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  • 李，佩姬：多好的一天（1941-1950年录音）
    LEE, Peggy: Its a Good Day (1941-1950)
    专辑号：8.120642
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• • 李，佩姬：多好的一天（1941-1950年录音）/LEE, Peggy: Its a Good Day (1941-1950)
  • [ 介绍 ]
  • PEGGY LEE "It’s a Good Day"Original Recordings 1941-1950Peggy Lee’s interpretations have been viewed as "minimalist" but in retrospect miniaturist seems a fairer classification, for like few other recording stars of her generation this rare master of the ‘three-minute saga’ shone at making something clearly mapped-out sound totally spontaneous. A perfectionist with a great ear, Miss Lee’s discography of over 600 items shows a consistent skill before the microphone. Firmly rooted in Swing, she acknowledged a preference for that style as well as a debt to her association with Benny Goodman but, an individualist who kept faith with blues while remaining receptive to more modern developments, she hoped nonetheless to be remembered for her own unique and multi-faceted contribution as a solo vocalist. Peggy was born Norma Deloris Egstrom into a family of Swedish and Norwegian ancestry, in Jamestown in rural North Dakota, on May 26, 1920. The future singer, songwriter and film actress endured a difficult upbringing at the hands of a violent stepmother and an alcoholic railway-worker father but in spite of obstacles and hardships emerged to make her début as a vocalist on local radio at sixteen. From high school she went briefly (and unsuccessfully) to Hollywood but later, while working as a waitress in Fargo, North Dakota, doubled as a vocalist on the WDAY radio station where the manager fortuitously gave her the name ‘Peggy Lee’. Thereafter, she gradually made a name on the Midwest nightclub circuit and, in the late spring of 1941, was heard in the vocal group The Four Of Us at Chicago’s Ambassador West Hotel by pianist-arranger Mel Powell. Through Powell she met Goodman, who viewed her initially as a replacement for Helen Forrest, then about to leave his ranks for the Harry James Orchestra. Hired initially by Goodman for a College Inn engagement ("I guess we’ve got to get somebody for Helen!", was the clarinet ace’s apocryphal comment) Peggy passed muster and was allowed to stay on. With the bulk of her arrangements made to measure by freelance trumpeter-composer Eddie Sauter (1914-1981) she went on tour, broadcast on coast-to-coast radio with the Goodman band and with them had soon recorded a string of charted US popular hits. These included her first, "I Got It Bad And That Ain’t Good" (No.25 — from the Duke Ellington revue Jump For Joy), Blues In The Night (trombonist Lou McGarity (1917-1971) also features in this No.20 Goodman Sextet version of the Oscar-nominated Johnny Mercer-Harold Arlen title-song of the 1941 Warner Bros. film-musical), My Little Cousin (No.14) and the million-selling Why Don’t You Do Right? (a US pop No.4 this last, a ‘cross-over’ imitation of a blues originally recorded and featured by black vocalist Lil Green, she performed with Goodman in the 1943 Sol Lesser film-musical Stage Door Canteen). In 1943 Lee left Goodman after marrying his guitarist Dave Barbour (1912-1965), the New York-born swing bandleader who became her musical director from late 1944 when she resumed her career as a solo vocalist. Among their early successes were That Old Feeling (a revival of an Oscar-nominated Sammy Fain song from the Walter Wanger film Vogues Of 1938), Sonny Skylar’s Waiting For The Train To Come In (US No.4 hit) and Herb Magidson’s Linger In My Arms A Little Longer, Baby (No.16 hit) in addition to various Lee-Barbour collaborations, most notably I Don’t Know Enough About You (No.7 hit) and It’s A Good Day (No.16). Backed by the Barbour band, in 1947 Peggy had a US No.2 with Jay Livingston and Ray Evans’ Golden Earrings, while Caramba, It’s The Samba! clocked in at No.13. Their 1948 hits included Willard Robison’s memorably droll homily Don’t Smoke In Bed (No.22) and a Latin-American No.1 (with their own Ma？ana) and outstanding among their 1949 hits was this cover version of Bali Ha’i from South Pacific. Popular on radio from the late 1940s onwards, Peggy Lee’s activity extended also, albeit sporadically, to the silver screen. Cameos in 1943 with Goodman in The Powers Girl (United Artists) and Stage Door Canteen were followed by more prominently vocal appearances in Mr. Music (Paramount, 1950, with Bing Crosby) and The Jazz Singer (a 1953 Warner remake of the 1927 Jolson original). In 1954 she performed the title song to the Republic western Johnny Guitar and during the following year provided the voice-over to Disney’s Lady And The Tramp (for this she wrote songs, including "He’s A Tramp") and received an Oscar nomination for her role in the Warner cult film Pete Kelly’s Blues. In 1956 she had a Top 20 hit (her last for Decca) with "Mr. Wonderful" then, in 1958, back on the Capitol label, a Top 10 hit with "Fever". In 1969 she won a Grammy award for "Is That All There Is?" and from then until the late 1980s continued to take club audiences by storm. In 1991 she won a multi-million-dollar lawsuit against Disney, in respect of unpaid royalties accruing from the video re-release of Lady And The Tramp. In 1993 she recorded a duet with Gilbert O’Sullivan and in 1994, although wheel-chair bound, sold out a Royal Festival Hall booking with the Brandenburg Symphony Orchestra (an eagerly awaited event which was sadly cancelled when it emerged that its promoter was a conman).Peggy Lee died in Los Angeles, California, on 21st January, 2002Peter Dempsey, 2002 PersonnelBENNY GOODMAN & HIS ORCHESTRA2nd October, 1941: Benny Goodman, clarinet; Billy Butterfield, Jimmy Maxwell, Cootie Williams, Al Davis, trumpets; Lou McGarity, Cutty Cutshall, trombones; Skip Martin, Clint Neagley, alto sax; Vido Musso, George Berg, tenor sax; Chuck Gentry, baritone sax; Mel Powell, piano; Tom Morgan, guitar; John Simmons, bass; Sid Catlett, drums24th December, 1941: (SEXTET) Benny Goodman, clarinet; Lou McGarity, trombone & vocal effects; Cutty Cutshall, trombone; Mel Powell, piano; Tom Morgan, guitar; Sid Weiss, bass; Ralph Collier, drums5th February, 1942: Benny Goodman, clarinet; Jimmy Maxwell, Al Davis, Bernie Privin, trumpets; Lou McGarity, Cutty Cutshall, trombones; Clint Neagley, Sol Kane, alto sax; Vido Musso, George Berg, tenor sax; Chuck Gentry, baritone sax; Mel Powell, piano; Tom Morgan, guitar; Sid Weiss, bass; Ralph Collier, drums27th July, 1942: Benny Goodman, clarinet; Jimmy Maxwell, Lawrence Stearns, Tony Faso, trumpets; Lou McGarity, Charlie Castaldo, trombones; Hymie Scherzer, Clint Neagley, alto sax; Jon Walton, Leonard Sims, tenor sax; Bob Poland, baritone sax; Mel Powell, piano; Dave Barbour, guitar; Cliff Hill, bass; Hud Davies, drumsTHE CAPITOL JAZZMEN (*track 5 only; **track 6 only)7th January, 1944: *Pete Johnson, piano; Eddie Miller, tenor sax; *Barney Bigard, clarinet; *Les Robinson, alto sax; *Shorty Sherock, trumpet; Nappy LaMare, guitar; Hank Wayland, bass; Nick Fatool, drums; **Stan Wrightsman, celesteDAVE BARBOUR’S ORCHESTRA27th December, 1944: Billy May, trumpet; Heinie Beau, Harold Lawson, Maurice Stein, saxes; Milt Raskin, piano; Dave Barbour, guitar; Artie Shapiro, bass; Nick Fatool, drumsSimilar personnel for 30th July, 1945; 26th December, 1945; 11th April, 1946; 12th July, 194623rd & 24th September, 1947; 2nd December, 1947: Ray Linn, Zeke Zarchey, trumpets; Heinie Beau, clarinet; Benny Carter, Herbie Haymer, saxes; Buddy Cole, piano; Dave Barbour, guitar; Red Callender, bass; Nick Fatool, drums; Red Norvo, vibraphone; and others25th November, 1947: Dave Barbour, guitar; with the BANDO DA LUA plus brass, flutes and reeds11th March, 1949 & 16th January, 1950: Studio orchestra, unknown personnelCHARLES WOLCOTT’S ORCHESTRA1946: Studio orchestra, unknown personnel Transfers and Production: David Lennick. Digital Noise Reduction: Graham NewtonPhoto of Peggy Lee (b/w original, Michael Ochs Archives)
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      为什么你不作对的事？Why Dont You Do Right

      

      1:你为什么不学好？ Why Dont You Do Right

      03:12

      我的旧情人My Old Flame

      

      2:我的旧情人 My Old Flame

      03:06

      夜之蓝调Blues In the Night

      

      3:夜晚的布鲁斯 Blues In the Night

      03:13

      我的小表妹My Little Cousin

      

      4:我的小表弟 My Little Cousin

      03:14

      并非无处可去Aint Goin No Place

      

      5:并非无处可去 Aint Goin No Place

      03:01

      旧情That Old Feeling

      

      6: 那段旧情 That Old Feeling

      02:42

      宝贝，你是对的You Was Right, Baby

      

      7: 你是对的,宝贝 You Was Right, Baby

      02:28

      等火车到来Waitin For The Train To Come In

      

      8: 等着火车进站 Waitin For The Train To Come In

      03:08

      我对你不够了解I Dont Know Enough About You

      

      9: 我不够了解你 I Dont Know Enough About You

      03:19

      宝贝，你可以依靠我Baby You Can Count On Me

      

      10:宝贝，你可依靠我 Baby You Can Count On Me

      03:08

      宝贝，让我再多抱你一会Linger In My Arms A Little Longer, Baby

      

      11: 让我再多抱你一会儿，宝贝 Linger In My Arms A Little Longer, Baby

      03:03

      好日子Its A Good Day

      

      12: 美好的一天 Its A Good Day

      02:51

      俪影双舞Two Silhouettes

      

      13: 俪影 Two Shilhouettes

      02:50

      我将在你的婚礼上跳舞Ill Dance At Your Wedding

      

      14: 我会在你的婚礼上跳舞 Ill Dance At Your Wedding

      03:00

      金耳环Golden Earrings

      

      15:金耳环 Golden Earrings

      03:00

      不久以后Manana (Is Soon Enough For Me)

      

      16: 明天（对我来说够快了） Manana (Is Soon Enough For Me)

      02:58

      巴里海Bali Hai

      

      17:巴里海岛 Bali Hai

      03:09

      天哪！这就是桑巴舞！Caramba! Its The Samba!

      

      18:天哪！这就是桑巴舞！ Caramba! Its The Samba!

      02:45

      别在床上吸烟Dont Smoke In Bed

      

      19:别在床上抽烟 Dont Smoke In Bed

      03:08

      告诉该该如何离开这世界Show Me The Way To Get Out Of This World (Cause Thats Where Everything Is)

      

      20:请指点我如何摆脱这世界（因为这才是关键所在） Show Me The Way To Get Out Of This World (Cause Thats Where Everything Is)

      02:08

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