A1 	When The Worlds Was Young 	3:30
A2 	Someday My Prince Will Come 	4:21
A3 	All Too Soon 	3:15
A4 	My Heart Stood Still 	3:33
A5 	My Ship 	4:30
B1 	Leave It To Me 	5:12
B2 	Whisper Not 	2:52
B3 	Blues By Five 	4:36
B4 	(Fly With Me To The Moon) In Other Words 	3:44
B5 	You And The Night And The Music 	2:35

Anita O'Day – vocals
Gene Harris – piano
Andrew Simpkins – bass
Bill Dowdy – drums

This strange (and strangely compelling) album is the most controversial of all O'Day's Verve Records releases, popular among O'Day's hardcore fans for the showcase that the Three Sounds' near-minimalist accompaniment affords her singing. On a lot of levels, however, it wasn't a successful record. The album was a one-shot collaboration that happened in the narrowest possible window-of-opportunity. the Three Sounds, having left Blue Note, were passing through the Verve roster, where they would be active for about a week in October of 1962, cutting two albums in that time including this one with Anita O'Day, who was leaving the label after 10 years there. Anita O'Day & The Three Sounds is as much a Three Sounds record as it is an Anita O'Day recording -- the group is represented by four instrumentals, including "Someday My Prince Will Come," "My Heart Stood Still," and "Blues By Five," cut at the same time as their album Blue Genes, while O'Day sings five songs. She is amazingly restrained and low-key throughout most of her work here; on songs like the sultry "All Too Soon," that works out fine, but elsewhere the fit between singer and group seems uncomfortable. There's very little excitement or tension to give her songs energy, and O'Day never interacts with the trio in any discernable way. Additionally, she seems uninspired in terms of any inventiveness, with long stretches of silence where one would have expected her to improvise. What is here is fine, her husky yet playful voice a wonder to hear on "When The World Was Young" (where Gene Harris's piano does come to life), but there's amazingly little life to the procedings. The one exception is "Whisper Not," which also has the distinction of featuring O'Day's Gene Krupa-era collaborator Roy Eldridge on trumpet and is the most successful cut here, as what one would look for on a more conventional Anita O'Day album. The mid-1990's Japanese CD reissue features a second, previously unissued Eldridge cut from the same sessions, a hot remake of his and O'Day's Gene Krupa-era hit "Let Me Off Uptown," with the two of them in a duet on their old 1940's hit. ---Bruce Eder, Rovi

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A1. But Not for Me    
A2. I Have a Reason for Living-My Love for You       
A3. Varsity Drag               play
A4. It Never Entered My Mind    
A5. Tea for Two    
B1. Every Time I'm With You    
B2. Have You Met Miss Jones    play  
B3. The Wildest Gal in Town    
B4. Star Eyes    
B5. Loneliness is a Well    
B6. The Song Is You

Personnel:
Joe Masters- Piano
Larry Woods- Bass
John Poole- Drums
Anita O'Day- Vocal

Recorded in her hometown of Chicago and opening with the rarely-heard verse of “But Not For Me,” this nice nightclub date is notable for containing three tunes by Joe and Eileen Albany: “I Have a Reason For Living,” “My Love For You,” and the poignant “Loneliness is a Well.” O’Day goes out of her way to introduce the composers on each of these songs, causing one to wonder exactly what kind of backroom deal she struck with the Albanys. The person who previously owned this LP wrote an exclamation point on the track listing after “The Song Is You,” but it’s actually kind of a wack closer. Still, a good live record **

Caught live with just her piano trio at Chicago's famous now-defunct nightclub, Anita O'Day is in an ebullient mood as she tosses off a series of standards and novelties. Whether this is an accurate snapshot of her live act is open to question; the stage business in between numbers seems rather formal and one doesn't really feel the excitement of a live performance. Yet O'Day is clearly in a creative mood, whether allowing her vulnerability to show in the torchy ballads or reveling in the boppish uptempo workouts. Her vocal on "Tea For Two" is a virtuoso deconstruction, full of satiric quotes and rhythmic shifts at a warp-speed tempo. Fleet-fingered Joe Masters decorates the fills with standard bop runs on the slightly-out-of-tune house piano.--By Richard S. Ginell. AMG.

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01. Take The A Train                                                                                                    
02. Early Autumn                                                                                                        
03. Four Brothers                                                                                                       
04. My Funny Valentine                                                                                                  
05. Sing, Sing, Sing                                                                                                    
06. What's You Story, Morning Glory                                                                                     
07. The Peanut Vendor                                                                                                   
08. Whisper Not                                                                                                         
09. Stompin' At The Savoy                                                                                               
10. Hershey Bar							play 		                                                                                
11. Don't Be That Way                                                                                                   
12. Peel Me A Grape                                                                                                     
13. Just One Of Those Things                                                                                            
14. Love For Sale                                                                                                       
15. Easy To Love						play	                                                                                      
16. I Get A Kick Out Of You                                                                                             
17. What Is This Thing Called Love                                                                                      
18. Night And Day                                                                                                       
19. Get Out Of Town                                                                                                     
20. I've Got You Under My Skin                                                                                          
21. It's De-Lovely                                                                                                      
22. Honeysuckle Rose                             
23. Star Eyes

In 1998 the Giants of Jazz label released a collection drawing upon seven different Verve albums by Anita O'Day (1919-2006), a skilled and at times somewhat formidable vocalist who had the kind of chops and temperament usually associated with trumpeters, drummers, and booking agents. Recorded in early December 1955, "Honeysuckle Rose" first appeared on the album This Is Anita; technically speaking, this track falls outside of this collection's stated timeframe of 1956-1962. "Stompin' at the Savoy" and "Don't Be That Way" come from Pick Yourself Up, an LP that took almost all of 1956 to create. "Star Eyes" as well as tracks one through seven were taken from Anita O'Day Sings the Winners, a 1958 release that found her backed by a somewhat slick orchestra under the direction of Russ Garcia. Anita O'Day seems to have spent a lot of time in the recording studios during April 1959; during that month she made a Cole Porter album with Billy May (cuts 13 through 21) and collaborated with Jimmy Giuffre on the Cool Heat album, from which "Hershey Bar" was extracted. During 1962 this stunning woman made an LP with Gene Harris and the Three Sounds (see track eight "Whisper Not") and teamed up with vibraphonist Cal Tjader on the marvelous Time for Two album, the source for her rendition of Dave Frishberg's pleasantly smutty opus, "Peel Me a Grape." ---arwulf arwulf, allmusic.com

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1.    Johnny One Note
2.    Little Girl Blue
3.    Falling in Love with Love
4.    Bewitched
5.    I Could Write A Book
6.    Have You Met Miss Jones
7.    Lover
8.    It Never Entered My Mind
9.    Ten Cents A Dance
10.    I've Got Five Dollars
11.    To Keep My Love Alive
12.    Spring Is Here

Anita O'Day – Vocals

Billy May & His Orchestra:
Pete Candoli - Trumpet
Joe Castro - Piano
Irving Cottler - Drums
Fred Falensby - Sax (Tenor)
Chuck Gentry - Sax (Baritone)
Justin Gordon - Sax (Tenor)
Conrad Gozzo - Trumpet
Al Hendrickson - Guitar
Eddie Kusby - Trombone
Stan Levey - Drums
Murray McEachern - Trombone
Ted Nash - Sax (Alto)
Tommy Pederson - Trombone
Ralph Pena - Bass
Uan Rasey - Trumpet
Bill Schaeffer - Trombone
Wilbur Schwartz - Sax (Alto)
Tommy Shepard – Trombone

Billy May - Arranger, Conductor

Anita O'Day and Billy May had met before, on a glorious 1959 date swinging Cole Porter, before they reconvened just 14 months later to do similar damage to the songbook of Richard Rodgers and Lorenz Hart. While Porter songs such as "Just One of Those Things" and "I Get a Kick out of You" translated well to the high-energy treatment of May's brassy arrangements and O'Day's spitfire performances, Rodgers & Hart were a more difficult proposition. Broadway fans could understandably fear that O'Day and May would pulverize the waltzing balladry of Rodgers as well as Hart's intricate wordplay. They should have realized that, like the breakneck yet technically perfect performances of bop originators Charlie Parker and Dizzy Gillespie, O'Day would miss no subtleties -- and would probably add some of her own -- while she graced these energized versions of American pop classics. Anita O'Day and Billy May Swing Rodgers and Hart begins on a high note, with the absolutely frenetic "Johnny One Note," and finds May unsurprisingly goosing several of Richard Rodgers' wonderful waltzes, including a version of "Lover" that provides the excited American equivalent of Peggy Lee's bustling, exotic hit version of the same song. Despite her technical gifts, Anita O'Day still sings a ballad very sweetly, as on "Bewitched, Bothered and Bewildered," although she predictably can't help scatting out the song. She also delivers just the perfect amount of man-killer tartness on the obscure serial-killer tale "To Keep My Love Alive." ---John Bush, Rovi

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1. Thanks for the Memory
2. It Shouldn’t Happen to a Dream
3. Just in Time
4. Under a Blanket of Blue
5. That’s Your Red Wagon
6. Peel Me a Grape
7. An Occasional Man
8. The Party’s Over
9. I Believe in You
10. Mr. Sandman
11. Spring Will Be a Little Late This Year
12. I’m Not Supposed to Be Blue Blues

Anita O’Day – vocals
Cal Tjader – vibraphone, drums
Johnny Rae – vibraphone, drums
Freddy Schreiber – bass 
Bob Corwin – piano
Lonnie Hewitt – piano

In another experiment, producer Creed Taylor teams O'Day with the alternately Latin and bop-grounded quartet of vibraphonist Cal Tjader -- and he gets some amazing performances from this team. O'Day sounds as if she is delighted with Tjader's polished Afro-Cuban grooves, gliding easily over the rhythms, toying with the tunes, transforming even a tune so locked into its trite time as "Mr. Sandman" into a stimulating excursion. Indeed, O'Day's freewheeling phrasing becomes downright sexy on "That's Your Red Wagon" and Dave Frishberg's delicious parody of a spoiled honeybunch, "Peel Me a Grape." Also, thanks to Taylor's obsession with good engineering and tasteful applications of reverb, O'Day's voice sounds much fuller and more attractive in his productions than on her Norman Granz-produced albums. ---Richard S. Ginell, Rovi

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Side 1:
01) Take The A Train [Ellington]
02) Tenderly [Oscar Peterson]
03) Night In Tunisia [ Dizzy Gillespie]
04) Four [Miles Davis]
05) Early Autumn [Stan Getz]
06) Four Brothers [Woody Herman]

Side 2:
01) Sing, Sing, Sing [Gene Krupa]
02) My Funny Valentine [Gerry Mulligan]
03) Frenesi [Artie Shaw]
04) Body and Soul [Coleman Hawkins]
05) What's Your Story Morning Glory [Jimmie Lunceford]
06) Peanut Vendor [Stan Kenton]

Personnel:
    Anita O'Day - vocals
    Marty Paich - arrangements and orchestra (first half)
    Russell Garcia - arrangements and orchestra (second half)

Anita O'Day, whose singing career began in the big band era, was in the prime of her life when she recorded this LP for Verve in 1958. Amazingly, "Winners" was cut in only two days of that year, April 2 & 3, with Russ Garcia and His Orchestra on the first day (tracks 7-12), and the band of Marty Paich on the second (tracks 1-6). This CD has so many great cuts, it could have been called "The Very Best of Anita." "Take the A Train," "Peanut Vendor" and "Frenesi" are especially good. This is, without question, one of the best female vocalist recordings out there. Unfortunately, the six bonus tracks detract from the CD. But, that complaint aside, "Winners" easily rates 5 stars in my book. --- J. BURGESON (Stratford, CT USA)

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1. Boogie Blues	3:48
2. You Came A Long Way From St. Louis	 4:16
3. I Want To Sing A Song	2:44
4. A Woman Alone With The Blues	3:20
5. The Ballad Of The Sad Young Men	4:27			play
6. Do Nothin' Till You Hear From Me	4:10
7. One More Mile	2:42
8. Night Bird	4:00
9. Up State	2:32
10. Senor Blues	2:45								play

Personnel: 
Anita O'Day: Vocals; 
The Gary McFarland Orchestra:
Gary McFarland (conductor, arranger); 
Walter Levinsky, Phil Woods (alto saxophone, clarinet); 
Jerome Richardson, Zoot Sims (tenor saxophone); 
Bernie Glow, Doc Severinsen, Herb Pomeroy (trumpet); 
Billy Byers, Willie Dennis (trombone); 
Bob Brookmeyer (valve trombone); 
Hank Jones (piano); 
Barry Galbraith (guitar); 
George Duvivier (bass); 
Mel Lewis (drums).

From her days with Gene Krupa and Stan Kenton in the '40s, Anita O'Day was a genuine jazz singer who could make the most of a big-band date. This 1961 recording pairs her with arranger Gary McFarland, who was just beginning to demonstrate his talent for creating constantly shifting backdrops filled with unexpected rhythmic figures and voicings. The title song and Willard Robson's "A Woman Alone with the Blues" gain orchestral dimension from McFarland's writing, while he's able to put his own stamp on Ellington's "Do Nothin' Till You Hear from Me." The songs are well-chosen vehicles for O'Day, a singer capable of both bemused irony and emotional directness, with the diction for Broadway lyrics and a facility for inventive scat singing. "Boogie Blues" updates an early O'Day hit with Gene Krupa's band, while Al Cohn's "Night Bird" and Horace Silver's "Senor Blues" are unusual in being big-band vocal treatments of bop tunes. The band is terrific, and altoist Phil Woods and guitarist Barry Galbraith make particularly good solo contributions. O'Day's vocals were overdubbed at separate sessions. It may add to the vocal presence, and given her scat exchange with Willie Dennis's trombone on "Up State," it seems to take nothing away from her involvement in the band. ---Stuart Broomer

Recorded in New York, New York on October 16, 1961 and at Sunset Recorders, Los Angeles, California from November to December 1961. Originally issued on Verve (8442). Includes liner notes by Dom Cerulli. Digitally remastered using 22-bit technology by Kevin Reeves (Polygram Studios).

One of the greatest of jazz singers, Anita O'Day can also be one of the most erratic. When she's on, O'Day is a brilliant improviser, endlessly creative yet shrewdly paring away any extra-musical excess that might obscure her interpretations. On the occasional off day, O'Day's famous vibrato-less instrument would fail her pitchwise. Ever the unromantic "hip chick," her unconvincing ballads can then be mired in low-energy bathos.

Happily, ALL THE SAD YOUNG MEN is crisply arranged by the equally creative Gary McFarland. O'Day convivially meets him halfway in a well-chosen set of mostly lesser known bluesy numbers, three of which were written by McFarland expressly for this session. Speaking of the blues, the album opens and closes with breezy trademark O'Day performances of two jazz originals, Gene Krupa's "Boogie Blues," which Anita used to scat in her celebrated Krupa-Eldridge days, and Horace Silver's "Senor Blues." But the highlight here has to be O'Day's knowing take on the title tune, Fran Landesman & Tommy Wolf's well-sketched portrait of '50s bohemia, a likely subject for bathos, sure, but the singer's cool rendition turns all skepticism inside out. Creed Taylor's well-recorded 1961 production has been superbly remastered in another choice addition to Verve's By Request series. –cduniverse.com

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1. 	Angel Eyes 	03:38 	  	 
2. 	A Nightingale Sang in Berkeley Square 	04:01 	  	 
3. 	We'll Be Together Again 	03:37 	  	 
4. 	I Cover the Waterfront 	34:01 	  	 
5. 	If the Moon Turns Green 	02:53 	  	 
6. 	Early Autumn 	03:09 	  	 
7. 	I'm Not Lonely 	03:04 	  	 
8. 	A Lover Is Blue 	03:01 	  	 
9. 	Tenderly 	03:20 	  	 
10. I'm Not Supposed to Be Blue Blues 	02:27 	  	 
11. You Came a Long Way From St. Louis 	04:13 	  	 
12. Trav'lin' Light 	03:34

Personnel: 
Anita O'Day (vocals); 
Herb Ellis, Howard Roberts , Al Hendrickson, Al Viola, Tal Farlow,
 Barney Kessel, Barry Galbraith (guitar); 
Corky Hale (harp); 
Lou Raderman, Dan Lube (violin); 
Virginia Majewski (viola); 
Walter Levinsky (clarinet, alto saxophone); 
Bud Shank (woodwinds, alto saxophone); 
Jimmy Giuffre (woodwinds, baritone saxophone); 
Alex Harding (woodwinds); 
Joe Maini (alto saxophone, tenor saxophone); 
Herb Geller, Lennie Niehaus, Phil Woods (alto saxophone); 
Georgie Auld, Jerome Richardson, Richie Kamuca, Zoot Sims,
 Bill Perkins, Bob Cooper (tenor saxophone); 
Chuck Gentry, Jack DuLong (baritone saxophone); 
Stu Williamson (trumpet, trombone); 
Conrad Gozzo, Conte Candoli, Phil Gilbert, Bill Catalano, John Anderson,
 Herb Pomeroy, Jack Sheldon, Jules Chaiken, Al Porcino, Pete Candoli,
 Ray Linn, Ray Triscari, Sam Noto, Lee Katzman (trumpet); 
Milt Bernhart, Dick Nash, Lou McCreary, Frank Rosolino, George Roberts,
 Kent Larsen, Willie Dennis , Kenny Shroyer, Bob Enevoldsen, Archie LeCoque,
 Jim Amlotte, Lloyd Ulyate (trombone); 
Paul Smith (piano, celesta); 
Bud Lavin, Robert Corwin, Hank Jones, Jimmy Rowles, Lonnie Hewitt,
 Marty Paich, Oscar Peterson, Russ Freeman (piano); 
Larry Bunker (vibraphone, drums); 
Bob Brookmeyer, Cal Tjader (vibraphone); 
Rae, Mel Lewis, Alvin Stoller, John Poole (drums).

In keeping with the Jazz 'Round Midnight theme, this Anita O'Day sampler errs on the mellow side of things with 16 after-hours gems from the lady of bop vocal rhythm. For fans more interested in sampling all of O'Day's talents, though, there's such well-balanced Verve collection as Jazz Masters and Compact Jazz to check out. But, if your optimal inroad to jazz vocals is a smooth one, this disc -- with ballad highlights like "Man With a Horn," "I'm Not Lonely," and "Early Autumn" -- will make for ideal listening. And while O'Day is not the first word in jazz ballads (think June Christy or Ella Fitzgerald), her beguiling delivery -- along with the disc's wealth of top-notch charts and amazing cast of sidemen -- makes up for any lack of rarefied mood moments. Packed with gems from the singer's '50s and early-'60s prime, Jazz 'Round Midnight: Anita O'Day will make the familiarizing process as easy as sipping a glass of French red.--- Stephen Cook, Rovi

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1. As Time Goes By    
2. Stardust    
3. I Didn't Know What Time It Was    
4. The Very Thought of You    
5. Anita's Blues '76 					play   
6. I Could Write a Book    
7. Sophisticated Lady					play    
8. I Hear Music    
9. I Cover the Waterfront    
10. The Way You Look Tonight

Personnel: 
Anita O'Day (vocals); 
Norman Simmons (piano); 
Bob Maize (double bass); 
John Poole (drums).

A solid album by vocalist Anita O'Day that was done in the mid-'70s, but was initially only available in Japan. She subsequently released it on her own label, but it's still not seen widespread distribution and may be tough to find. Her voice was once again in vivid, expressive form after her successful battle with drug and alcohol problems. --- Ron Wynn, All Music Guide

Anita O'Day, American jazz singer, was born in 1919. She pushed the envelope, wearing coats and skirts instead of evening gowns, becoming a hip female musician.

She was born Anita Belle Colton, and renamed herself O'Day, pig latin for "dough" or money. She also earned the nickname "The Jezebel of Jazz" due to her ongoing problems with heroin and alcohol addiction and erratic behavior.

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1.Boogie Blues
2.Trav’lin light
3.Honeysucke Rose
4.Avalon
5.Bewitched							play
6.You’d Be So Nice to Come Home to
7. Night & Day
8. Let’s Fall in Love
9. Sweet Georgia Brown
10. Tea for Two						play
11. Stella by Starlight
12. Love for Sale
13. Get Out of Town
14. That Old Feeling
15. Four Brothers

Personnel: 
Anita O'Day: vocals; 
Bob Corwin: piano; 
Toshiyuki Miyama and The All-Star Orchestra and Takeshi Inomata and His West Liners.

This is a never previously released live set from a highly successful 1963 television concert in Japan. Vocalist Anita O'Day came out of the Big Band Era and after memorable stints with the Gene Krupa and Stan Kenton bands she launched an enduring soloist career that was still going strong when she passed in 2007 at 87.

This "new" O'Day album is especially welcome because it is from her peak recording years. The snazzy arrangements by Buddy Bregman come directly out of classic big band sound as is immediately evident with the opener, "Boogie Blues." Sizzling and crackling from note one, O'Day jumps right into a swinging setting that's clearly catnip to her. She pours out each note in her distinctive golden sand-laced caramelized sound. When she slows down for "Trav'lin' Light," her phrasing's still her own but with echoes of Billie Holiday. For sure O'Day knew her way around ballads too. Accompanied by Bob Corwin beautifully in sync on piano, just listen as she wraps velvety sounds around that Rodgers & Hart beauty "Bewitched, Bothered and Bewildered." It's dry martini musical witchcraft that's equal parts hip to the jive AND romantic.

But for this listener it's with the swinging tunes where she knocks it right out of the ballpark every time and happily this set is packed with them. On Cole Porter's obsessive "Night and Day," she and the band get with a wildly accelerating tempo that may leave your ears breathless. With seemingly unstoppable energy, she ebulliently shouts "jam session time!" and goes into her now-famous rendition of "Tea for Two," from which every barnacle is quickly seared. Trading licks back and forth with trombone and trumpet, she scats with absolute ease and assurance, tossing in a reference to "Salt Peanuts," and finishing off with playful sounds only a supremely confident pro could pull off. (Regrettably her excellent musical cohorts are not identified by name.) No matter what she sang, O'Day always seemed to have a smile in her voice while having a helluva good time. ---Andrew Velez, allaboutjazz.com

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