UNFORGETTABLE ANSWER ME (MY LOVE) ....................................28 t AUTUMN LEAVES (LES FEUILLES MORTES) ................. 30 A BLOSSOM FELL ........................................ 34 CALYPSO BLUES ......................................... 36 THE CHRISTMAS SONG (CHESTNUTS ROASTING ON AN OPEN FIRE) ............... 32 DARLING. JE VOUS AIME BEAUCOUP ...................... 42 IREMEMBERYOU ........................................ 44 IT'S ONLY A PAPER MOON ................................ 50 LET THERE BE LOVE ...................................... 47 LOVE IS THE THING ....................................... 54 LOVE LETTERS ............................. 1 ............. 56 LUSH LIFE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 MONA LISA ............................................. 14 MOON LOVE ............................................. 61 NATURE BOY ......... .................................. 23 RAMBLIN' ROSE .......................................... 26 RED SAILS IN THE SUNSET .... :........,.................. 64 (GET YOUR KICKS ON) ROUTE 66! ......................... 76 * SMILE ................................................... 80 STAR DUST .............................................. 78 STRAIGHTEN UP AND FLY RIGHT .......................... 67 SWEET LORRAINE ........................................ 20 TANGERINE .............................................. 70 THAT'S MY GIRL .......................................... 82 THESE Fool-ISH THINGS .................................. 84 THOSE LAZY-HAZY-CRAZY DAYS OF SUMMER ............. 17 TONIGHT YOU BELONG TO ME ... ........................ 73 TWILIGHT ON THE TRAIL .................................. 94 a UNFORGETTABLE ........................................ 12 WHEN I FALL IN LOVE ..................................... 9 WHEN I TAKE MY SUGAR TO TEA .......................... 88 WHERE CAN I GO WITHOUT YOU? ......................... 92 YES! WE HAVE NO BANANAS ..............................97 .Y
.
@ 1989 CPPIBelwin. Inc 15800 N.W. 48th Avenue. Miami. FL 33014 Editor: Carol Cuellar Produced by: Ivan Mogull WARNING: Any duplication. adaptation or arrangement of the compositions contained in this collection. without the written consent of the owner. is an infringement of U.S. copyright law and subject to the penalties and liabilities provided therein .
It was the year 1937. In America, the hopes of everyone were rooted in the word "recovery."But if the depression seemed to be nearing an end for most of the nation, it had only deepened early that year for the wandering minstrels of a road show with the peculiarly fitting title "Shuffle Along. " The revue had shuffled all the way from Chicago to Long Beach, California, when an employee with obviously scant optimism for the show's future resigned without notice. More than that, he helped himself to the company's entire bankroll, $800.00, as his severance pay. "Shuffle Along" ground to a dead stop right there -and disintegrated. Being broke and stranded in a strange town is nevera pleasure to anyone. To one member of the company, its 18-year-old bandleader, Nathaniel Adams Coles, it was akin to a major calamity. Not only was he a rookie in show business, but he was very reluctant to write home for money since his father, the Rev. Edward Coles, a Baptist minister in Chicago, was considerably less than enthusiastic over having his children trotting around the country tooting horns and plunking pianos. Young Nat wisely decided to make the best of his bad bargain and rough it out in California - at least until he could raise enough money to home with his head held high. For the nextseveral months he pounded beer-soaked Baldwins and Scotch-stained Steinways in dives from Bakerfield to San Diego. His asking price was five bucks a night, but he could be had for less, and usually was. During that year one thing happened to the lanky, good-natured youngster. He abbreviated his name to Nat Cole, and one night while he was working in the old Los Angeles Century Club, a gagster slipped a paper crown on his head and dubbed him "King." From that night forward, he was to be Nat "King" Cole. I
From the fold-up of "Shuffle Along," his life was
punctuated with setbacks that turned out to be breaks. Some of them were large enough to provide him with footholds in his climb to the top of one of the toughest heaps in the world. His singing was perhaps the most outstanding example. One of Cole's stops on his job-hunting rounds as an itinerant pianist was a Hollywood nightclub, the Swanee Inn. Their manager offered to pay Cole $75 a week if he could come up with a quartet overnight. At the time, for that kind of money, Nat would have produced the Philadelphia Symphony -orat least tried. He rushed out and corralled guitarist Oscar Moore, bass player Wesley Prince ariaadrummer whose name remains unrecorded because he failed to show up for work on opening night The trio was hardlyan immediate sensation. That was the era of the big bands. Club owners demandedplenty of bodies and plenty of noise for their money. An instrumental trio - the group was strictly voiceless - was about as marketable as a vaudevillejuggling act. Still, the "King" Cole Swingsters, as they were known then, did begin attracting the attention of jazz aficionados, attracted by the trio's musical purity. In time, club bookers
became aware that these fans, small in number and strange in tastes though they might be, were willing to put their money where their loyalty was. When that understanding got around, Cole and his cohorts found that they were working with encouraging regularity. Sometimes their leader's take-home pay ran as high as $25 a week.
. . . It was during this cushy engagementat the Swanee Inn in Los Angeles, that Cole suffered another humiliating setback -or so, at least, it seemed to him at the time. One of those inevitable lushes in the audience, who wouldn't have known a dissonant chord from a harpsichord and wouldn't have cared, came stumbling to the bandstand and demanded that Nat sing his favorite tune "Sweet lorraine." Nat was gentle. "We don't sing," he said softly. The portly patron was in no mood to be put oft however. He brought his eyes to focus on Cole and in the voice of a platoon sergeant commanded, "Sing!" That brought the manager of the place on the double. He summed up the situation on his mental cash register and gave Cole the word: "Sing. This guy's a big spender. Sometimes three bucks a night." Nat Cole sang, nervously, reluctantly and, although there were no critics around at the time to comment on his performance, probably not very well. That voice was to become among the best-known in the world of popular music. If Nat Cole's success story followed the Hollywood film formula, that first timorous rendition of Sweet Lorraine" would have been the climax. But it wasn't. The truth is that Cole wasn't then particularly impressed with his voice, although in the years since then critics have graced it with such terms as "pussy-willow textured." And so he submerged himself again in the trio, which prospered increasingly as its cult of followers swelled. The bookings were progressively better until the group reached the once famous Trocadero, where a room was
named for it. With that sort of encouragement, the next logical step was a nation-wide tour. It was logical, but it wasn't especially successful. The trio's lukewarm reception was made worse when bass player Prince was drafted into the Army. Cole's return to the kindlier atmosphere of Los Angeles was anything but triumphant. Meantime, however, Glenn Wallichs, a music store owner whom Cole had met while.playing at the Radio Room next door, had teamed with songwriter Johnny Mercer and formed a new recording company - Liberty Records, later to become Capitol. The company struggled through its first year and, in 1943, Wallichs heard Cole and his reorganized trio play "Straighten Up And Fly Right, " a tune Nat had written during his lean years and sold for $50 to pay the rent. On the strength of it, Wallichs offered Cole a contract to record that song and do some other solo singing. That last part didn't ap& to Nat much, but he agreed. "Straighten Up And Fly Right, " o f course, was the first of his - and Capitol's - smash hits.
Still, Cole considered himself a full-time instrumentalist and a part-time singer, In the next three years, he and the trio made a number of records which today are regarded as collectors' items by jazz buffs, who rank Cole among the finest jazz pianists of all time. So great was their reverence for him, in fact, that when he decided in 1946 to stake his future on his voice, instead of his fingers, some of his fans screamed with outrage that he was "selling out. " But Cole had set his course, a risky one but one he was determined to follow. For every jazz devotee who had listened raptly to his pianistics, hundreds of new followers were waitingjust to hear his unique, breathy singing. As a single attraction in nightclubs and on records, he made more money than he had dreamed possible before. And in 1947,in a $20,000 wedding, the second largest in Harlem history, Cole married Maria Ellington, a pretty band vocalist, who was more than willing to abandon her own career to become "King" Cole's queen. While they were honeymooning in Mexico, Nat received a call from a very close friend, husic publisher, Ivan Mogull, stating that Nat's latest recording, the strange, haunting "Nature Boy" was another smash hit The world was a bright place, indeed, for Nat Cole. His tenure on Cloud Nine was characteristically brief. Cole still had a lot to learn -and quite a few things to teach. Nat became aware that t h Internal Revenue Service made a claim on back taxes, at which time Nat resolved this matter. With sudden luck smiling at him, he had one hit after another, which enabled him to pay off the IRS within two years. In 1953, all the long smouldering worries, frustrations and resentments erupted within him, and he collapsed in the wings of Carnegie Hall during an Easter recital. The diagnosis was acute ulcers and internal hemorrhaging. Immediate surgery was recommended and petformed with satisfactory results. Since that brush with tragedy, Nat Cole became more taciturn, more introspective and less easy to lean on. He learned to invest his money -and built an efficiently operating organization around himself that allowed him a more reasonable amount of time for the things he loved most - his wife, their children, Carol, Natalie, Nat Kelly, Casey and Timdin, and baseball, to which he was hopelessly addicted.
No amount of planning, however, can stave off all defeats, especially for a man as willing togamble as Nat Cole. And so he had his fair share of them, perhaps even more, to go with his incredibly indestructible success as a nightclub and recording artist. Probably the bitterest of them, to Cole, was what happened to his network television show in 1957.Actually, the show was on the air for 64 weeks and could have remained if Cole had submitted to an airtime change insisted upon by NBC. But it didn't accomplish what Nat had hoped for and sacrificed for. It was a costly venture.Besidesplowingpart of his own salary back into the production costs, he turned down $500,000 worth of nightclub dates to stick with it
I
Why did it mean so much to him? Although Cole never had been a shouting crusader for black rights, in his own quiet way he had a1ways espoused the cause of racial equality, often more effectively than its more militantadherents. As the first black ever to have his own weeklyshow on TV, to him fell the opportunity, and the burden, of proving thatsuch a program could achieve public acceptance on both sides of the Mason-Dixon Line. Coleproved that. His show had good ratings and drew excellent reviews. The biggest "names" in show business guest-starred on i t But one of the peculiar details of the electronic medium defeated him. No national sponsor dared back Cole's play. In some areas, the program was sponsored regionally and successfully by the tab payers, but the big spenders of Madison Avenue, without whose support the show could not long survive, looked the other way. His record of accomplishment over set-backs and disappointments is one that anyone would be proud to claim. For such a record to belong to the Alabama-born son of a minister who might never have sung at all if a slicker had not absconded with $800 and a nightclub drunk had not insisted on hearing someone wail "Sweet Lorraine," it might be classified as a minor miracle. Nat "King" Cole became one of the hottest selling artists through the forties, fifties, and sixties. He became a legend with his fantastic sound. On December 7th) 1964,he suddenly took ill and he entered St. James Hospital in Santa Monica, California, where he was diagnosedashaving lung cancer. On January25, 1965,his left lung was removed. His sky rocketing career ended with his death on February 15, 1965. Included in this collection are most all of the great standards which have become associated with Nat "King" Cole. Wehopeyou enjoy playing and singing them, as they are a lasting tribute to one of the greatest performers of all time.
WHEN I FALL I N LOVE Words by EDWARD H E Y M A N
Music by VICTOR YOUNG
Slowly, with much feeling
VERSE
I
I
I
I
May - be
liv
I'm
old
- ing in
the
feel - ing like
fash- ioned,
past,
But
I
do.
when I
May - b e
meet the
right one
I
I
know that 1'11 be
When I Fall In Love - 3 - 1,
true,
My
a
first love
will
be
my
last.-
Copyri ht 1952 by VICTOR YOUNG PUBLICATIONS, INC. Copyright Renewe!, Assigned to CHAPPELL & CO., INC. and INTERSONG-USA, INC. All rights administered by CHAPPELL & CO., INC. International Copyright Secured Made In U.S.A. All Rights Reserved
I
am
I
10 CHORUS
I
When I
1
fall
it
will
this
for
-
ev
-
er.
In
is,
love is
-
-
When I Fall In Love - 3 - 2
y moon -light
kiss
be
-
fore
it's
3
-
es
or
rest
a
-
I'll
nev
-
er
less world like
I
7
end - ed -7-
man
be
in
II" I
love
in
I
I
I
fall
seem to
be
-
cool - 7
-
gun,
in
the
-
And too
warmth 1
of
the
3 1
1
1
sun.
1
I
or
I
fee!
I
I
love
When I
I'll nev
- er
that
give
my
feel
with
When I Fall i n Love - 3 - 3.
give my
you.
that
heart
it
be com -
will
heart,
way
pIete- ly,
And the mo
is
too,
you.
when
I
--
ment I
fall
.can
in
UNFORGETTABLE Words and Music by IRVING GORDON
Moderato
I
I
UN-FORGET-TA-BLE,-
-
Tho' near or
far.
hat: what you
are,
UN-FORGET-TA-BLE,
Like a song of
How the thought of
w-
you does things to me, Nev-er be -fore.-
Copyright @ 1951 by BOURNE CO. Copyrigllt Renewed International Copyright Secured Made In U.S.A.
love that clings t o me,
I
I
u
has some-one been more,
All Rights Reserved
in
ev
- 'ry
way,
MONA LISA Words and Music by JAY LIVINGSTON and RAY EVANS
Slowly
In
I-
a
vil
-
la
h i p s all turn-ble down
Mona Lisa - 3 - 1
in
A
lit-tle
I
old
What does she want?
NO
-
tal
one
-
ian
/la
town
knows!
I
Copyright @ 1949 by FAMOUS MUSIC CORPORATION Copyright renewed 1976 by FAMOUS MUSIC CORPORATION All Rights Reserved International Copyright Secured Made In U.S.A.
I
Eb
~b
Mo
I
Mona Lisa
-
blamed you
-3-2
Li
na
for
- sa,
that
Mo
-
na
Li - sa m e n have named
Eb
you:
M o - na Li - sa strange-ness in your smile?
3
Do
t
you
hide a brok- e n heart?
I
-
Mona Lisa - 3 3
THOSE LAZY-HAZY-CRAZY Words by DAYS OF SUMMER CHARLES TOBIAS
Music by HANS CARSTE
Medium bright
out
I
Those days
Those
of
so
La
-
-
da
zy - Ha - zy
and
-
pret - zels
Cra
-
zy
Days
and
beer.
Of
Sum
/
-
Those Lazy-Hazy-aazy Days Of Summer 3 - 1 Co yright @ 1962,1963 NORTHERN SONGS LIMITED All Rights Controlled an8lldministered by APRIL MUSIC, INC. under license from MUSIC (COMET) International Copyright Secured Made In U.S.A. All Rights Reserved
Roll
-
mer;
I
house man
-
up tic
Now you're set. mov - ie scene.
I
beach you'll s e e mo - ment that a1 - ways be
And .on -the Why, from the And there will
the those a
I
I 1
r
1
d Am7
Fdim
D7
Those Lazy- Hazy-aazy Days Of Summer - 3 - 2
r
I 1
v
r
Cra - zy
Days
Of
Sum
-
mer;
Those days
so - da
of
and
I I
pret - zels
Cra - zy
and
Days
beer.
Of
Sum
Roll
-
out
mer;
Those
You'll wish
La
that I
I
be
here.
out
-
zy
sum
-
Ha
-
- mer
-
could n
I\,
.-
Those
I Those Lazy-Hazy-Crazy Days Of Summer - 3 - 3
zy
0
SWEET LORRAINE Words by MITCHELL PARISH
Music by CLIFF BURWELL
Moderato
When that dxy in J u u c rolls a-round, On our kon- ey- moon-
Sweet
wcll bc bound,
Lorraine - 3 - 1 Copyright @ 1928 by MILLS MUSIC, INC. Copyright Renewed 1956 All Rights Reserved International Copyright Secured Made 111 U.S.A.
G ~ C but , I feel ~ a n ' waittill t t!le
broud,-. want t,o shout riglit but d a y , when I11 takc hcr a
-
1o.d: way:
Chorus
Slowly E7
I-
1
A7
D7
f i e just found j o y , Ih as happy as
-
-,When fm with my sweet
-
Sweet Lorraine - 3 2
Em
a
or - raine; -
B7
C7
ba-by b
o
E7
A7
y IYith anatll-er bralid I ~ C W~l~oo-d~oo toy,-
A pair of c j c s That arc blu-cr than the
1"
dust to think that fm thc
Sweet Lorraine -
3-3
luck- v one
Who !;.ill lead hcir down thc aislc;,
>
Each
NATURE BOY Words and Music by EDEN AHBEZ
31
11
was
There
0
- ver
land
a boy,
and
A
sea.
ver - y strange, en
A
-
chant
lit -
-
tle
ed boy;
shy
Copyright @ 1948 lVAfl MOGULL MUSIC CORPORATION, renewed 1976 by GOLDEN WORLD International Copyright Secured Made In U.S.A. AU Rights Reserved
I
and
I
ver
of
eye,
- y wise
I
was
And
And as
Nature Boy - 3 - 2
sad
then one day,
we spoke of
man
- y things,
he.
one sum-mer day, he
fools
passed my way
and kings,
This he
I
I
; I
said
-
just to
just
love
to love
to
me:
you'll
ev
and
be loved-
and
"The
- er
great
learn
be loved
- est thing
Is
in
re - turn".
in re - turn".
There
RAMBLIN' ROSE Words and Music by NOEL SHERMAN & JOE SHERMAN
Slowly with a beat
On,
Rose,
-
9-
Rose: On,
Rose
I
Ramblin' Rose - 2
-
Ram ram Ram
Rose,
I
I
I rl
/
I
rl
Why When Why
m I
I
-
-
/
t-
F
I
1
you your
I
-
ram ram want
blin' ble blin'
--
-1 Copyright @ 1962 by SWECO MUSIC CORPORATION All rights for the U.S.A., Canada, Mexico and the Philippines controlled by SWECO MUSIC CORP., c/o ATV MUSIC GROUP, 6255 Sunset Blvd., Los Angeles, CA 90028 International Copyright Secured Made In U.S.A. All Rights Reserved
ble, blin' YOU 1
I
-
-
no days Heav
I
-
one are en
Wild Who Tho'
knows gone knows
I
I 1
I I
I
I
and will I
I
-grown, A
that's
how
you've
a
i
I Ramblin' Rose - 2 - 2
days Ram
-
are blin'
ANSWER ME (My Love)
Words and Music by WINKLER, RAUCH, SIGMAN
Moderate Waltz
I-
I
AN- SWER ME,
oh
Tell me how
I came t o
You were mitie
.yes -
AS' love,
st,
what sin have
lose your love? Please
ter- day,
I
I
been
g u i l - t y of?
AN-SVER ME, MY.LOVE.
be- lieved that love was
here
Answer Me My Love - 2 - 1 Copyright 01 9 5 2 by PAPAGEVO-VERLAG HANS SIKORSKI 1 9 5 3 by BOURNE CO. Copyright Renewed International Copyright Secured Made In U.S.A. All Rights Reserved
to stay,
- stray? Please
I
!I you're hay - pi - er with - o u t
Answer Me My Love - 2 - 2
me,
I
I'll
try
AN-SWER ME,
not
"
to
31Y LOVE.
care,
30
AUTUMN LEAVES (Les Feuilles Mortes)
French Lyric by JACQUES PREVERT English Lyric by JOHNNY MERCER
Music by JOSEPH KOSMA
Slowly, with much feeling
I-
The fall - ing
Am7
D7
i&l
I
@
C
MI
@
l e a v e s drift by my
the sum-mer
1
G m3.7
--
went a
I
way-
-
Autumn Leaves - 2 1
-
win
kiss -
the days grow
l
F#?7-5
dew,- The Au-tumn
e
s
, The sun- burned
o
n
g
, And soon 1'11
87
@
Btl
Tacet
-
7'
.
L e a v e s
of
h
1 used to
a
hear
n
d
s
red and
gold.
hold.
old w x - ter's
song.
Copyright @ 1 9 4 7 , 1 9 5 0 ENOCH ET CIE Renewed 1 9 7 5 . 1 9 7 8 ENOCH ET CIE Sole Selling Agent for U.S.A. (Including its Territories and Possessions] and Dominion o f Canada: HORLEY MUSIC CO., by agreement with ENOCH ET CIE International Copyright Secured Made In U.S.A. All Rights Reserved
I
see your
Since you
But
I
31 Tacet
I.
miss you most of all
dar - ling,
my
tous,
Les deux en
-
sem
-
Au
tumn Leaves
ble, - Toi tu m'ai - mois
Qui nous res - sen1 -
1
When
-
ble.
-
Toi qui m'ai
mais
start to
~t "je
t'ai
[
- ce
mer ef - f a
-
Autumn Leaves - 2 2
sur
le
sa
I
-
ble
Les
1
pas
I
des a - mants
niais.
Moi qui t'ai -
Sans fa&!
I
fall.
de'
- su -
de
C'est une chan -
Nous vi - vions
mais.
Mais la
Et
bruit.
nis.
I
I
la
THE CHRISTMAS SONG (Chestnuts Roasting On An Open Fire) Music and Lyric by MEL T O M E & ROBERT WELLS
Sentimentally
I"
Chest
- nuts
- tide
I
Yule
I
knows
a
-
roast-mg on an
car - 01s be - ing
op
-
sung by
tur - key and some mis - tie
en
fire,
a choir
- toe-
Jack
And
Frost
nip - ping at your
folks dressed up llke
Help
to
Es
nose,
- ki - mos.
make the seas - on
Ev -'ry- b o - dy
bright.
The Christmas Song - 2 - 1 Copyright @ 1946 EDWIN H. MORRIS & COMPANY, A Division o f MPL COMMUNICATIONS, INC. Renewed 1974 EDWIN H. MORRIS & COMPANY, A Division of MPL COMMUNICATIONS, INC. International Copyright Secured Made In U.S.A. All Rights Reserved
I-
1 I
I
Ti
-
ny
moth-er's
so,
tots
child-
I'm
of
with their
is gon - na
- fer - ing
this
e - glow
eyes all
spy
sirn
Will
To see
-
ple
phrase
find it
if
rein
To
kids
-
hard to sleep
to
-
night.
deer- real-ly know how to
from
one to
nine- ty
They know that
fly.
-
two.
And
A1 -
A BLOSSOM FELL Slowly ( f i r
I
A Blos- som
I
me
1
blos-som on - ly
a smooth style)
Fell
The
Words and Music by HOWARD BARNES, HAROLD CORNELIUS & DOMINIC JOHN
from off a
gyp- sies
say,
touch - e s lips that
tree
and
lie
- It set-tled
I
A
know
Blos - som
soft-ly on the lips you turned to
why
Fell
fall - 'ing
A
and
ve - ry
Copyright @ 1954,1955 JOHN FIELDS MUSIC CO. LTD. ENGLAND (Renewed) Sole administrator for the U.S.A. SHAPIRO BERNSTEIN & CO. INC. Internatio~~al Copyright Secured Made In U.S.A. All Rights Reserved
.-
~-
loved
1 I
I I
ev
m
-
e
You said you
er The dream h a s
Blos - som Fell
and
loved
end
-
m
ed
e We planned to
-
touched two lips that
For true
lied.
love
- geth - e r - To dream for -
d
i
A Blos- som
e
d
The night
A
lied.
A Blossom Fell - 2 - 2 i
CALYPSO BLUES Words by DON GEORGE
*Use A minor chord forentire song
Music by NAT "KING" COLE
Bongo Tempo (nottoo fast)
Chant: n
*4m - 00 - 00 wa
-
00,
Sit-tin' by de o
-
cean
00-
wa-oo - wa-oo -wa-oo wa- ay
I I
-
me heart she feel so-
sad,
Calypso Blues - 6 - 1 Copyright 1950 - 1951 by IVAN MOGULL MUSIC CORPORATION Copyright renewed 1977 by IVAN MOGULL MUSIC CORPORATION and RICK1 MUSIC, INC. IVAN MOGULL MUSIC CORPORATION A Division o f FILMTRAX COPYRIGHT HOLDINGS INC. International Copyright Secured Made In U.S.A. All Rights Reserved
r
I
Sit. tin' by de o
I
,
got de mon-ey
1
I
I
Calypso Blues - 6 - 2
-
cean
me heart she feel
to take me back to
Trin- i
so-
-
sad,
dad,
Don'
I
-
yon-kee hot dog
don' treat me stom-ach ver-y
nice.
-
In Trin- i dad
I
plen- ty fish
~ a l ~ Blues ~ s o- 6
-3
to
fill de boat;
one bush-el bread,
one dol-lar bqy
one bar-re1 wine,
Pa-
an'
I
cup
of cof
-
fee, ham-
on
rye.
1-
1 :
I"
Dese yon-kee girl
I I
=
1 1
I
1
1 1
I
I
black de root,
I " pads are
I
e-
1-
good
a
Calypso Blues
-6-5
I
where
,
-
ven think
lot,,
1 1 I
1 1
1
I
=
I
I I
1
1 1
I 1 1
I I I I I I I I 1 1 1 -
1
1
I I
.
I 1
give me big scare
1
I I
is blond de hair,
her eye-lash false,
.he girl she ain't;
she jit - ter- bug
I
her
is
-
r
name is
what you
I
false
see,
I I
I
I I
r
bul cal
is
I
1
I
I
1
1
1
I I
I
-
her face is
-
is
I
1
I I
I I
paint
I I
'an
I
when she should waltz,
-
yp
-
so
what she
girl
got.
is
I
Sit-tin' by be o
I-
- got de mon-ey
-
-
cean
meheartshe feel so-
to take me back to Trin - i
sad,
-
dad.
Chant:
I
Wa-00-00 w a -
-
Calypso Blues 6 - 6
00,
oo-wa-oo-wa-oo-wa-oo wa-ay
"
DARLING, JE VOUS AIME BEAUCOUP Words and Music bv
Dar - ling, Je
I
I
vous
You k n ~ w , ~ o u ' v ecorn
-
Morn - ing, noon and
aime beau - coup,
- plete - ly
Je
st01 - en my
night - time too,
ne s a i s pas
heart.
Tou - jours won - d'ring What you
I 4 Darling, Je Vous Airne Beaucoup - 2 - 1 copyright@ 1935 by FRANCIS DAY S.A. Copyright Renewed, All Rights for the U.S.A. Cor~trolledby CHAPPELL & CO., INC. International Copyright Secured Made In U.S.A. All Rigl~tsReserved
do,
I-
But I hope that
you com-pree
All the things you mean t o
me.
Dar- ling,je vous
I REMEMBER YOU
Words by JOHNNY MERCER
I"
\la8
in
it
Ta - h i
-
Music by VICTOR SCHERTZINGER
ti:
on the
A Little Faste
i
I Remember You - 3 - 1
--Copyright O 1942 by PARAMOUNT MUSIC CORPORATION Copyright renewed 1969 by PARAMOUNT MUSIC CORPORATION International Copyright Secured Made In U.S.A. All Rights Reserved
Refrain- Moderato, Not Too Fast, Expressively
I
re - mem - ber
ew
kiss -
You're the one
I Remember You - 3 .. 2
es
who
a
-
g
said: "I
love you, too."
I
do.
Did - rr't
~oii
G I I
(
-
FP7
-
I
I
-is I
I I
I
r
When my life
I-
the
Am7
-
mem
I
I
I'
I Remember You - 3 - 3
-
them
-
1
rl
I
I
'I
I
-
A
I 1
1
F
1
1
then
D7
/
-
1 ,
A
Am
E7-9
h t..
7
I
I
I
a n - ~ c l s a=k me
all,
1
you.
bet
I i
and the
I
I
1
-
1 I
-.
Bm7-5 I
, I
I I
I
I
I
S
AS
1
r~
1
through
ll. G
1 I
1
I
l
thriil of
D7-B
I
1
1
I
G
I
I
I
Y
re - rail
to
shall
tell
D7-B DO D7-8
AT-9 II
A
a
1.
I.
I.
A
-
1
13
--
1
I
I
them
Do
rddB
1
re -
G
I
LET T H E R E BE LOVE ,
Words by IANGRANT
Music by
.LIONEL RAND
I
I
Let there I
I-
-
be
you
I
And let there be I
I
oy
Let there be
Let there be
-
wind,
sters
me
1,
Un-der the
An
sea
oc - cas
-
Let There Be Love - 3 - 1
a
Copyright 1940 SHAPIRO BERNSTEIN & CO. INC. (Renewed) New York, N.Y. l~lternationalCopyright Secured Made In U.S.A. All Rights Reserved
- ion -
a1
I
I:
rain
-
Chi
- l e con
And spark-ling cham - pagne
-
car
Let there be I
t
I
To sing in the
i Let There Be Love - 3 - 2
trees
I
ne
birds
I
When- ev - er
-
I
Let there
sneeze
B bme
n'-
-
Y
7
--
cuck
-
-1
--
oos,
7 -.
&-
m
Gm7
I a
F I I
I
I I
I
I
I
A lark
-
I I
1
and
1
t I
1
be
A
-
\
I
I
a
dove
LET THERE BE
Let There Be Love - 3 - 3
IT'S ONLY A PAPER MOON Words by BILLY ROSE & E.Y. HARBURG
r
v
--
Music by HAROLD ARLEN
I I I
place.
I
I
1
b w
p.
l-
I
1
I
1
4
I
Mmm,
I
mm,
It's Only A Paper Moon - 4 - 1. Copyright @ 1933 by ANNE-RACHEL MUSIC CORP. Copyright Renewed and Assigned t o CHAPPELL & CO., INC. (INTERSONG MUSIC, PUBLISHER) and WARNER BROS. MUSIC in the U.S.A. Made In U.S.A. All Rights Reserved International Copyright Securcd
-.
rn L I
1
I
1
I-
I-
-
r
I
You
mm,
Say, it's
card-board
sea,.
( It's Only A Paper Moon - 4 - 2
smile,
on- ly
I
the bub - ble
pa
a
But
-
1
has
-
a
Uw ' rain -bow
per moon,
i t would-n't
Sail
be
make
I
in
-
ing
be
it.
o
- ver
- lieve,
a
If you-
in
-
It's Only A Paper Moon - 4 3
-
me. -
Yes,
it's o n
- ly
a
It's Only A Paper Moon -
4-4
I
LOVE IS THE THING
Lyric by NED WASHINGTON
1
My
-
d a r ling, a l l a - round us 6 0 - ~ 1 eclam- or,
C
Em
Am
own,
T'he
on
They're s t r i v - i n g for the things t h e i l l nev-er
B7
-
Music by VICTOR YOUNG
Em
ly t h i n g t h a t h a s -n't lost i t s
G
glam-our
C
D7
love and love 'a -
Is
G7
Gaug
lone.
i CHORUS
c
1"
What does it mat- ter if we're rich or we're ~ o o r ?For-tune and fame.Thev nev- er en-dure, Oh.
I
Am
F
I
C
G7
C
Cdim
r Em Edim F
1
Dm
I
Em G
I Copyright 0 1933 by MILLS MUSIC, INC. Copyright Renewed Internatior~alCopyright Secured Madc In U.S.A. All Rights Reserved
G7
r
F
G7
Cdim
C
Cdim
Dm
C
G7
F
G7
Em Edim
Gaug
C
G7
B7
Edim
A
- a n d me, at's free, Love for nyou
F
love is still K i n
Love is t h e
G7
thing!
C
Cdim
Dm
G7
55
LOVE LETTERS
Words by EDWARD HEYMAN
Music by VICTOR YOUNG
Moderatelv Slow with exvression
1
The
I
know that you
sky
may
be
star
- less
the
lo\.e me. You lo\.e me,
nkht
I
;ay
be
be - cause you told
moon
- less.
me
sol
But
deep
1.-. -1
Love Letters - 2 - 1 Copyright @ 1945 by FAh4OUS MUSIC CORPORATION Copyright renewed 1972 by FAMOUS MUSIC COIWOKATION Interi~ationalCopyright Secured blade In U.S.A. . A11 Kights Rererved
in
my
I
'
And,dar-ling, then I
sign
Love let
I
- ters
straight from your
xs Love Letters - 2 - 2
rcad a - gain right fromthc
-
heart
start
1
LUSH LIFE Words and Music by BILLY STRAYHORN
I
I-
I
used
to
vis
may pla-ces Where one re
feel of life
-
it
-
lax-es on the ax is of the &eel
all
the ver - y
gay pla - c e s Those come what
-
of life
to get the
The girls I knew had sad and sul-len
from jazz and cock- tails
P I
-
gray fa- ces With dis-tin I
- que tra- ces,
That used to
be there you could see where they'd been
I
Copyright @ 1949 by TEMPO MUSIC, INC. Copyright Reliewed NI Rights Keservcd Inteinational Copyright Secured Made In U.S.A.
Abm7
1
-
I
I
D7/A
washed a -way-
your si
-
Lush Life - 3 - 2
~5619
D9
Db6/9
C7(#5) Frn
-
to
I
tempt me to mnd-ness-
Ah! yes I was wrong
-
59
Then you came a lbng with
by too man-y t h r o w the day helve o' clock tales
- rer. s o n g
Fm6
thought for a while that
a gain I was
wrong-
I
life is i w - ful 'a
-
pain a
tram- ful
bf
hearts could on- ly be
week in Pa-ris wiil ease the bite of
I
I'll f o r - & t you 'I
I
mance is mush sti-fling
I
there I11 be, while I
Lush Life - 3 - 3
ile
w i l l while yet you i r e
those ~ v h ostrive-
a
still burn- irlg in - side my
live a LUSH LIFE
1'11
rot with the rest
of
it1
in s p i t e. L i t
Ro -
brain
some small dive-
those whose lives are
'I-
A
bore
lone
-
- ly
And
too.
MOON LOVE Words and Music by MACK DAVID, MACK DAVIS & ANDRE KOSTELANETZ A
Voice
I
1
1
w
w
.
Molto Moderato con espressione
~b
ere
your
in
night
arms
You're
sor - row
re
-
place this
The
-
di
vine
to
world
-
is
night.
-
t o - mor row?
Moon Love - 3 - 1 Copyright 1939 by FAMOUS MUSIC CORPORATION Copyright Renewed 1966 and assigned to FAMOUS MUSIC CORPORATION International Copyright Secured Made In U.S.A. All Rights Reserved
mine
But
to
will
-
Refrain
I
gone
v
3
y
-
I
A
moon
~ b 7
when
the
I
I I
I 1
I
dawn
I 1
I
-
comes steal
V,.
I I
I I
-
1
I I
u u" 4 dreams~ g n d w h i l e the
1 I
L
ing through?,
--beams?-
1 1
I
I d
r~
moon
-
Are these just
I
I I I A
Much as
-But when theI
I
I
I I
A
1
Don't let
with
11 me
Moon Love - 3 - -2
me
lone
it's
I must
love
-
true
Say it's
love
-
Say you'll
not
be
pay
moon
mine
for
love
when
your
-
the
RED SAILS I N THE SUNSET Words by JIMMY KENNEDY
SIowIy (kith expression)
Red
J
-
Music by HUGH WILLIAMS
88
Sun - set
Sails In ?he
'Way
out on
the
sailed at
the
-
Oh!
I
Home safe - ly
Red Sails In The Sunset - 3 - 1
to
car-ry my
loved
one
me.
He
v
Copyright@ 1935 (Renewed) SHAPIRO RERNSTEIN & (30. INC. New York, N.Y. International Copyright Secured Made In U.S.A. All Rights Reserved
d dim
I83
I
All
Red
Sails In
The
Sun
-
day I've -been
blue
set,
I'm
I
trust - ing
in
C7
I
you.
I
shore
Red Sails In The Sunset - 3 - 2
Swift
wings you must
We
bor - row
mar - rv
to
Make straight for the
-
mor
-
row
I
And he goes sail - ing
no
C
Cm6
+ na
I
I
'Way
A
I 1 I I
I\ I1
I
I
I
I
I
4
1
out on the
Cfdim
&
-
I
I
1
me.
Red Sails I n The Sunset - 3 - 3
rn
. I
\
I
I
I
L.
I
-
I I
L
Oh!
me.
A
I\
0
sea
to
.
ddim
D7
In.
Home safe - ly
I
Sun set
. m b
C
I*
Rq , R q
-
Red Sail In The
more
11
-
1
I
-
car ry
my
1
STRAIGHTEN UP AND FLY RIGHT Words and Music by NAT "KING" COLE and IRVING MILLS
Moderato ( n o t fast)
.
.
Verse
I"
A
I#B buz- zard took
a
mon .- key
m
Str@ten
y thowht
e
And
Right
-
that Zv-.ry- thing ;is
'
bb
the
far
a
$uaie.-
ride
in
the
air,
The
The ' bw-zdrd tried to throw the mon-key
Copyright @ 1944 AMERICAN ACADEMY OF MUSIC, INC. Copyright Renewed All Rights Reserved Made In U.S.A. International Copyright Secured
I
i
-
Ain't no use in div
Straighten Up And Fly Right - 3 - 2
-
in;-
\i'hat's t he use i n div - in' ,?
STWGH-TEN UP AW FLY-
I-
chok-in' me,-
1
dead in th; eye, And saidrk'our
I
STRATGH-TENL?ANDFLY - RIGHT!,
Straighten Up And Fly Right - 3 - 3
Re - lease your bolt and I will
sto-ryh
set you free:-
so touch-ing,
it
he norrkey looked the buzzard right
sounds just like a
Cool-dolvn ,Pa-pa, don't you blow your top.-
'
lie?
A
blow your top.
-
TANGERINE
Words by JOHNNY MERCER
Music by VICTOR SCHERTZINGER
Molfc moderato con espressione
-
-
I
I
- And thinkthetalesare just a bit ex - treme,
Wait till' you see her lace
Tangerine - 3 - 1 Copyright @ 19 42 by FAMOUS MUSIC CORPORATION Copyright renewed 1959 by FAMOUS MUSIC CORPORATION International Copyright Secured Made In U.S.A. All Rights Reserved
D7+
I
I
I
I
1 I
m
I I
1
0
is
She he
I
I
I I
I
8 Tangerine - 3 - 2
I
1 1
.
I I
1
I
I
I
I
1 I
rJ
I
all they
.~
+ ' 1
1
c cia=
Witb her
I I
1 I
tt
I
1
I
.
I
I
I I
I
cross
the A r . gen
-
Yes, she
tine,
h a s them a l l
run
Tangerine - 3 - 3
But
her
h e a r t be
- lones
to
iust
one
Her
"heart be
the
a poco
dim. p o r o
I
02
-
longs
--
to
TONIGHT YOU BELONG TO ME BY
BILLY ROSE and LEE DAVID
Valse moderato
Voice ~b
I
Don't
seems.
Tonight You Belong T o Me - 3 - 1
let
your
pride,
Hide what%
'
Copyright @ 1926 by CHAPPELL & CO. and C & J MUSIC CO. Copyright Renewed lnternatinnal Cnnvrioht S r r r ~ r r r i M a A r In I T S A A l l Riohrs R r c r r v r A
iq
-
I
side,
Don't close the
door on
your
dreams.
Chorus
Though %u
r
be
- iong
to
I
some
- bod-
I
else,
ko- night
El,
you be-
Down
I"
by the
stream,
me!
me!
Tonight You Belong To Me - 3 - 3
how
I
sweet
it wiLl
seem,
(Get Your Kicks On)
ROUTE 661 Words and Music by BOBBY TROUP
Medium Tempo
I
If
y
o
u ev
- er
plan to mo
-
tor
west
-
-
Trar el
my way fake the
I
high-way that's the best .-
I
I
It
I
milee
all the
Get your kicks
-
winds, from Chi - ca go to
way.-
L.
A., -
Get your Licks
on ROUTE SIX-TY- SIX!,
More than two,
on ROUTE SIX-TY-SIXI-
-
Route 66 2.- 1 Copyright@ 1946 by EDWIN H. M O R N S & CO. INC. Copyright rerlewcd and assigned 1 9 7 1 to LONDONTOWN MUS[C. Internatiorial Copyright Secured Made In U.S.A. All Rights Rescrvcd
thou-sand
1
When y o u
-
Route 66 - 2 2
maha that
Cal
- i - for - nia
trip-
Get your
-
STAR DUST Words by MITCHELL PARISH French translation by Yvette Baruch
Music by HOAGY CARMICHAEL
Moderately
FmG
C7+5,
B
A
1-
I-
0
r w
n r
u r
ml.
1
=I
1
I
Some- times
un -
t
I
cAan- on.
our
Quard
a
1
I
I rn
1
-
mtl - o
-
mour
/GI
I
I
I
I
I
1
r
spend
the
I
I I
hanfr
lone - ly
ri: . r r .
mo
&.
i
night
.And
I a m once a - gain with
M o n rir,r m t franl-portr d a n ~ I t 1
re.
in-spir -
and each kiss an
new,
k++-
I I
1
haunts m y rev-er-ie.
dzt
love was
I
w
I
why
The me1 - o - d y Sa
When
I I
1
won - der
D r e a m - i n g of a song, Commt
1
a
tion,-
jrunr,
i But 151
t h a t was long a ann
- Ct;
-
zonf pazr
go: now m y con - so - la - tion
- /rr
rf
ma
ton
-
lo
-
:a
-
Iron
is 1'4
-
in Itvt
the star dust of d
Stardust - 2 - 1 Copyright O 1929 (Renewed 1957) by MILLS MUSIC, INC. All Rights Reserved International Copyright Secured Made In U.S.A.
f/
-
a
forlr d'unt t h a n -
I
-
1-
song. Ion,
you
are
in
rl
danr
my
arms.
7'hc
brni,
I*
rnt~
of par - a - dise, where ros - es
n i ~ h t- in roJ I:
gr
-
gale
.
gnoit
Tho' Donr
than
- son
d a n ~ la
nu11
1
I
frain.
I
1
mon
(
-
lorlt
tell>
I
mon
dream
in
hi,
fair - y
v
rgrr
l a - mour
,
Some - times I
frain.
--
talc.
SMILE Words and Music by TURNER, PARSONS, CHAPLIN Moderately, with great warmth
Smile - 2 - I
Copyright@ 1954 by BOURNE CO. Copyright Renewed. I n t e r ~ ~ a t i o ~Copyright lal Sccurcd Made 111 U . S . A .
All Righrs Reserved
-
I"
~1
I
time
'
-
tl:ol
ti
you
may
tear
must
keep
be
or1 t r y
-
ev
irlg,
SMiLb,
er
so
what's the
rlear,
use
That's
of
the
cry - ing,
THAT'S MY GIRL Music by RAY ELLINGTON
Words by BARBARA TOBIAS
I
look at her,
'
s h e b e - l o n g s to me.-
That's My Girl - 2 - 1 Copyright @ 1951 by IVAN MOGULL MUSIC CORPORATION (Copyright Renewed) A Division of FILMTRAX COPYRIGHT HOLDINGS INC. All Rights Reserved International Copyright Secured Made In U.S.A.
KOw
~b 6
I"
-
keep-ing m y fin-gers crossed.
That's My Girl - 2 - 2
Edim
'Cause
hat's
.
.
!ilY Oirl!,
Ar~tlshc; poll
-
.
II:I
stax
I
THESE FOOLISH THINGS (Remind Me Of You) Words and Music by MARVELL, STRACHEY, LINK EL
I
I
Oh! will you nev-er let me
be?
rbs
Oh! will you nev-er set me
AL
7
Are still a- round us,
DLe
The ties that bound us,
free?
F7
Gb 7
T h d b no es-cape that I
can
see.
These Foolish Things - 4 - l
Copyright @ 1936 by BOOSEY & CO., LTD. Copyright Renewed. All Rights for the United States, Canada and Newfoundland Assigned to BOURNE CO. International Copyright Secured Made In U.S.A. All Rights Reserved
UL
I
I
And still those lit-tle things re- main,
That brlng me happi-ness or
pain.
CHORUS A
,
1. A cig - a-rette that bears a ~ i ~ s t i c tra-ces, ds 2. First daf- fo-dils and long ex - cit - ed ca- bles, 3. Gar- de-nia per-fume ling-'ring on a pi1 - low,
&d still my heart has wings. And still my heart has w i n g s . And still my heart has wings. -
man - tic pla-ces, cor - ner ta-bles, francs a ki - lo,
Thest Foolish Things - 4 - 2
An air- line tick-et to roAnd can-dle lights on lit - tle Wild straw-b'ries on - ly sev - en
I
THESE FOOL-ISH THESE FOOL-ISH THESE FOOL-ISH
I--
1".
next a - part-ment, bell has sound-ed, scent of ro - ses,
you.
g:
These Foolish Things - 4 - 3
Those stumb-lingwords thgt G d you The "Ile de ~ a n c ~ all t h the the The w a i t - e r s w h i s t - l i n g a s
You came, How strange, How strange,
x
ou saw, ow sweet, how sweet,
I
what my heart &ant, gulls a - round it, last bar c l o - s e s ,
you con- quer'd to find you to find you
me. stid; still;
When you did These things are These things are
thrat to rke, dear to me, dear to me,
I
They They
kAew sdme-dew this seem to bring you seem to bring you
had ir, be. near to me. near to me.
heart a danc - er, emp- ty sta-tions, e wrul of steam-ers,
!
I These Foolish Things
1
THESE FOOL-ISH
WHEN I TAKE MY SUGAR TO TEA Words and Music by SAMMY FAIN, IRVING KAHAL and PIERRE NORMAN
Moderato
VOICE ??ID
1-
I
-
I'm just
ad l i b .
since
I
met-
A
my L l
sug
-
ar
been r e - veal- in'
that they're feel- in'-
sore.
Gm7
Caug
a l i t - t l e "Jack-ie
hat g a n g
cane.-
F
I-
Ddim
~ b 7 C7
F
Hor-ner"
of
mine h a s
Ddim
I left the lamp-light
I
When I Take hly Sugar T o Tea - 4 - 1 copyrightQ 1 9 3 1 bv FAMOUS MUSIC CORPORATION Copyright Renewed 195k by FAMOUS MUSIC CORPORATION Intern3tional Copyright Secured Made 111U.S.A. All Rights Reserved
I'm do
-
ing things I
nev - kr did,
be
-
fore:
REFRAIN F
Cdim I
I When I Take My Sugar To Tea - 4 - 2
Cdim
F
Cdirn
F
C7
D7
F7 Cdim
1-
gang
I-
af
-
goes,-~hen I
ter
-
noon,-
When I Take My Sugar To Tea - 4 - 3
take my sug-ar t o
We
-
fbr get
a
tea.
- bout
BL Ev-'ry
our
cares,-
Sun
-
day
I
F
F
Cdim
When 1 Take My Sugar To Tea - 4 - 4
C7
I
Cdim
C7
D7
"
WHERE CAN I GO WITHOUT YOU?
Words by PEGGY LEE
Music by VICTOR YOUNG Slowly
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went to
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E -ven ln Swit- z e r - 1 4 . your mem-'ry came through,
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Where Can I Go Without You - 2 - 1 Copyright 0 1 9 5 2 by IVAN MOGULL MUSIC CORPORATION (Copyright Renewed) A Division of FILMTRAX COPYRIGHT HOLDINGS INC. Internatior~alCopyright Secured Made In U.S.A. All Rights Reserved
I
WHERE CAN
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ro
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plac
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YOU?
If
you can't
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want
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me.
Back on
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GO WITH - OUT
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- well to
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WHERE CAN
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GO WITH
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Where Can I Go W i t h o u t Y o u - 2 - 2
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T W I L I G H T ON T H E TRAIL Words and Music by SIDNEY D. MITCHELL and LOUIS ALTER
Molto Moderato
Refrain
Eb
Ab
Bb
Gm
Ab
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Eb
Frn
Ab
When it's
Copyright 0 1935 Pr 1936 by FAJvlOUS MUSIC CORPORATION Copyriglit renewed 1962 81 1 9 6 3 by FAMOUS MUSIC C O ~ O R A T I O N International Copyright Secured Made In {J.S.A. All Rights Rrserved Twilight On The Trail
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Twilight On The Trail - 3 - 2
Edim
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Twilight On The Trail - 3 - 3
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~n-der-neath the lonesome pine
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on the
YES! W E HAVE NO BANANAS 1 3 ~
FRANK SILVER and IRVING COHN
Moderato
Iw
Greek S8Y
And he keeps good things to eat Rut "send me Pete and Nick and Jini, I
I
When you When he
ask him
an
got them
in
- y - thing the
store
Nc
you shouldhear him speak need help right a - way"
- ver
Therewas
I
iln
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fun, sou
"110"
hot
Yes, We Have No Bananas - 3 - 1 Copyright OMCMXIII by SKIDMORE MUSIC CO., INC., New York, N.Y. Copyright Renewed MCML and assigned to SKIDMORE MUSIC CO., INC. International Copyright Secured Made In U.S.A. All Rights Reserved
-
He just " y e s ses!' you to death And Sonie one asked for 'spar row -grass9And
as he takes your then the whole quar
-
-
dough-he tette- all
tells you: ans -wered:
I Chorus C
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YES !
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V
na - n a s
BAH-gos
We
-
to
and
Yes. We Have No Bnnnnas - 3 - 2
have no
ba
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na
- nas
We
\Ve've string beans
day
scal -lions
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And
all kinds
of
and
fruit and
have no
ba
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HON- ions,
cab
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say
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\Ye have a n
Is -land
Long
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have no
ba
day.
Yes, We Have No Bananas - 3 - 3
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na
fash-ioned to
old
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MAH-to
YES!
But
TAH-to
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ba
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we
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na naa
to
-
... It was during this cushy engagement at the Swanee Inn in Los Angeles,
that Cole suffered another humiliating setback - or so, at leasc it seemed to him at the time. One of those inevitable lushes in the audience, who wouldn't have known a dissonant chord fmm a harpsichord and wouldn't have cared, came stumbling to the bandstand and demanded that Nut sing his favorite tune "Sweet Lorraine." Not was gentle. ' W e don't sing," he said softly. The portly patron was in no mood to be put off; however. He brought his eyes to focus on Cole and in the voice of a platoon sergeant commanded, "Sing!" That brought the manager of the place on the double. He summed up the situation on his mental cash register and gave Cole the word: "Sing. This guy's a big spender. Sometimes three bucks a night" Nut Cole sang, nervously, reluctantly and, although there were no critics around at the time to comment on his performance, probably not very well. That voice was to become among the best-known in the world of popular music.
ORRAINE
THOSE LAZY-HAZY-CRAZY DAYS NFORGETTABLE
WHEN I FALL IN LOV + ;+w,f2i5F$' )c &&PJ- * a h many di
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