Book Nat King Cole Unforgettable

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

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Words by PEGGY LEE

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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

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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

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FRANK SILVER and IRVING COHN

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He just " y e s ses!' you to death And Sonie one asked for 'spar row -grass9And

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... 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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