piosenki "If You Go". Peggy Lee przerzuciła się następnie na twórczość bardziej nastawioną na rockowe brzmienie. Coverowała wtedy utwory takich gwiazd jak Jimmy Webb, Buffy Sainte-Marie, Burt Bacharach, Randy Newman, Goffin & King czy John Sebastian.

W takim stylu Lee nagrywała do 1972 roku, kiedy wydała płytę "Norma Deloris Egstrom From Jamestown, North Dakota". To właśnie na niej artystka powróciła do jazzowych korzeni swojej twórczości. Był to zarazem ostatni album nagrany dla wytwórni Capitol. Kolejne wytwórnie, z którymi do początku lat 80. współpracowała Lee to Atlantic, A&M, Polydor UK i DRG. Artystka powróciła w 1988 roku z dwoma płytami nagranymi dla Music Masters. Oba krążki zapewniły jej powrót do czasów największej świetności. Ostatni album "Moments Like This" ukazał się w 1992 roku dzięki wytwórni Cheski. Peggy Lee zmarła 21 stycznia 2002 roku. ---rfm.fm

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01. Black Coffee
02. I've Got You Under My Skin
03. Easy Living
04. My Heart Belongs To Daddy
05. It Ain't Necessarily So
06. Gee Baby (Ain't I Good To You)
07. A Woman Alone With The Blues
08. I Didn't Know What Time It Was
09. When The World Was Young
10. Love Me Or Leave Me
11. You're My Thrill
12. There's A Small Hotel

Peggy Lee - Vocals
Larry Bunker - 	Drums, Percussion, Vibraphone
Pete Candoli - Trumpet
Stella Castellucci - Harp
Lou Levy - Piano
Bill Pitman - Guitar
Jimmy Rowles - Piano
Ed Shaughnessy - Drums
Max Wayne - Bass

Peggy Lee left Capitol in 1952 for, among several other reasons, the label's refusal to let her record and release an exotic, tumultuous version of "Lover." Lee was certainly no Mitch Miller songbird, content to loosen her gorgeous pipes on any piece of tripe foisted upon her; she was a superb songwriter with a knowledge of production and arrangement gained from work in big bands and from her husband, Dave Barbour (although the two weren't together at the time). The more open-minded Decca acquiesced to her demand, and watched its investment pay off quickly when the single became her biggest hit in years. Black Coffee was Lee's next major project. Encouraged by longtime Decca A&R Milt Gabler, she hired a small group including trumpeter Pete Candoli and pianist Jimmy Rowles (two of her favorite sidemen) to record an after-hours jazz project similar in intent and execution to Lee Wiley's "Manhattan project" of 1950, Night in Manhattan. While the title-track opener of Black Coffee soon separated itself from the LP -- to be taught forever after during the first period of any Torch Song 101 class -- the album doesn't keep to its concept very long; Lee is soon enough in a bouncy mood for "I've Got You Under My Skin" and very affectionate on "Easy Living." (If there's a concept at work here, it's the vagaries of love.) Listeners should look instead to "It Ain't Necessarily So" or "Gee, Baby, Ain't I Good to You?" for more examples of Lee's quintessentially slow-burn sultriness. Aside from occasionally straying off-concept, however, Black Coffee is an excellent record, spotlighting Lee's ability to shine with every type of group and in any context. [When originally recorded and released in 1953, Black Coffee was an eight-song catalog of 78s. Three years later, Decca commissioned an LP expansion of the record, for which Lee recorded several more songs. The 2004 Verve edition is therefore a reissue of the 1956 12-song LP.] ---John Bush, Rovi

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01) Why Don't You Do Right
02) For Every Man There's A Woman
03) Fever
04) Well Alright, OK, You Win
05) Blue Prelude
06) Hallelujah I Love Him So
07) Just For A Thrill
08) Goin' To Chicago Blues
09) I'm A Woman
10) See See Rider
11) You Don't Know
12) Call Me
13) Whisper Not
14) The Thrill Is Gone
15) Seventh Son
16) Please Send Me Someone To Love
17) Momma's Gone, Goodbye
18) I'm Gonna Go Fishin'

Peggy Lee – Vocals
Dave Barbour & His Orchestra
Benny Carter & His Orchestra
Benny Goodman & His Orchestra
Bill Holman & His Orchestra
Quincy Jones & His Orchestra

The Best of Peggy Lee: The Blues & Jazz Sessions is an 18-track collection that culls the highlights from Lee's 30-year tenure at Capitol Records. Since the compilation covers such a large time period, it's not surprising that the music doesn't all hold together -- it's clear when one song was recorded in the '50s and the other in the '70s. Nevertheless, the quality of the music is very strong, demonstrating that Lee was much more than a mere pop singer -- she was a talented blues and jazz vocalist, as well. The album contains such standards as "Why Don't You Do Right?," 'Fever," "Hallelujah, I Love Him So," "Goin' to Chicago," "The Thrill Is Gone," "Seventh Son" and "I'm Gonna Go Fishin'." ---Stephen Thomas Erlewine, Rovi

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1. I've Got You Under My Skin	2:29
2. You Go To My Head	3:14
3. Crazy In The Heart		2:54	
4. Autumn In Rome	2:42
5. I've Grown Accustomed To His Face	2:44
6. Do I Love You?	1:37
7. I Never Knew	2:58
8. Love You So	3:07
9. Sugar (That Sugar Baby O'Mine)	2:35
10. You're My Thrill	3:24
11. Me		2:28				play
12. I Belong To You	3:04
13. The Night Holds No Fear (For The Lover)	3:07
14. Love Letters	2:46			play

Peggy Lee (born Norma Deloris Egstrom) was an American Jazz and pop singer, songwriter and actress whose career spanned more than 50 years and she has been named as an influence by such prominent artists as Paul McCartney, Bette Midler and Madonna. She released more than 50 albums but is best known for singing "I've Got You Under My Skin", "Why Don't You Do Right?" and "Fever" for which she wrote several lyrics. She also starred in several films including the 1952 remake of The Jazz Singer and Pete Kelly's Blues (1955) for which she received an Oscar nomination, and Disney's Lady and the Tramp for which she voiced several characters (including Lady and Peg) and wrote and sang the song "He's a Tramp" (she also wrote all the lyrics for the songs "Johnny Guitar", "Things Are Swinging", "The Siamese Cat Song" and "Don't Smoke in Bed" among many). In her life Lee was nominated for 12 Grammys, winning for Best Contemporary Vocal Performance (69) and received the Grammy Lifetime Achievement Award. Lee was a strong and courageous woman, who believed that artists should be fairly compensated for their work. Unafraid to fight for her beliefs she successfully sued both Disney (for unpaid royalties from the video tapes of Lady and the Tramp) and MCA/Decca (for unpaid songwriting royalties). She died in 2002 of complications from diabetes, she was 81.

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01) Come Dance With Me
02) By Myself
03) You're So Right
04) Just Squeeze Me
05) Fantastico
06) Love And Marriage
07) Non Dimenticar
08) From Now On
09) You Stepped Out Of A Dream
10) Ole
11) I Can't Resist You

Velvety flutes, peppy percussion, well-behaved brass -- yes, the stage is set once more for Peggy Lee's sedately suggestive Latin musings. Seemingly ghost-written in George Shearing's ultra-lounge hand, this sequel to the singer's Latin ala Lee! album offers another enchanting mix of jazz-vocal staples ("Come Dance with Me," "You Stepped Out of a Dream") and Broadway-issue mambo ("Fantastico," "Non Dimencticar"). Never fear the drip-drip of gloss in extremis, though, for Lee always distinguishes the Cuban-lite environs with her throaty ballad tone and unerring rhythmic sense. Arranger and conductor Joe Harnell does let the Latin fire loose a bit ("From Now On"), but generally things remain on auto glide. A perfect backdrop for your next tiki-torch affair, this harmless conga turn -- while certainly not essential -- is sure to be eaten up by all of Lee's adoring fans. ---Stephen Cook, Rovi

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01. Kansas City
02. Some Cats Know
03. Don Juan
04. I Ain’t Here
05. I’m A Woman
06. Ready To Begin Again (Manya’s Song)
07. Professor Hauptmann’s Performing Dogs
08. A Little White Ship
09. Tango
10. I’ve Got Them Feelin’ Too Good Today Blues
11. The Case Of M.J
12. I Remember
13. Say It
14. Longings For A Simpler Time
15. Is That All There Is

While Peggy Lee and the songs of Leiber & Stoller seem like an ideal match, and they did result in the still-spooky hit "Is That All There Is," unfortunately the singer was way past her prime by the time she performed most of this material. The reissue starts out strong with a rousing "Kansas City," but that is one of only two songs that date from 1962. With the exception of the 1969 hit, the rest of the program (which does not list the personnel of the orchestras) is from the mid-'70s when Lee's voice had shrunk to an alarming level where it was barely above a whisper. While she does her best, she was simply not strong enough for most of this material. ---Scott Yanow, Rovi

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