"Moanin'" is an instrumental jazz standard composed by pianist Bobby Timmons. It was first recorded by Art Blakey's band feat. Timmons on the 1958 album of the same title.
Lyrics were added the next year by Jon HENDRICKS:
Every mornin' find me moanin'
Cuz of all I the trouble I see
Life's a loosing gamble to me
Cares and woes have got me moanin'
Every evenin' find me moanin'
I'm alone and crying the blues
I'm so tired of paying these dues
Ev'rybody knows I'm moanin'
Lord, I spend many a days and nights alone with my grief
Cuz I pray, really and truly pray, somebody will come and bring me relief.
Lord I try, really and truely try to find some relief
Lord I spend plenty of days and nights alone with my grief
But I pray, really and truely pray, to find some relief. Yes Lord.
Recordings exist by Lambert-Hendricks-Ross (1959), Bill Henderson, Mel Tormé, Vikki Carr, Sarah Vaughan, Chris Farlowe, The Peanuts, Peter Lipa, Judy Niemack w/ Cedar Walton Trio, Jeffery Smith, Counterparts, Ron Kaplan, Karrin Allyson, Diane Marino, Regina Belle, Andrea Wolper, Bobby Watson & David Basse & Angela Hagenbach, Jane Stuart, Anita Wardell, etc.
'Stolen Moments' is a jazz standard composed by Oliver Nelson. The piece first appeared as 'The Stolen Moment' on the 1960 album 'Trane Whistle' by Eddie "Lockjaw" Davis, which was largely written and co-arranged by Oliver Nelson. Its first well-known recording was the version on Nelson's own 1961 album, 'The Blues and the Abstract Truth' on Impulse!
Lyrics were added much later by Mark MURPHY:
Stolen moments, stolen moments,
If I told you I love you, pretty baby,
would it make up for what they say?
If I hold you and shield you, darlin',
will you linger awhile today?
If I hold you and hug you, my kissin' won't bug you,
The gossips won't hurt you, I'll never desert you,
And someday will find us,
Where people won't bind us to the hands of time.
I can use more than moments, pretty baby,
and I know where you steal them from.
There are so many things I'll teach you,
and they call me a useless bum.
They just chatter and clatter, and patter and matter,
They titter and twitter, their glitter gets bitter,
but we're here, I steered here, it's weird here,
Those beards, dear, watch the pantomime.
Recordings exist by Mark Murphy (1970), New York Voices, Judy Niemack w/ Jeanfrançois Prins, Ranee Lee, Jenny Evans, Fancie, Julie Christensen, Soil & "Pimp" Sessions ft Jamie Cullum, Bonnie J. Jensen, Gill Manly, Jill Salkin, etc.
'Stolen Moments' is a jazz standard composed by Oliver Nelson. The piece first appeared as 'The Stolen Moment' on the 1960 album 'Trane Whistle' by Eddie "Lockjaw" Davis, which was largely written and co-arranged by Oliver Nelson. Its first well-known recording was the version on Nelson's own 1961 album, 'The Blues and the Abstract Truth' on Impulse!
Lyrics were added much later by Gail FISHER as 'Stolen Moments (You Belong to Her)':
How I miss all our stolen little moments
The many times I'm not with you
They are such precious stolen moments
That are meant only for us two
Whenever you're gone and I know you're not here
It's so hard to remember when you disappear
With your face always there, right in front of me dear
But you belong to her, but you belong to her
Why do we have to have stolen moments
Why can't I always have you near
Holding you in my arms forever
When I never have anything
Whenever you're gone and I know you're not here
It's so hard to remember when you disappear
With your face always there, right in front of me dear
But you belong to her
I have heard when you have stolen moments
It is called an affair
I don't want to have just stolen moments
So be mine and I'll always care
Whenever you're gone
And I know you're not here
It's so hard to remember, when you disappear
with your face always there right in front of me, dear
But you belong to her
Recordings exist by Carmen McRae & Betty Carter (1987), Emborg Larsen Quintet, Maria Anadon, etc.
'Sermonette' was composed by Julian Cannonball Adderley and first released on Nat Adderley's 'To the Ivy League from Nat' on Emarcy in 1956 featuring his brother on sax. Lyrics were added slightly later by Jon HENDRICKS:
I heard me a sermonette, have you heard it yet With that soulful message that you won't soon forget It tells about real true love, the kind people lost sight of Through their sinful livin', and scornin' Heaven above It tells you to love one another because each one is your brother Live right 'cause you know you gotta reap just what you sow And so to have no regrets and to find what you're missin' Bow your head and listen to this sermonette It tells you to love one another, you know each one is your brother Live right 'cause you know one day you gotta reap everything you sow And so to have no regret and to find what you're missin' Come on along and listen to this sermonette
Recordings exist by Della Reese (1958), Lambert-Hendricks-Ross, Delta Rhythm Boys, Earl Grant, Billie Poole, Sarah Vaughan, The Impressions, Salena Jones, Genie Walker, etc.
'Anatomy of a Murder (Main Theme)' is an instrumental composition by Duke Ellington and Billy Strayhorn for the 1959 courtroom crime drama film directed by Otto Preminger. The soundtrack album played by Ellington's Orchestra was released by Columbia Records. Lyrics were added slightly later by Peggy LEE as 'I'm Gonna Go Fishin'': Woke up this morning, wanting to cry, then I remember, yes, I know why, he's a real good one for having his cake I'm gonna go fishing or jump in the lake
Yes, I'm gonna go fishing, that's what I'll do, think about nothing, not even you, catch a real big one, a big speckled trout Snapping in the water, I'll pull him on out
Sweet talking liar, spin me a yarn, tell me a story, big as a barn, don't stop listening, I won't hear you out I'm gonna go fishing and catch me a trout If a man is a liar, a man is a fool, playing for keepers and breaking the rule, he'll be the loser, yet she'll find out I'm gonna go fishing and catch me a trout
Here in the water, look at him shine, there goes a big one, that one is mine, catch up the reel now, I've got the feel now Snapped onto my fly rod, I've got me a trout
Sweet talking liar, you're in for a fall, you tell me a story, you talk to the wall, don't go my way, I'm down the highway I'm gonna go fishing and catch me a trout
Recordings exist by Jane Harvey w/ Don Elliott (1959), Peggy Lee, Mel Tormé, Big Miller w/ Bob Florence, Chris Connor, Ella Fitzgerald w/ Nelson Riddle, Four Freshmen, Annie Ross, Singers Unlimited, Jeanie Bryson, Connie Evingson, Dr. John, Jenny Evans, Maria Muldaur, Lezlie Anders & Buddy Greco, Joe Baker and his Barefoot Brakemen, Carol Welsman, Jessica Pilnäs, Virginie Teychené, etc.
'Little Niles' is a 1956 jazz standard written by pianist Randy Weston in waltz time. It was first recorded by his trio with Cecil Payne in 1956 for his album 'With These Hands...'.
Lyrics were added later by Jon HENDRICKS:
Little Niles, every little boy in one, and so much fun Little Niles, half a man and half a child and when he smiles Like all children everywhere, he's living truth, For truth is part of youth, and when you feel contentment Surround you, you know he’s around you
Little Niles, warms your heart and cheers your day in every way Little Niles, he’s forever on the go and never slow When you hold him close to you, you realize there’s heaven in his eyes You can’t imagine your life without him, you’re so wild about him
There are days when his mischievous ways Make you shout and wear your patience out Still, you know you’ll stand his every whim Just because you see yourself in him
Little Niles, walkin ’round and actin’ tall altho’ he’s small Little Niles, helpless in his childhood woes and infant trials When the play of day is done you hold him tight to warm him through the night And silently you wish time would slow up, so he’d never grow up
Recordings exist by Abbey Lincoln (1958), Lambert-Hendricks-Ross, Mark Murphy, Soesja Citroen, Mette Rongved w/ Janne Persson, Madeleine Thériault w/ Wray Dones, etc.
'Dat Dere' is a 1960 instrumental jazz standard written by pianist Bobby Timmons and first recorded by him in January 1960 for release on Riverside Records.
Lyrics were added later that year by Oscar BROWN, Jr:
Hey daddy, what that there? and why that under there? And oh daddy oh hey daddy hey look at over there, Hey what they doing there? And where they going there? And daddy can I have that big elephant over there?
Hey who that in my chair? and what’s she doing there? And oh daddy oh hey daddy can I go over there? Hey daddy what’s a square? And where do we get air? And daddy can I have that big elephant over there?
My quizzical kid, man he doesn't want anything here, He’s forever demanding to know who what and why and where, Inquisitive child, and sometimes the questions get wild, Like daddy can I have that big elephant over there?
Don’t wanna comb my hair, and where’s my teddy bear, And oh daddy oh hey look at the cowboy coming there, Hey can I have a pear? Or boots like that to wear And daddy can I have that big elephant over there?
The time will march the years will go, the little fellas gonna grow, I gotta tell him what he needs to know, Help him along, so he’ll know right from wrong, gotta make him strong,
As life’s parade goes trudging by, he’ll need to know some reasons why, I don't have all the answers but I’ll try, Best that I can, gonna help him to plan, so he’ll be a man,
You give a kid your best, and you hope he’ll pass the test, When you finally send him out into the world somewhere, But though he’s grown I’m betting, I never will forget him, Daddy, can I have that big elephant over there?
Hey what they doing there? and how you work that there? And oh daddy oh hey daddy hey what that say up there? Hey daddy what is fair? How come I gotta share? And daddy can I have that big elephant over there?
Recordings exist by Oscar Brown Jr (1960), Sheila Jordan, Mel Tormé, Kimiko Kasai, Carol Kidd, Rickie Lee Jones, Tony Bennett, Pust, Cynthia Felton, Alex & Louise Rogers, etc.
'Bluesette' is an intrumental jazz standard written by Toots Thielemans. It was first recorded by him on June 27, 1963 in Sweden and released in September on Metronome EP 'The Man from the Mountain'. Lyrics were added later by Norman GIMBEL:
Poor little, sad little blue Bluesette, don't you cry, don't you fret, You can bet one lucky day you'll waken, and your blues will be forsaken, One lucky day, lovely love will come your way. [That magic day may just be today]
Long as there's love in your heart to share, dear Bluesette, don't despair Some blue boy is longing/looking just like you, to find a someone to be true to, Two loving arms you can nestle in and stay.
Get set, Bluesette, true love is coming, Your troubled heart soon will be humming.
Pretty little Bluesette, musn't be a mourner, Have you heard the news yet, love is around the corner. Love wrapped in rainbows and tied with pink ribbons To make your your next springtime your gold wedding ring time. So dry your eyes, don't you pout, don't you fret Goody good times are coming, Bluesette Recordings exist by Sarah Vaughan (1964), Miss Vikki Carr, Steve Lawrence, Ray Charles Singers, Sue Raney, Four Tops, King Sisters, Billy Paul, Nicole Croisille, Cleo Laine, Rigmor Gustafsson Quintet, Ann Hampton Callaway, Connie Evingson, Lisa Hindmarsh, Victor Fields, John Vance, Judy Niemack, La Tanya Hall, The Oster-Welker Jazz Alliance, Bonnie J Jensen, The Radha Thomas Ensemble, Miki Purnell, Sofie, etc.
'Birdland' is a jazz-fusion instrumental composition written by keyboardist Joe Zawinul. The piece made its debut on Weather Report’s 1977 studio album, Heavy Weather.
Lyrics were added slightly later by Jon HENDRICKS:
5000 light years from Birdland, but I'm still preachin' the rhythm Long gone uptight years from Birdland and I'm still teachin' it with 'em Years from the land of the Bird and I am still feelin' the spirit 5000 light years from Birdland, but I know people can hear it Bird named it, Bird made it, Bird heard it, then played it Well stated, Birdland, it happened down in Birdland In the middle of that hub, I remember one jazz club Where we went to pat feet, down on 52nd Street Everybody heard that word, that they named it after Bird Where the rhythm swooped and swirled, the jazz corner of the world And the cats they gigged in there, were beyond compare
Birdland, I'm singing Birdland Birdland, old swingin' Birdland Hey man, the music really turns you on Really? Ya turn me around and turn me on Down them stairs, lose them cares, where? down in Birdland Total swing, Bop was king, there, down in Birdland Bird would cook, Max would look, where? down in Birdland Miles came through, Trane came too, there, down in Birdland Basie blew, Blakie too, where? down in Birdland Cannonball, played that hall, there, down in Birdland, yeah
There will never be nothin' such as that No more, skoo be wah, no more Down in Birdland, that's where it was at I know, ah ah ah ah ah, I know Back in them days Bop was ridin' high Hello, heh heh heh heh, goodbye! How well those cats remember their first Birdland gig To play in Birdland is an honor we still dig Yeah, that club was like in another world Sure enough, yeah baby, all those cats were cookin' on People just sat and they were steady lookin' on Then Bird, he came and spread the word, Birdland Yes indeed he did, yes indeed he did, yes indeed he did Yes he did Parker played in Birdland, yes he really did Yes indeed he really did told the truth way down in Birdland Yes indeed he did, Yardbird Parker played in Birdland Yes indeed he really did, Charlie Parker played in Birdland
Bird named it, Bird made it, Bird heard it, then played it Well stated Birdland, it happened down in Birdland Everybody dug that beat, everybody stomped their feet Everybody digs Be Bop and they'll never stop Recordings exist by Manhattan Transfer (1979), VOX, Kimiko Itoh, Joo Kraus, Young Voices Brandenburg, Perpetuum Jazzile, Keberiokst, Tous les Oiseaux de l'Europe, etc.
'Well You Needn't' is an instrumental jazz standard composed by pianist Thelonious Monk in 1944. It was first recorded by his trio (Eugene Ramey on bass & Art Blakey on drums) on October 24, 1947 for release on Blue Note.
Lyrics were added much later by Mike FERRO aka 'It's Over Now':
You're talkin' so sweet, well you needn't You say you won't cheat, well you needn't You're tappin' your feet, well you needn't It's over now, it's over now
You're dressin' with class, well you needn't You're holdin' your sass, well you needn't You think you're a gas, well you needn't It's over now, it's over now
It's over now, it's over now You've had your fun, so take a bow You oughta know, you lost the glow, the beat is slow, the shadows grow, the lights are low, it's time to go, let's close the show down
You're taking off weight, well you needn't You're looking just great, well you needn't You're settin' the bait, well you needn't It's over now, it's over now
Recordings exist by Carmen McRae (1988), Judy Niemack w/ Kenny Barron, Grazyna Auguscik w/ Bogdan Holownia, Jamie Cullum, Yvonne Sanchez, Mina Agossi, Karen Blixt, Diane Hoffman, Jim Shearer & Charlie Wood, Rachel Brand, Cheryl Conley, etc.
'Ugly Beauty' is an instrumental jazz composition by pianist Thelonious Monk. It was first recorded by him in December 1967 and released on his 1968 album 'Underground'. It is the only waltz he ever wrote.
Lyrics were added much later by Mike FERRO as 'Still We Dream':
You and I, I think we know the reason why So far its been quite charming What's in store, it seems we played this scene before Which makes it less alarming
Dim the light and let's go on pretending that this time it's real So round and round, the carousel is winding down and still we dream of love We dream of love, we dream of love
Recordings exist by Carmen McRae (1988), Tina May & Niki Iles, Gretchen Parlato, etc.
'Afro Blue' is a 1959 instrumental jazz standard, perhaps best known in its arrangement by John Coltrane. It was first recorded live on April 20, 1959, at the Sunset Auditorium in Carmel, California by Cal Tjader's band with composer Mongo Santamaría on percussion, for release on Fantasy.
Lyrics were added the next year by Oscar BROWN Jr:
Dream of a land my soul is from, I hear a hand stroke on a drum Shades of delight, cocoa hue, rich as the night, afro blue
Elegant boy, beautiful girl, dancing for joy, delicate whirl Shades of delight, cocoa hue, rich as the night, afro blue
Two young lovers, face to face with undulating grace They gently sway then slip away to some secluded place Shades of delight, cocoa hue, rich as the night, afro blue
Whispering trees, echo their sighs Passionate pleas, tender replies Shades of delight, cocoa hue, rich as the night, afro blue Lovers in flight, upward they glide Burst at the height, slowly subside Shades of delight, cocoa hue, rich as the night, afro blue
And my slumbering fantasy assumes reality Until it seems it's not a dream, the two are you and me Shades of delight, cocoa hue, rich as the night, afro blue Recordings exist by Abbey Lincoln (1960), Oscar Brown Jr, Dianne Reeves, Lyambiko, Lizz Wright, Judy Niemack, Dee Dee Bridgewater, Cynthia Felton, Lisa Engelken, Robert Glasper Experiment ft Erykah Badu, Molly Holm, Harold Mabern ft Gregory Porter, etc.
'Goodbye Pork Pie Hat' is an instrumental jazz standard composed by Charles Mingus originally recorded by his sextet in 1959 and released on his album 'Mingus Ah Um'. Mingus wrote it as an elegy for saxophonist Lester Young, who had died two months prior to the recording session, and was known to wear a broad-brimmed pork pie hat. Lyrics were added by Joni MITCHELL:
When Charlie speaks of Lester, you know someone great has gone The sweetest swinging music man, had a Porkie Pig hat on A bright star, in a dark age, when the bandstands had a thousand ways Of refusing a black man admission Black musician, in those days they put him in an underdog position Cellars and chitlins' when Lester took him a wife Arm and arm went black and white and some saw red And drove them from their hotel bed Love is never easy, it's short of the hope we have for happiness Bright and sweet, love is never easy street! Now we are black and white embracing out in the lunatic New York night It's very unlikely we'll be driven out of town or be hung in a tree, that's unlikely! Tonight these crowds are happy and loud Children are up dancing in the streets In the sticky middle of the night, Summer serenade of taxi horns and fun arcades
Where right or wrong under neon every feeling goes on! For you and me, the sidewalk is a history book and a circus Dangerous clowns balancing dreadful and wonderful perceptions They have been handed day by day, generations on down We came up from the subway, on the music midnight makes To Charlie's bass and Lester's saxophone in taxi horns and brakes, Now Charlie's down in Mexico with the healers, So the sidewalk leads us with music to two little dancers Dancing outside a black bar, there's a sign up on the awning, It says "Pork Pie Hat Bar" and there's black babies dancing tonight Recordings exist by Joni Mitchell (1979), Cheryl Fisher, Mark Murphy, Lupa, Lara Puglia, Angelica Matveeva, Lyambiko, Ku-umba Frank Lacy w/ Mingus Big Band, etc.
'Goodbye Pork Pie Hat' is an instrumental jazz standard composed by Charles Mingus originally recorded by his sextet in 1959 and released on his album 'Mingus Ah Um'. Mingus wrote it as an elegy for saxophonist Lester Young, who had died two months prior to the recording session, and was known to wear a broad-brimmed pork pie hat.
Lyrics were added by Rahsaan Roland KIRK:
He put all of his soul into a tenor saxophone, He had his way of talking, 'twas a language all his own, Life's story, love and glory, if you listen, when he plays it for you, Now listen and listen and dig it, can't you dig it? Lester Young is playing what he's feeling Dealing and dancing. Now someone might have told you, Lester Young he's out of style. But now I'm here to tell you, tell you, Prez is happening now. Life's story, love and glory if you listen when he plays it for you Now listen and listen and dig it, can't you dig it? Lester Young is playing what he's feeling Dealing and dancing on home.
Recordings exist by Rahsaan Roland Kirk (1976), June Tabor, Judy Niemack, Karrin Allyson, Jeanne Lee w/ Mal Waldron, Rigmor Gustafsson, Charene Dawn, Quintorigo, etc.
'Song for My Father' is a 1964 jazz standard written by Horace Silver. The first recording was recorded by his quintet on October 26, 1964 for release on Blue Note the next year. It featured Silver on piano, with Joe Henderson (tenor saxophone), Carmell Jones (trumpet), Teddy Smith (bass) and Roger Humphries (drums). A 2nd set of lyrics was later written by Horace SILVER:
This little song for my father does things that no other can do As I sing it to you It has a rhythm and rhyme that will fasten his memory in time As his beauty shines through For through my mind and soul My heart will always hold A special place for him, it's true
We bow our heads and we pray every day's Father's Day Let's review all that he means to you Our mother's love is real nice but old Dad sacrificed for us too Let us give him his due We're very proud to be in his biography We sing this song for him and you
Recordings exist by H. Silver ft. Andy Bey (1993), Dee Dee Bridgewater, Cheryl Conley, etc.
'Song for My Father' is a 1964 jazz standard written by Horace Silver. The first recording was recorded by his quintet on October 26, 1964 for release on Blue Note the next year. It featured Silver on piano, with Joe Henderson (tenor saxophone), Carmell Jones (trumpet), Teddy Smith (bass) and Roger Humphries (drums).
Lyrics were written by Horace SILVER himself:
I wrote a song for my father in hopes it would give him a thrill After seeing… Brazil. My father’s music came through me but never got to me until I went down to… Brazil.
In Rio all day long, I heard my father’s song, that Bossa Nova beat… so sweet.
I heard the real Bossa Nova but never got over the thrill when I went to… Brazil. No other people you meet play guitar with the beat and the skill as they do in… Brazil.
That Portuguese swing is such a subtle thing, it makes you sway against… your will.
Recordings exist by Jerry Williams (1979), Ron Kaplan, Tok Tok Tok, Jenny Evans, Johnnie Eason, Dee Daniels, etc.
'Song for My Father' is a 1964 jazz standard written by Horace Silver. The first recording was recorded by his quintet on October 26, 1964 for release on Blue Note the next year. It featured Silver on piano, with Joe Henderson (tenor saxophone), Carmell Jones (trumpet), Teddy Smith (bass) and Roger Humphries (drums).
Lyrics were added later by Ellen May SHASHOYAN: If there was ever a man Who was generous, gracious and good That was my dad, the man! A human being so true, He could live like a king 'cause he knew The real pleasure in life To be devoted to and always stand by me So I'd be unafraid and free Recordings exist by: Leon Thomas (1969), Joe Lee Wilson, Tamás Berki, Lenny Marcus Trio, Denise King, The Great Jazz Trio, Dan Hicks & The Hot Licks, Kathy Kosins, etc.
'Lullaby of Birdland' is a 1952 jazz standard composed by pianist George Shearing. The title refers to Charlie "Bird" Parker and the Birdland jazz club named after him.
Lyrics were added somewhat later by George David WEISS (pseudonym B.Y. Forster):
Lullaby of Birdland, that's what I, always hear when you sigh Never in my wordland could there be ways to reveal In a phrase how I feel
Have you ever heard two turtle doves, bill and coo when they love? That's the kind of magic, music we make with our lips when we kiss
And there's a weepy old willow, he really knows how to cry That's how I'd cry in my pillow, if you should tell me farewell and goodbye
Lullaby of Birdland whisper low, kiss me sweet and we'll go Flyin' high in Birdland, high in the sky up above All because we're in love Recordings exist by Ella Fitzgerald (1954), Chris Connor, Sarah Vaughan, Mel Tormé, Eartha Kitt, Joni James, Singers Unlimited, Nouvelle Cuisine, Dee Dee Bridgewater, Ann Hampton Callaway, Dianne Reeves, Maria Luiza, Chaka Khan, Amy Winehouse, Lyn Stanley, etc.
"Doodlin'" is a composition by Horace Silver. The original version by Silver's quintet with Hank Mobley (tenor saxophone), Kenny Dorham (trumpet), Doug Watkins(bass) and Art Blakey (drums) was recorded on November 13, 1954 for release on Blue Note.
Lyrics were later added by Jon HENDRICKS*:
Usin' the phone booth, makin' a few calls, Doodlin' weird things, usin' the booth walls Got me a big date, waitin' for my chick Puttin' my face on, so she could look slick I enjoy procrastinating 'cause I'm busy while I'm waiting Doodlin' away, doodlin away
Sittin' and dinin' (dining), dinner beginnin' Started designin', usin' the linen Talkin' to my date, doodlin' my bit Waiter got salty, told me to please quit Told the waiter, "Don't be dizzy "Can't you see, I'm very busy "Doodlin' away, doodlin' away."
"Do you doodle all day?" Asked the waiter in his way "Do you doodle all night?" Told the waiter he was right "In your doodlin' way" That's the way I'm gonna stay, "Are you thinkin' things right?" Doodlin' sheds a lot of light, "I don't know what I can do," "Ain't nothing you can do," "With old doodlin' you," "Doodlin's all I want to do," That's for true!
Why does every single thing I see, look exactly like a doodle to me? If I ever have a doubt, what life is all about I get my pencil out and then commence to doodlin' And I find it real relaxing, 'specially when I feel that life is really taxing! 'Cause weird designs, they only show what's going on In weirder minds, those when you doodle then your noodle's flying blind Every little thing that you write, just conceivably might Be a thought that you capture, while coppin' a wink Doodlin' takes you, beyond what you see, makes you write what you think I'd feel so lost without my doodlin' Doodlin' really helps me ease my mind I'd be tempest-tossed, without my doodlin' When I'm doodlin' there's one thing I find Truly, I really really truly truly wanna figure out What my doodlin's all about
Later the waiter had me arrested Took me to Bellevue where I was tested Had me a doctor, probin' my noodle 'Fore he was half-done, taught him to doodle Showed him hidden thoughts that linger Find an outlet through your finger Doodlin' away, doodlin' away
Doctor was real nice, told me to be cool Looked at the waiter, called him the real fool Looked at my baby, told me he dug her Got me to doodlin', so he could bug her When he put his arms around her Quite to his surprise he found her doodlin' away, Doodlin' away, we just doodle all day! Recordings exist by Lambert-Hendricks-Ross (1959), Mark Murphy, Lambert-Hendricks-Bavan, Baby Washington, Dusty Springfield, Manhattan Transfer, Mina, Janet Seidel & Tom Baker, Lee Aaron, Georgie Fame, etc. *Dee Dee Bridgewater sings an alternative set of lyrics (by H. Silver?) "Takin' a long trip...".
'Whisper Not' is a 1957 jazz instrumental by Benny Golson. Lyrics were added slightly later by Leonard FEATHER:
Sing low, sing clear, sweet words in my ear Not a whisper of despair, but love's own prayer Sing on, until, you bring back the thrill Of a sentimental tune, that died too soon
Our harmony was lost, but you forgave, I forgot Whisper not, of quarrels past, you know we've had our last So now, we'll be, on key, constantly Love will whisper, on eternally
Why did we listen when they said it wouldn't last Gossiping voices made us break up, but you know we still can make up If we forget 'em all, and answer Cupid's call, it's the truth! Whispers of troubles are an echo of the past All it will take to lose my gloom is just a whisper not of rumours But of your love for me, that's how it's got to be Recordings exist by Anita O'Day (1962), Mel Tormé, Peggy Lee, Ella Fitzgerald, Marlena Shaw, Cheryl Bentyne, Madeleine Thériault, Hanna Elmquist, Judy Wexler, Monica Ramey, etc.
'Comin' Home Baby' is an instrumental jazzz piece written by bassist Ben Tucker and first recorded by the Dave Bailey Quintet on October 6, 1961 for release on Epic Records.
Lyrics were added slightly later by Bob DOROUGH:
I'm comin' home, baby now, I'm comin' home now, right away I'm comin' home, baby now, I'm sorry now I ever went away Every night and day, I'm gone stay
(Come on home) I'm comin' home, baby now, (You know I'm waitin' here for you) I'm comin' home now, real soon (You've been gone) Comin' home, baby now, (You don't know what I'm goin' through) I'm comin' home, I know I'm overdue (Since you went away)
S'pect me any day, now real soon
(Come on home) Comin' home, baby now,
(You know I'm prayin' every night) And everything is gonna be fine (So come on) Comin' home, baby now (I want to feel you hold me tight)
S'pect to see me now, anytime (When I'm in your arms)
When you're in my arms, I'll be fine
(Come on home) I'm comin' home, baby now (You know I'm counting everyday) I'm comin' home now, yeah-yeah-yeah! (Use the phone) I'm comin' home, baby now (And baby let me hear you say) I'm comin' home, you're hearin' what I say (That you're comin' home) And I never will go away
(Come on home) I'm comin' home, baby now (You know I'm waitin' at the door) They can't hold me back now, no-oh-oh more (I'm alone) I'm pressin' on, baby now (And pacing up and down the floor) Oh hear me holler and hear me roar (Say you'll be with me ever more) Gonna be with you ever more
(Come on home) I'm comin' home, baby now (Oh baby, say you're comin' home) That's what I say, I say I'm comin' home (Something's wrong) The road is long, baby now (You ought to either write or phone) I'm comin' home and never more to roam (Baby, tell me you're) Baby, I'm for sure comin' home
Recordings exist by Mel Tormé (1962), Frances Faye, Downliners Sect, The Peddlers, Peters & Lee, The Delmonas, Michael Bublé w/ Boyz II Men, Emilie-Claire Barlow, Jackie Ryan, Lori Carsillo, Harrison Craig, etc.
'Lonely Woman' is a 1959 instrumental jazz piece by Ornette Coleman. It was the opening track on his Atlantic album 'The Shape of Jazz to Come'. Alongside Coleman's alto saxophone, the recording featured Don Cherry on cornet, Charlie Haden on double bass and Billy Higgins on drums.
Lyrics were added slightly later by Margo GURYAN:
Lonely in the night she wanders, who can she tell of her heartache They that listen, do not care, they don't share heartache She is a lonely woman, no one to cry to, at all
Once she wore a smile of gladness, now on that smile there are teardrops They that knew her didn't care, wouldn't wear teardrops They left the lonely woman, to wander alone, through the darkness
Once she loved a man, don't bother to imagine how she loved him You'd never guess at all, she never told the secret of her sorrow And yet there was someone who knew
He had eyes that saw her sorrow, he heard the sound of her sadness When he called her, no one came, but the same sadness He calls the lonely woman, but never again, will she hear him
Recordings exist by Chris Connor (1962), Freda Payne, Helen Merrill w/ Dick Katz, Karin Krog, Tiziana Ghiglioni, Soesja Citroen w/ Nico Bunink Kwintet, Sigrid Meyer & Serene, Radka Toneff, Susanne Abbuehl, Hanne Boel, etc.
'Work Song' is a 1960 instrumental jazz standard composed by cornetist Nat Adderley and recorded by him in January for release on the Riverside label.
Lyrics were added later that year by Oscar BROWN Jr:
Breaking rocks out here on the chain gang, breaking rocks and serving my time
Breaking rocks out here on the chain gang, cause I've been convicted a crime
Hold it steady right there while I hit it, well reckon that ought to get it
Been working, and working, but I still got so terribly long/far to go
I commited crime lord I needed, crime of being hungry and poor
I left the grocery store man bleeding, when they caught me robbing his store
Hold it steady right there while I hit it, well reckon that ought to get it
Been working, and working, but I still got so terribly long/far to go
I heard the judge say five years, on chain-gang you gonna go
I heard the judge say five years labor, I heard my old man scream "lordy, no!"
Hold it right there while I hit it, well reckon that ought to get it
Been working, and working, but I still got so terribly long/far to go
Gonna see my sweet honey baby, gonna break this chain off to run
Gonna lay down somewhere shady, Lord it sure is hot in the sun
Hold it steady right there while I hit it, well reckon that ought to get it
Been workin’ and workin’, but I still got so terribly long/far to go
Recordings exist by: Oscar Brown Jr (1960), Nina Simone, Tommy Hunt, Tennessee Ernie Ford, Billy Eckstine w/ Quincy Jones, Bobby Darin, Georgie Fame, Bobby Freeman, Sammy Davis Jr w/ Count Basie, James Royal, Chuck Jackson, José Feliciano, O.C. Smith, Gerry Lockran, Bobby Darin, Jackie Trent w/ Tony Hatch, Pat Lundy, Tamás Berki, Omar & The Howlers, Lyambiko, Carmes Gomes Inc, Bonnie Bramlett, Cynthia Felton, Magda Piskorczyk, Gregory Porter, Anneli Evaldson, China Moses, Billy Boy Arnold, etc.
'Mercy, Mercy, Mercy' is a 1966 instrumental jazz standard composed by Joe Zawinul. Recorded by Julian "Cannonball" Adderley on his album 'Mercy, Mercy, Mercy! Live at The Club', it became a surprise hit.
Lyrics were added later by husband & wife team Vincent LEVY & Gail FISHER:
It seems life has played a game on me,
I'm lost in a sea of misery
My love has turned his back on me,
Heartache, why won't you let me be
I said, baby, have some mercy, please
don't make me beg on bended knees
Oh please, mercy, mercy, mercy, please
Have mercy on me, mercy, mercy, mercy, please
Oh how can I face life, without you
What would I do if we were through?
I wait for you ev'ry single night
Hoping you'll return and make things right
You don't show and I'm sittin' here all alone
To pray you're gonna call me on the phone
Baby, have some mercy please
Don't make your mama beg on bended knees
Oh please, mercy, mercy, mercy, please
Have mercy on me, mercy, mercy, mercy, please
You know I love you, and I'm beggin' for one more chance,
One chance, once more.
I know life's got many a twist
Loving you daddy is the thing I can't resist
Your love and understanding you've been giving
Without it, I just can't go on living
Recordings exist by Marlene Shaw (1967), Nancy Wilson, Madeline Bell, The Paragons, The Motions, The Mendicants, Queen Latifah, Blue Avengers, etc.
'Mercy, Mercy, Mercy' is a 1966 instrumental jazz standard composed by Joe Zawinul. Recorded by Julian "Cannonball" Adderley on his album 'Mercy, Mercy, Mercy! Live at The Club', it became a surprise hit.
Lyrics were added later by Larry WILLIAMS & Johnny "Guitar" WATSON:
My baby she may not look
Like one of those bunnies out of a Playboy Club
But she got somethin' much greater than gold
Crazy 'bout that girl 'cause she got so much soul
She got the kind of lovin', kissin' and a-huggin'
Sure is mellow, glad that I'm her fellow
And I know that she knocks me off my feet
Have mercy on me 'Cause she knocks me off my feet
There is no girl in the whole world that can love me like you do
My baby when she walks by
All the fellows go 'mmmm', and I know why
It's simply because that girl she looks/walks so fine
And if she ever leaves me I would lose my mind
Everybody in the neighborhood
Will testify that my girl she looks so good
She looks so fine she'd give eyesight to the blind
And if she ever leaves me I would lose my mind
Baby, yeah, you got that soulful feel, yeah, it's all right
Mercy, mercy, mercy
Recordings exist by Larry Williams & Johnny Watson (1967), Everly Brothers, The Buckinghams, The Creation, Southwest F.O.B., Ernestine Anderson, Maria Anadon, Philip Bailey, Paul Brown ft Bobby Caldwell, Bonnie Bramlett, Tony Adamo, etc
'Red Clay' is a 1970 instrumental jazz piece by Freddie Hubbard.
Lyrics were added later by Mark MURPHY as 'On the Red Clay':
Scream door slappin' somewhere on a side porch
A sleepy morning way out in the boondocks
Stories are being told on the red clay
Every clays where we came from to begin with
And where were going when time comes for splitting
Sands being dug on the red clay
Moving, always, grooving
Morning, midnight, sleep tight
Someone's playing something on the back step
The happy faces look out of the windows
Always something good on the red clay
Waiting for the paper in the evening
You watch the roses climb out of their earthbeds
Lives being lived on the red clay
Moving down my baby when she's tired out
I tell her fun things and watch her start smiling
Nobody’s even sat on my red clay
Your move, my move, check me
He moves, they move, dig me
Red clay’s just a dirt, but it's a large sum
So what you doing just sitting there groovin'
Always a lot to do on the red clay.
Recordings exist by Mark Murphy (1975), Rare Silk, Philip Bailey, Rachel Brand, etc.
'St. Thomas' is a 1956 instrumental jazz standard by tenor saxaphonist Sonny Rollins. Although Rollins is commonly credited as its composer, the tune is based on the traditional English song "The Lincolnshire Poacher". Before Rollins, it had previously been recorded by Randy Weston in 1955 under the title "Fire Down There".
Lyrics were added by Ray PASSMAN & Herb WASSERMAN as 'Down St. Thomas Way':
One cold winter morning it was 7 below,
I made up my mind, my friend, this snow's got to go.
So I sub-leased, went south by east,
and freezing ceased down St Thomas way.
The people were friendly and they gave me the key,
Attached was a tourist guide, a cute young lady.
We saw the sites and climbed the heights,
and oh those nights down St Thomas way.
I know how it feels to have some sand in my shoes,
to find an escape from all these civilized blues.
No cul-de-sacs, no broken backs,
it's just relaxed down St. Thomas Way.
I'm trading the city for a tropical tree,
And if you meet anyone who's asking for me.
Tell all and each, that they can reach,
me on the beach down St Thomas way.
Recordings exist by Mark Murphy (1981), Nicole Pasternak, etc.
'Four' is a 1954 jazz composition by Miles Davis.
It is sometimes credited to Eddie "Cleanhead" Vinson.
Lyrics were added later by Jon HENDRICKS:
Of the wonderful things that you get out of life there are four
And that may not be many but nobody needs any more
Of the many facts making the list of life, truth takes the lead
And to relax, knowing the gist of life, it's truth you need
And the second is honor and happiness makes number three
When you put them together you'll know what the last one must be
Baby, so to truth honor and happiness, add one thing more
Meaning only wonderful, wonderful love that'll make it four
Don't you know the score, well,
people when they're younger never realize the pleasure treasure life's got
But as they grow older, realize a lot
They got their minds on all the wrongest scenes
And things that cost a lot of money but it's really very funny
They fade away and don’t amount to a hill of beans
Funny how the things in life we really should adore
We forget, or ignore, end up poor
Making money till you’re nigh onto madness and end up in sadness
Youth is the time when we should see the light
Cause when we’re old and wasted, the dues from what we’ve tasted
run so high that we pay till we die, then you know the youth that made us strong
is wasted on the young, so, enjoy it gaily, love life, and live it daily
You’ll find a lot of things to bring you joy and give peace of mind
Get it while the gettin’s good cause everybody if they only could
Life would be a set, life would be a groovy set
Groovy as a movie, wail, wail, let your voice be heard
Spread the word, everybody here’s got ears
Only gotta teach them how to use them, not abuse them
So take a tip from me, the world’s everything it oughta be
As long as you can be sure, there is no more to life than the same old four
Hard to believe, I know, but time will show
That even though you think it’s boresome
Two and two together constitute a foursome
That’s all, four is the figure
That’s all, ain’t gonna be gettin’ any bigger
Doesn’t matter how you slice it up
You’ll never change it, you count everything that fate throws into life’s pot
Still, only four is all you’ve got
Haven’t they told ya ‘bout the little pleasures that are part of all the rest
You live a little ‘n love a little ‘n take a little ‘n give a lot
Still the total is happiness
But that’s only one, you’ve just begun, there’s gonna be more
After this it’s truth and honor shinin’ and love combinin’ to make it four
No more
Baby so to truth, honor and happiness, add one thing more
Meaning only wonderful, wonderful love, that’ll make it four
And there ain’t no more (ain’t no more)
Recordings exist by Lambert-Hendricks-Ross (1959), Joe Lee Wilson, Nicole Pasternak, Giacomo Gates, Capoeira Twins, Anne Ducros, George Benson & Al Jarreau, Maria Guida, Karen Blixt, Deborah Latz, Letizia Onorati, etc.
'Four' is a 1954 jazz composition by Miles Davis.
It is sometimes credited to Eddie "Cleanhead" Vinson.
Lyrics were added later by Bill LOUGHBOROUGH:
There's not one boy for me, I must have two or three, I need four
First, the man who's the type to like slippers and pipe at the door.
Then, if at all possible I'd like the kind
Who's not very bossable, but knows his mind.
If you add to these few, one that knows how to woo dogpatch style
Then this man of my world will be spangled and pearled with his smile
And though it's incredible, I've found it's true
That my four-in-one boy is nobody else but you.
Recordings exist by Anita O'Day (1954), Victoria Phillips, etc.
'Maiden Voyage' is a 1965 jazz composition by Herbie Hancock.
Lyrics were later added by his sister Jean HANCOCK:
See the sky, let's explore it's hue.
Tide is high, time for your debut.
Like a ship, you must leave this bay.
On this trip, you'll learn love today.
The time has come to take a dare.
Maiden voyage, a first affair.
Set your sails to cast away.
Chart your course of love today.
Now we're clear, homeward bound are we.
Listen dear, as you sound your sea.
Soon you'll cry, lovely things you'll say.
Sail on high, you'll learn love today.
Recordings exist by The Third Wave (1970), Mark Murphy, Jon Lucien, Sharon Redd-Ula Hedwig-Charlotte Crossley, Pascal von Wroblewsky, Nnenna Freelon, Anne Wirz, etc.
'I Remember Clifford' is an instrumental jazz standard written by jazz tenor saxophone player Benny Golson in memory of Clifford Brown, the influential and highly regarded jazz trumpeter who died in an auto accident at the age of 25. The first recording was by Don Byrd & Gigi Gryce on March 13, 1957 for Columbia. English lyrics were soon added by Jon HENDRICKS:
I know he'll never be forgotten, he was a king uncrowned I know I'll always remember, the warmth of his sound Linger so long, I'm sure he's still around For those who heard, they repeat him yet So those who hear, won't forget The sound of each phrase echoes the time uncountable by days The things he played are with us now and they'll endure should time allow Oh yes, I remember Clifford I seem to always feel him near somehow Every day, I hear his lovely tone In every trumpet sound that has a beauty all it's own So how can we say someone so real has really gone away? I hear him now, and always will believe me, I remember Clifford still.
Recordings exist by Dinah Washington (1957), Carmen McRae, Kenny Dorham,Greetje Kauffeld, Mark Murphy, The Manhattan Transfer, Ernestine Anderson w/ George Shearing, Helen Merrill, Solveig Slettahjell, Ellynne Plotnick, Lisa Yves, Anna Kolchina, etc.
'The Peacocks' is a jazz instrumental written by pianist Jimmy Rowles. It was first recorded in 1975 by him and Stan Getz for release on Columbia album 'The Peacocks'.
Lyrics were added much later by Norma WINSTONE as 'A Timeless Place':
The window, looked out onto a pattern never-ending
A flower and trees and little pathways far descending
To the garden far below us, the pavilions in the sunlight
Where the peacocks proudly grace the scene.
A vision, a timeless place, another way of living
You moved in so close I really thought that you were giving
I allowed myself a moment to believe that you could need me
To reflect upon what might have been.
The summer sky, I saw reflected in the colour of your eyes
But somehow I could never peel away the layers of disguise
I'm drowning now, I'm slowly sinking in a sea of blue and green
Where what you are is never seen, how can anybody know you?
I still hear, the ringing of the church bell in the morning
The peacocks still callin' out their sad and bitter warning
[Take a final look around you, hold the memory forever,
Find a quiet place inside where you can listen to the things your heart is saying]
Beauty's only an illusion, here your truth is an intrusion,
A mirage is all it's ever been.
Recordings exist by Norma Winstone w/ Jimmy Rowles (1993), Jeri Brown, Tina May w/ Nikki Iles, Tierney Sutton, Mark Murphy, Kendra Shank, Anne Ducros, Swingle Singers, Kris Adams, Charito, Esmeralda Ferrara, Tessa Souter, Alexis Cole, Miranda Sage, Carolina Moon, Ann Malcolm, Jamie Broumas, Daniela D'Ercole, Mary Stallings, Praline & Fast Food, Whitney James, Yuriko Kodama w/ Phillip Strange, Panayota Haloulakou w/ Lefteris Kordis, Airmen of Note ft Paige Wroble, Sinne Eeg, Akiko Uesugi, Oksana Ferenchuk, Deborah Brown, Nancy Reed w/ David Liebman, Carole Turcotte, Gloria Trapani Quartet ft Davide di Pasquale, Laura Perrudin, Giorgia Sallustio, etc.
'Señor Blues' is a jazz standard composed by pianist Horace Silver.
It was first recorded by Silver's quintet on November 10, 1956. Lyrics were added later by HORACE SILVER in 1958: Senor Blues is what they call him, way down Mexicali way. Senoritas fallin' for him, with the hope that he will stay.
By the time that they love him, Senor Blues done/has gone away!
Well, he's tall and good lookin', and he always knows just what to say!
Yes, he's tall and good lookin', and he always knows just what to say! By the time that they love him, Senor Blues done/has gone away!
I don't know why, don't know why, don't know why I'm a wanderin', wanderin' guy, with no one gal to lay my head by.
Oooooooh, I'm so tired and lonely and blue,
'Cause the one gal I love won't be true! Got the blues and it's all 'cause of you (2x)
Recordings exist by Horace Silver with Bill Henderson (1958), Jeri Southern, Chris Connor, Anita O'Day, Mark Murphy, Judy Roberts, Taj Mahal, Giacomo Gates, Karin Krog, Genie Walker, Mark Winkler & Cheryl Bentyne, etc
'Keester Parade' is an instrumental composition by Johnny Mandel, first recorded on December 4, 1955 by Cy Touff Octet (incl. Harry Edison, Conrad Gozzo (trumpet) Cy Touff (bass trumpet) Richie Kamuca (tenor sax) Matt Utal (baritone, alto sax) Russ Freeman (piano) Leroy Vinnegar (bass) Chuck Flores (drums)). The main theme was re-visited by Harry "Sweets" Edison on November 12, 1958 as 'Centerpiece'. Lyrics were added by JON HENDRICKS in 1959: The more I'm with you pretty baby The more I feel my love increase I'm building all my dreams around you My happiness will never cease But nothing's any good without you Cause baby you're my centerpiece
I buy a house and garden somewhere Along a country road a piece A little cottage on the outskirts Where we can really find release But nothing's any good without you Cause baby you're my centerpiece Hey baby come and go
Recordings exist by Lambert-Hendricks-Ross (1959), Joni Mitchell, City Light Orchestra, Van Morrison with Georgie Fame, Greta Matassa with Mimi Fox, Roberta Gambarini, Mark Robinson, Giacomo Gates, Nikoletta Szöke, Renée Yoxon, etc
"Twisted" is a 1949 jazz piece composed by saxophonist Wardell Gray.
Lyrics to the sax solo were added by ANNIE ROSS in 1952: My analyst told me that, I was right out of my head The way he described it, he said I'd be better dead than live I didn't listen to his jive, I knew all along he was all wrong And I knew that he thought I was crazy but I'm not, Oh no! My analyst told me, that I was right out of my head He said I'd need treatment but I'm not that easily led He said I was the type that was most inclined When out of his sight to be out of my mind And he thought I was nuts, no more ifs or ands or buts, Oh no! They say as a child I appeared a little bit wild with all my crazy ideas But I knew what was happenin', I knew I was a genius What's so strange if you know that you're a wizard at three? I knew that this was meant for be I heard little children were supposed to sleep tight That's why I drank a fifth of vodka one night My parents got frantic, didn't know what to do But I saw some crazy scenes before I came to Now do you think I was crazy? I may have been only three but I was swingin' They all laughed at Al Graham Bell They all laughed at Edison and also at Einstein So why should I feel sorry if they just couldn't understand The reasoning and the logic that went on in my head? I had a brain, it was insane, don't you let them laugh at me When I refused to ride on all those double decker buses All because there was no driver on the top My analyst told me that, I was right out of my head The way he described it, he said I'd be better dead than live I didn't listen to his jive, I knew all along he was all wrong And I knew that he thought, I was crazy but I'm not, Oh no! My analyst told me, that I was right out of my head But I said 'Dear doctor, I think that it's you instead 'Cause I have got a thing that's unique and new It proves that I'll have the last laugh on you 'Cause instead of one head... huh huh, I got two And you know two heads are better than one. Recordings exist by Annie Ross (1952), Lambert-Hendricks-Ross, Mark Murphy, Bette Midler, Joni Mitchell, Nancy Kelly, Pia Frankenberg, Jane Monheit, Robin Adler, etc.
"'Round Midnight" (sometimes "'Round About Midnight") is a 1944 jazz standard composed by pianist Thelonious Monk. Cootie Williams has received co-credits for his contributions.
Lyrics were added by JON HENDRICKS:
A pale and lonely moon - Lights the sky in the dark
Before the dawn - I sit here in my room how I sigh
For the day that's come and gone
Another lonely day passes by
And a new day's coming on
At midnight Tears I've shed today
Will pause waiting until tomorrow
Dreams of what could become close to me
Timidly - There's a brand new day in sight
At that time 'round midnight Life's a game of chance
And you're one of the minor players
Look for what you love
The day to come harbours some
Let your spirit stop the fight
At that time 'round midnight
Every day's gonna bring some sadness
Every day's gonna bring some gladness
So take what you can of the glad times
Don't measure your pleasure in nickels and dines
You better look back on the day
And you'll know when you've been unhappy
Fears don't chased away just mighty might have the day
Let your eyes put out their light - At that time round midnight
I'll think no more about today
For in a while this old day will be yesterday
Alone at midnight here in my room -
I sit here in the gloom
And let my dreams take flight - 'Round 'bout midnight
Recordings exist by Carmen McRae (1971), Maria Anadon (1995), Debbie Duncan (2006)
"'Round Midnight" (sometimes "'Round About Midnight") is a 1944 jazz standard composed by pianist Thelonious Monk. Cootie Williams has received co-credits for his contributions.
Lyrics were added by BABS GONZALES (ca. 1962):
When the day has turned to evening, to evening And the stars come out to show their magic That's the time you'll feel so lonesome It's so strange and it's blue at midnight
Where are those whose dreams are shattered? Are shattered? Some who search in vain for long lost romance Some who walk the city canyons Hoping they'll get one more chance
When your life seems it's not worth living And your world seems it's unforgiving I have found traveling around It's often been told, "don't lose your soul"
There may be a new tomorrow, baby I hope you find a love to hold you spellbound Then you will be oh so happy When old midnight comes around
I cannot tell you what is luck To have someone that you could really love A good man that you can call your own To call your heart and soul
"'Round Midnight" (sometimes "'Round About Midnight") is a 1944 jazz standard composed by pianist Thelonious Monk. Cootie Williams has received co-credits for his contributions.
Lyrics were added by BERNIE HANIGHEN (ca. 1949):
It begins to tell, 'round midnight, 'round midnight
I do pretty well, till after sundown Suppertime, I'm feelin' sad, but it really gets bad 'round midnight
Memories always start 'round midnight, 'round midnight Haven't got the heart to stand those memories When my heart is still with you and ol' midnight knows it too
When some quarrel we had needs mending Does it mean that our love is ending Darlin' I need you, lately I find You're out of my arms and I'm out of my mind
Let our love take wing some midnight, 'round midnight Let the angels sing for your returning Let our love be safe and sound
Till/when old midnight rolls/comes around
Recordings exist by Jackie Paris (1949), June Christy, Chris Connor, Joy Bryan, Mel Tormé, Frances Wayne, Marge Dodson, Julie London, Toni Harper, Maisa, Joanie Sommers, Buddy Greco, Sarah Vaughan, Inge Brandenburg, Andy & the Bey Sisters, Jack Jones, Ella Fitzgerald, Kimiko Kasai, Singers Unlimited, Anachronic Jazz Band, Richard Evans, Eydie Gorme, Ulla Neumann, Linda Ronstadt, June Tabor, Hue and Cry, Carmen McRae, Lora Szafran, New York Voices, Monica Borrfors, Kenny Rankin, Cassandra Wilson, Big Sugar ft Molly Johnson, Diane Schuur, Elkie Brooks, Angela Hagenbach, Alexia Vassiliou, Dennis Rowland, Sanne Salomonsen, Lynette Washington, Marlena Shaw, Connie Evingson, Vox One, Liz Anthony, Leon Russell, Amy Winehouse, Chaka Khan, Jamie Davis, Bettye LaVette, Ron Kaplan, Karrin Allyson, Donna Tucker, Linda Daiber, Thisbe Vos, Claire Martin, The Allnighters, etc
